Xaoc Odessa study pre-empted

Xaoc Devices posted a video yesterday that said most of what I was going to say about Odessa. So rather than continuing to work on that, I’ll just link to it here:

Additional comments:

  1. TILT applies according to how many partials there are… changing the number of partials changes where the peak is. So with TILT high, modulating PARTIALS sounds a bit like a resonant filter sweep.
  2. I don’t have the Hel expander, but one can get certain kinds of chords/clusters by turning down PARTIALS to just a few and using TENSION.
  3. Not mentioned in the video, but trying to suppress the fundamental by mixing the fundamental output inversely with the main outs isn’t perfect because the relative levels can shift as you modulate certain parameters. Some other ways to suppress it:
    – External filtering. I usually do this in the DAW when I’m droning with Odessa.
    – Tune so the fundamental is below audio rate, turn up Harmonic Factor to multiply other partials, patch to something that is AC-coupled to filter out the inaudible fundamental.
    – Very carefully tuned comb settings can do it, but that limits your timbre possibilities even more than the above option.
  4. The best input for self-patching is, IMHO, Tension. A much more lush “supersaw” style sound than the unison detune.
  5. Another self-patch option is Bank (with Harmonic Factor not at noon). It can be reminiscent of those rough engine-like sounds from an Atari 2600.
  6. Absolutely do try running Odessa through some distortion. With a few partials, and especially with Tension, it can do some amazing things.
  7. An obvious one but sometimes overlooked: you can still use external filters, you’re not limited to Odessa’s own Comb/Partials and Tilt for shaping the spectrum. Sometimes I get something I really like with Comb settings except for one little extra bit at the high end of the spectrum, so an LPF can make that perfect.

We’re going to my parents’ Sunday for Early Christmas, then on Monday renting a car and taking them to Louisiana where my in-laws live, for an actual Christmas visit. This’ll be the most the two families have seen of each other, and I’m a bit worried they will start talking politics — they’re not in the same corner and my dad has no tact. I’m stressing about that possibility, so I think I’m going to have to say something in advance (as well as warning them about the large and bouncy dog, who we’re going to try to run interference on).

When we’re back from that trip I still have a few more days before returning to work, and will probably start in on that study of Spectraphon. Unless Make Noise wants to release some very detailed videos with a lot more technical digging than they tend to πŸ™‚

this was 2024

Twice now I’ve written up posts with mini-reviews and how I feel about the various clothes I’m trying. But it seemed like a weird turn for a blog that’s been mostly about music stuff. I’ll try to keep it brief (even though I didn’t buy any briefs):

  • My spouse suggested I try no-pierce earrings to see what I thought. That was never something I really considered before… but I tried some magnetic ones and kinda like them. I’m willing to try more and maybe get my ears pierced.
  • All the shoes are good. The black/white Chuck hi-tops are classic; the black/purple/yellow CX EXP2 chucks are super comfy and 3/4 of a nonbinary pride flag. The Thursday Harness boots are a little dressy but I could wear them to work with black jeans, no problem. And I kind of love the Chuck 70 De Luxe heeled leather boots, the wildest thing I have — too rock-and-roll for the office or to go visit my parents, but I don’t feel too self-conscious in them. This is quite the confidence boost.
    (Do NOT listen to Converse’s advice to size down 1/2 size, I didn’t. I do wish both the hi-tops were a little wider, but every time I put on the CXs I think “these are too narrow” for about 2 minutes and then “these are amazing” when I walk in them. And I have some stretchy laces on the way to make them easier to put on, especially the boots.)
  • My “oversized” hoodie isn’t, but fits fine. The various tank tops range from amazingly comfy and perfect (tomboyx modal muscle tank) to too snug, to too low in the neck (but can be worn backwards since I’m layering it anyway). Clothes shopping online without being able to try stuff on is a bit of a challenge, but I feel lucky not to have wound up with anything that needed to be returned. Certainly the selection, ability to compare and find deals, and not feel self-conscious browsing every part of the store for inspiration are an advantage. (For contrast: Kohl’s used to have a formidable big & tall section with a ton of jeans and button-up shirts, and now it’s literally only sweatpants because they put a Sephora in that store and needed room.)

There are some nonbinary fashionistas… no, fashion captains… really rocking a genderful mix-and-match look, or fluidly and nearly flawlessly moving between masculine and feminine and stopping wherever they want on the way. And then there’s neutral androgyny, which is closer to what I’m aiming at but not really specifically my goal, either. My main thought is that I neither want to be too overt, nor covert. Just… true.

Wearing a men’s button-up shirt with men’s blue jeans and men’s Crocs is… okay I guess. It doesn’t give me dysphoric vibes, but sometimes does feel like I’m disguising myself as a man, taking the coward’s way out. If I wear that exact same shirt half-buttoned or unbuttoned over a t-shirt or tank-top, suddenly it’s right. Switching to (men’s) black jeans, cooler (men’s/unisex) shoes, maybe some (men’s/unisex) jewelry and maybe my (men’s) hat all help a bit more. None of that has much to do with gender — but as those fabulous captains say, no piece of clothing has a gender.


That was me being brief. Huh.

Okay, year in review. Stuff that happened:

  • I thought I was going to get heavily into Legos. Instead I have a bunch of Legos in nice organizer cases taking up space.
  • My parents moved to the St. Louis area and we’ve been visiting them a lot more. Taking them out to eat, going on Trader Joe’s runs, etc.
  • At work we FINALLY released our long-awaited new version, after the Air Force’s cybersecurity certification dragged on for months and I had to personally straighten out compatibility problems between third-party libraries.
  • I did more walking around Mallard Lake than in previous years. (This is a combination of weather-dependent and personal energy level.)
  • We saw the total eclipse in Perryville, MO. Utterly awe-inspiring, everyone with a heart should get to see one at least once in their lives.
  • We’ve had more deer in our yard this year than ever.
  • We finally got to go on a “real” vacation, for our 20th honeymoon. We loved Gatlinburg, we really enjoyed Myrtle Beach but we got sick.
  • She kind of accidentally got me into Heilung, and I quickly went nuts for them. I am not particularly a Norse culture buff but it’s interesting. I read the translations, and in some of the music I really felt like I was hearing the expression of the kind of love that flows both ways between people and gods, and also the goodwill of good people toward humankind in general. And that led to the urge to get back into some of my religious practices, and that led to rejoining the church where we had first met.
  • And that, plus a backlash against increasingly transphobic politics, led to my feeling more my nonbinary self and wanting to express it to be more true to myself, and thus this style reboot.
  • I released 6 albums, and I did studies in Unfiltered Audio SpecOps, a wide range of effects plugins, ALM Akemie’s Castle, Xaoc Drezno, and Rossum Morpheus.
  • I raged and cried a lot about politics and have come to this: I refuse to let it ruin my emotional life. I refuse to obey in advance. I won’t try to be the kind of fighter that I am not, but I can donate money to the right causes.
  • I started to really hate on AI.
  • I read up about ADHD and VAST, and yeah… it me. Knowing that is enough for me, I don’t really need an official diagnosis or treatment.
  • Everything Everywhere All At Once. Cicadas. DuoLingo.

And now for the musical gear part. Just the highlights:

I actually spent 4 months without changing anything in my Eurorack setup. I kind of plan to do that again in 2025, probably for longer than that, but I am not going to bother making that an official pledge or anything.

  • Auza Wave Packets, for taking a relatively vanilla oscillator but elevating it with phrasing/gesture possibilities I wouldn’t otherwise have landed on.
  • Noise Engineering Alia, giving me access to the NE oscillators that I like but don’t necessarily want to always keep. And then kind of a rug pull because I love the new Toros Iteritas Alia so much, I won’t want to switch the firmware. πŸ™‚
  • RYK Algo replaced my beloved Shapeshifter, and it’s more on target for what I was using Shapeshifter for. All hail FM synthesis! This means I have no more “complex oscillators” in the classic sense. This is fine.
  • I had a run with Rossum Morpheus, ultimately deciding it wasn’t for me. But I returned to Make Noise QPAS, this time allowing it to shine at the things it does best, and loving it.
  • I let go of my Monome Teletype. It served me well for years, but I found myself using Bitwig Grid or VCV Rack to cover basically everything it was doing for me.
  • Neutral Labs Elmyra 2 is pretty great, making my kind of noise and being fun to play. It’s almost up there with the Strega/Minibrute combo.
  • Decadebridge Sn is a fun little FM drone synth. Probably a little redundant (especially with Toros now) but it’s an inspiring toy for sure.
  • Dawesome MYTH is practically a modular environment on its own and deserves much deeper exploration than I’ve given it so far.
  • Madrona Sumu landed at about the same time. It’s mostly found a role as an occasional drone synth for me, but that might be greatly expanded once it finally gets MPE support.
  • I went for Arturia V Collection finally, thanks to a stacked discount. This gives me a crapton more software synths to play with. I tried most of them and have a few installed.
  • In the effects world there were a few fun ones, but what stands out is Toneboosters Equalizer Pro. The “ambience” setting especially makes it not just an equalizer, and the dynamics work better for me than any other tools I’ve tried. So I’m doing all kinds of tone shaping with it.
  • I got the three Nektar expression pedals and MIDI Expression Quatro to convert them to USB Midi, and that has been wonderful.
  • I also switched from Roli Seaboard to a Linnstrument 128 and have found my bliss.

like an onion

These just got announced: Noise Engineering Ampla Legio (a multimode filter/gate with envelope), Fala Versio (formant filter with folding & distortion), and Toros Iteritas Alia (FM oscillator with unique algorithms and control, especially great for drones). I had the pleasure of beta testing them and I have to say, Toros quickly became my favorite Noise Engineering oscillator of all time. I like it so much that it threatens the flexible status of my Alia, so at some point I may have to grab another one for Manis and Cursus and the other things. This is how they getcha…

Toros and Fala are the redacted modules that I used on Arranged Coincidences (I have made a note to update my notes).


I’ve started working on a study of Xaoc Odessa. It’s designed to make additive synthesis simpler to work with, and it succeeds at that admirably. The manual explains the theory well, too. So I’m just going to concentrate on a few observations and tricks, and combining it with other modules. It’ll probably be a pretty short article.

The one for Spectraphon will be much more involved — possibly more so than the Shapeshifter or Synchrodyne studies were. (What is it with modules that begin with S?) Make Noise manuals are generally quite good, but I have a bit more of an explanation of how it works technically. SAM and SAO modes are pretty complicated, and array creation for SAO is itself kind of an art (which I need to study again). Chaos and Noise modes are simpler but there’s still a bit to say about those too.


The quest for better personal nonbinary expression is going well so far — it’s already brought me some confidence and happiness and a little bit of gender euphoria. And so far it’s simply come from a little research into style and raiding my own closet. Everything I’ve been wearing comes from the mens’ aisle — I’ve just been more thoughtful and deliberate and slightly educated with it. For instance, I’ve discovered layering. (I like my loose/oversized button-up shirts — putting one either unbuttoned or half-buttoned over a t-shirt or tank changes everything.) I’ve been dressing at home just about like I’d dress to go out, which makes me feel less slobby and is good practice. Means doing more laundry, but okay.

I do have a few new things on the way — some staples to cover basic wardrobe gaps, but also slightly funky boots (mens’ but could lean either way), seriously funky boots (theoretically unisex, definitely an experiment), a couple of shirts designed for nonbinary people (masculine cut but slightly more feminine in colors/pattern), even some leggings (experimental; if they are terrible for my body type they can probably go under jeans on cold days). Some of my old clothes in good condition, and the boots if they are just too much, will get donated to a local trans charity.

There’s also a couple pieces of sort of subtle nonbinary pride jewelry on the way from Etsy stores, and a pair of small magnetic clip-on earrings (another experiment, I’m really uncertain but curious).

Perhaps my confidence will build over time and I’ll get more adventurous, perhaps not. But this is already a win, especially compared to my much more awkward efforts years ago.

a lot

I’ve done a lot of shopping lately, and it’s not for music gear! Christmas gifts of course. The new phones, and necessary accessories, and a couple of apps. Clothes and jewelry and stuff because I want to step up my nonbinary presentation a bit (and this part is where I’m not quite finished with the shopping…)

One more minor complaint about the Pixel 8a: it is very slippery. The back of mine (in white) almost looks like a squishy silicone rubber, but there’s Gorilla Glass. It might as well be coated in olive oil. I don’t quite feel like it’s going to slip out of my hand, but both of our phones have spontaneously slid off of what seemed like perfectly stable and level furniture. We were going to get protective cases anyway, but we both put the ones we wanted on our Christmas lists rather than immediately ordering them.

My Lego brick fix for the phone charger was an abject failure. It didn’t stick very well using the double-sided 3M squares, and wasn’t really wide enough to be secure. And also in that position the charging was intermittent. I took off from a stop, the phone tumbled out and the Lego wound up… somewhere in my car. The new charger should arrive Saturday; hopefully I won’t need GPS before then.

I decided on Square Home for my launcher. At least with the premium features enabled (there’s a 14-day trial that begins automatically; $1.99 a year or $5.99 permanent license), it’s very customizable in terms of layout and colors/theming, and I think it looks quite sharp.

The layout that I’ve set up puts everything I wanted on a single screen. (You don’t have to, and you can in fact set it to scroll through pages in an endless loop.) Most of the disunity in this layout is due to limitations of the widgets I’m using. I might also look for a more complimentary icon set rather than circular bubbles on square buttons. I’m sure I’ll keep tweaking things over time.


I was going to start this part by saying that most of my life I haven’t really paid attention to fashion or felt like I had much of a personal style. But now I recall this isn’t entirely true — there was a phase in high school and college where I wore short-sleeve button-down shirts and even funky ties sometimes, when I didn’t have to. Still, most of my adult life I just defaulted to t-shirts (generally geeky ones) and jeans (or sweatpants when I worked night shifts and had low self-esteem particularly about my own appearance).

When I started coming to terms with being nonbinary, I wanted to try to match my gender expression to my identity a little better. And that meant thinking about fashion, as well as quickly recognizing the difficulties in nonbinary gender expression.

(Briefly: society really only recognizes masculine vs. feminine, and this language is used even in nonbinary and gender nonconforming circles when referencing appearance. “Androgyny” can be somewhere in between, but to what extent and how that works is dependent on social context and your own mostly unalterable physical appearance. “Unisex” in clothes is almost synonymous with “men’s” although it says nothing about gender when an AMAB person wears it. There is not really anything that reads as off-axis from a masc/fem spectrum unless it’s so weird it only reads as weird.)

And also at that time, the LGBTQ+ community was still very much getting its shit together about trans and nonbinary issues (and how they interact). The stereotypical “Thing1 trapped in Thing2’s body” trans narrative was a blunt instrument and it didn’t fit everybody, and it took a while to recognize that other narratives about both identity and dysphoria were not threats to trans validity.

But in 2024, while the transphobes are certainly more active than ever, and by the way, fuck those people… some of the ducks have aligned within the community. There are places where you can ask for nonbinary fashion tips and share looks. There are designers and retailers catering to nonbinary and gender-nonconforming people in various ways; some of them radical, some of them much more subtle and everyday.

So, I’m in that process of working stuff out and feel a bit more hopeful about it this time around. Looking over advice, going through the clothes I have but set aside to cull them and gather notes about fit and put some thoughts together, doing a little scouting and shopping, ordering some jewelry. Apparently, today I accidentally threw together a decent outfit that looked intentional just for working from home. That felt good to hear.

I can tell because of the pixels

Our phones were 5 years old, battery life wasn’t looking too hot anymore, my spouse needed a new phone wallet anyway, and I was thinking… if the Orange Menace manages to slap arbitrary tariffs onto stuff phones could get a LOT more expensive a few months from now. And it was Black Friday.

So we got new phones. After a little review reading I chose Google Pixel 8a — not the newest, not the shiniest, but almost half the (discounted) price of the latest shiny things from Samsung, and reportedly outperforms its own price range. And not so AI-centric. And a similar size to what we had, though of course not identical because it would be a real shame if any phone case managed to work for more than one model and version of phone πŸ˜›

Setting up a new phone is a pain in the ass. You can tell they tried to make it better, with the ability to automatically transfer apps and data wirelessly from your old phone. And activating new unlocked phones on Credo Mobile wasn’t too hard, it’s just that… they tell you to call customer service, which means waiting on hold for a fair amount of time, confirming a lot of information, and then they tell you all you need to do is move the SIM card. So mostly, it’s poking the “retry” button several times while your phone gives you a vague error message, because you’re not getting a good enough cell signal, and waiting through several different progress bars.

All the preferences stuff, though. Between a 5-year-old Samsung with an older Android version, and Google’s official phone with the it-was-current-six-weeks-ago Android version, there are lot of little, annoying interface tweaks. These are the ones that bug me the most:

  • The top row of the main page on the home screen/launcher always shows the date. You can’t turn that off anywhere (you can turn off the weather info line). You can’t use that space for widgets, it’s just dedicated to telling you what day it is. I preferred my old weather widget, but it’s basically been made forcibly redundant.
  • At the bottom of EVERY page on the launcher, there’s a Google search bar that cannot be hidden. This is not the primary way I want to use my phone or search, guys. It’s wasted space.
  • The 4×4 Media Monkey widget actually takes 4×5 spaces for some reason. Combine that with the search bar and you just can’t fit anything else on a page. On my old phone, I could use that widget and two rows of icons…
  • Some of the customization that I liked on my old phone turned out to be Samsung-specific. I had a particular always-on screen setting I liked. I want my wallpaper to center on the screen and sit still when I change pages, not fit to some virtual space wider than the screen and then scroll, so things aren’t centered anymore.
  • Maybe this is a Pixel-specific thing, but for some reason, the default action of the power button was to bring up Google Assistant. Yuck. It can be changed but it shouldn’t have had to be changed.
  • This is definitely specific to the Pixel, but the volume buttons are about halfway down the side (instead of closer to the top as they have been on every other phone I’ve had). The wireless phone charger in my car clamps down on the Volume Down button. I have a new charger on the way but until it arrives, I’m going to “fix” it with a Lego brick. (Giving “bricking one’s phone” a whole new meaning…)

OK, other than that… the screen is nice, the sound is better than on the old phone, and it seems generally zippy (it boots much more quickly than my old phone and some apps seem to load faster). Its battery life also seems to be far less troubled by the coloring book app I like to fidget with.

I may look into alternate launchers. I installed Nova, then changed my mind. The main irritation to me is that wasted space, but I have set up a layout that works okayish.

I lost QuickPic because it was pulled off the app store years ago. Simple Gallery replaces it just fine.

Media Monkey just did not want to deal properly with album art, and combined with the messed-up widget and some generally fiddly stuff about it, I decided to look at alternatives. Musicolet, which is completely free, is what I’ve got on there right now. It seems to mostly be straightforward, and aside from a couple of minor quirks, pretty configurable. The navigation might be a bit of an adjustment but it might be what I stick with.

feeling it

Partly because religious experiences are one of the things that makes me feel more fluid, and partly out of defiance toward the Project 2025/MAGA transphobia, I’m feeling more like actually expressing my… nonbinarity? enbiness? rather than keeping it entirely under the surface.

However, because I also don’t want to have to explain, or be stared at and judged, I’m likely to limit this to going back to painting my toenails (mainly in silvers, blues, purples, greens) like I did for a while several years ago. Which will be under socks and shoes in public most of the time. Under the surface, indeed. (Maybe even under the sea, given the color choices. It’s that mermaid thing again…)

A couple of my toenails have issues — quite possibly diabetes-related — but there are OTC treatments and a brand of polish that’s made to be safe and healthy regardless. So I’ll try that.

I do wish there was a way I could signal, with my presentation, that I am nonbinary but only to people who get it, not to the sort of people who will sneer and ask “what are you, anyway?” or try to turn me in for a bounty in Texas or whatever. I think I may need to dig for some more stuff in nonbinary pride colors maybe. (A bit of a challenge — I happily wear black and purple, but white and yellow are not my thing.)


For the next album: recording is done, art is done, and it’s had a name for weeks now. But not that many weeks. The first track was finished on 10/8, then we went on vacation… after that everything happened between 11/1 and 11/24. Wheeee….!

I’m 4/14 of the way through mastering. Tracks 1-3 went super smoothly and effortlessly in one pass. Track 4 had some “crunchies” that took several attempts to clear up.

What I call “crunchies” is a kind of distortion or clipping that sounds like clicks, rasping, rattling, something of that general description. There’s a certain unpleasant texture to it that can stand out from the rest of the material. Tape saturation effects, if pushed hard, can sound like this. So can a bad headphone connection (sort of), which has fooled me a couple of times…

Crunchies happen with my stuff more often than I would like, and often I don’t notice until it’s already recorded (or during the mastering stage when things are generally louder and clearer). Sometimes it is associated with intentional distortion and is easy enough to explain; other times it just happens in otherwise smooth sound. It’s definitely not clipping in the recording process because I keep my levels quite safe, probably usually lower than I ideally should. But perhaps something else before that… I used to think maybe a specific Eurorack module or effect was doing it internally. But this track is one software instrument and one reverb, and I don’t think it’s that reverb but I’ll keep a suspicious ear out for it in the future.

Izotope RX7 De-Click is wonderful and it often cleans up little clicks. I can often (but not always) get away with processing an entire recording with it, or even use it on individual tracks live. More often I just target the specific time of noticed click(s). But crunchies are very often resistant to this treatment.

What I usually do is set up ZPlane Peel with a window in about the 5KHz-10KHz range. I’ll mute that range and fiddle with the frequencies and stereo width until I can’t hear the crunchies anymore. Inside of that, I start with a transient processor that tries to lower sudden attacks but keeps up sustained sounds. That… usually doesn’t work!

So I switch to putting Velvet Machine inside that window instead. At 100% wet, it can smear the attack of sounds and stretch the decay so that the texture of crunchies is smoothed out into a continuous sound. This also can unfortunately suck the life out of some sounds so it has to be used with some care.

Another trick is to mask it. White noise, intentionally buzzy or noisy textures, cymbals etc. will easily cover up the unwanted bumps with bigger bumps. Of course, that assumes I am willing to invite that sort of texture/timbre at that moment in the track…

reunion

This morning I finally got to do the religious ritual I had been looking forward to ever since rejoining the temple. Vacation and then illness and then having to clean up and rearrange stuff while recovering from illness and various other stuff had all delayed it.

Without going into explanation/details, it was lovely. Joy all around. It went pretty smoothly after a 13-year gap; even after realizing my printed instructions were missing one of the parts it came back to me effortlessly anyway.

This is supposed to be done daily (“for best results”). I know I like doing this in the morning and carrying the sense of peace, calm, insights etc. into the rest of the day. It’s not super time-consuming but does require some time, and I also enjoy getting my workday with over early. So rather than getting up super early I’ll try switching my schedule to shower at night, then ritual, then bed. Maybe I’ll sleep better as a bonus, we’ll see.


I didn’t write about this before, but with a birthday coming next week, it was time to renew my driver’s license. Missouri DMVs have been, in my previous experience, pretty fast and efficient. Last time, my spouse (with an early November birthday) and I went in on Halloween and got it done together in just a few minutes.

This time, they had closed the offices for a computer system upgrade for a week, and we had colds, and it was all awkward. She got hers done right before the upgrade, I did it after, and… oh boy.

Monday was Veteran’s Day, so they were closed.

I was going to go on Tuesday without thinking about how this was (A) the first day on their new software and (B) they had just been closed for the previous 10 days in a row. It was chaos. I saw the packed waiting room and full parking lot at the place we usually go, tried a second one and it was also super busy. This was also during rush hour, so between about 8 miles of driving and getting stuck in two parking lots, that killed almost 40 minutes for nothing. So I went home, planning to return a little earlier the next day.

Wednesday: Google Maps said the first location was not too busy. But when I got there, there were people waiting outside on the sidewalk in the rain. I went to the second location, where I could at least wait inside… standing room only, but still. I pulled my ticket: 48. 15 minutes later, they called the first number: 98. 99? 1? 2? 3? #4 went up and got served. Not just the new computer system, not just catching up from being closed all that time, but also a trainee who didn’t know how to do anything and slowed everyone else down.

I stood for an hour before a chair became available. I waited an additional hour and 20 minutes before my number was called. I got the trainee, and she couldn’t figure out how to make her scanner work, so that took another 20 minutes. And it turns out I have the wrong kind of birth certificate (hospital-issued rather than state-issued, although it’s been accepted for everything else up until now)… so I still will not be getting a RealID-compliant driver’s license. Which means as of March I won’t be able to pass a TSA checkpoint for domestic flights. (Not that we were planning to fly, but still.)

When I get my actual card in the mail, I’ll order a copy of the proper kind of certificate, then probably get a passport or passport card.


The album is now at 58 minutes. Plenty long enough, but I feel like there’s at least one more thing to do!

Not sure what my plan is after that, but another gear study is a good idea. Odessa would be a good candidate for that. Spectraphon is a great candidate for it, there’s a lot going on and I was wanting to revisit array creation and usage now that the firmware has fixed my major beef with it (and added another feature to it besides). Algo could be a good to cover. Techniques with Blades and with QPAS, also. Maybe not the Noise Engineering stuff — I feel like most of their modules are relatively straightforward to work with, the genius of them is making it so largely just “listen and turn knobs” and feel it out.


The Linnstrument is great. Changing the settings is easy — everything is right there on the panel, no software needed. (There are a few hidden settings, but it’s mainly not stuff I will need to set ever again.) Once I got it tweaked to my satisfaction and had a few minutes of practice, it felt very natural.

The string-like grid layout is great. The default is perfect fourths between rows, and I like that a lot. You can choose which scale notes are lit, and I went with just C, F and G so it doesn’t lead me toward either major or minor scales but everything is easily located. Easy to play chords and melodies and find equivalent notes on neighboring rows.

I liked the Roli’s tactile squishiness for slow, pressure-oriented playing, and the way the “key waves” let you feel where notes were. The Linnstrument doesn’t have that squish, but I feel equally confident in my ability to control pressure with it. Pitch slides, bends and vibrato take a little more practice but that isn’t really a problem either. As with the Roli, Y values feel less precise and controllable — in this case because of the relatively small motion, rather than fingers physically “sticking” in one place — but could be good for subtle variation.

And the Linnstrument is certainly far better for faster, more percussive playing than the Roli. Velocity feels right on it. It seems like quite an achievement to me that it’s good for both velocity and pressure, no need for separate controllers!

hold your horses

Back in the days when I was super into Celtic mythology, looking for connection with my ancestors and the vague feeling that gods and spirits might be out there but no idea where or how to look for them, and before there was an internet, I was a fan of Morgan Llywelyn — a historical fantasy novelist who wrote retellings of Celtic myth, and some stories where legends came from the lives of hypothetical actual people. Red Branch, about CΓΊ Chulainn, was the first of those and probably the best I’ve read, with a narrative voice for the Morrigan which spookily felt dead right (so to speak). I think it was The Lion of Ireland which was about a trickster-warrior with a streak of good luck who managed to sort of accidentally build a larger-than-life legend around himself, which only grew in exaggeration as others retold it… pretty clever writing I thought.

The earliest one of those books she wrote was The Horse Goddess. Presumably about Epona (with Cernunnos as an antoganist and other gods as secondary characters), it was really more the story of the Hallstatt C culture transitioning to Hallstatt D — the clash of early Celtic and Royal Scythian cultures at the dawn of the Iron Age (and some interaction with surrounding cultures). As that sort of story, it is pretty fascinating.

But it’s also icky. These were not particularly progressive cultures, especially toward women. As depicted, Kelti women were theoretically “free” and had rights and status, but the inciting incidents of the story were example of how this wasn’t actually true. The protagonist fled a life where she’d have been forced to live with and study under a creepy, sadistic, rapey authority figure only to end up in a culture where women were considered property, and all property was (A) stuff taken from others by force and violence and not treated with any particular respect, and (B) ultimately all property belongs to the Prince. I am not asking for a fantastical, sanitized and idealized version of history, but a more sensitive treatment in terms of writing style.

I may have to read some Becky Chambers next to wash this out of my system.

My Linnstrument 128 just arrived, and I’m still working for the next 90 minutes so I shouldn’t play with it too much, but I’ve plugged it in and Bitwig immediately detected it and it works. More later!

roger that

Since I record my music live, rather than either solely or primarily sequencing/automating it, controllers are really important to me.

It was replacing a dead MIDI keyboard with a Microbrute that got me back into synth hardware after going software-only for so long.

The Soma Lyra-8 got me thinking about touch/pressure controllers, leading to the 0-Ctrl (as well as the loosely-related Strega and the more closely related Elmyra).

The Polyend/Dreadbox Medusa was my introduction to grid controllers and MPE, which led me to the Novation Launchpad… which wasn’t MPE but had poly aftertouch, but it didn’t feel satisfying or precise. Which led me to the Roli Seaboard Block, where both pressure control and pitch slides are very precise and satsifying…

…except when the pressure drops out or goes intermittent as it does on my unit. This must not be a common problem because I haven’t heard of this specific issue anywhere else online, and I did buy mine used so I don’t know how it was treated or what abuse it may have suffered in transit (though it seemed well-packaged). I have heard some general gripes about the reliability and longevity of Roli stuff though.

With Black Friday November discounts in mind, I started thinking about replacing my Seaboard. A new one isn’t that expensive and might solve my problems. Or it might develop the same or other problems after a couple-few years of use. Meanwhile it would have the same limitations:

  • Slides on the Y axis don’t feel natural, so I rarely take advantage of them. The whole playing surface could be about 2 inches from front to back (accounting for black keys and at least one non-key slide strip), as far as I’m concerned.
  • Two octaves is usually fine, but a bit limiting at other times. However, I do need to keep things compact to fit in the available space.
  • The squishy playing surface feels pretty good for pressure-oriented playing like I tend to prefer, but not so much for percussive, velocity-oriented playing (which I might want to do once in a while if the controller was more amenable, at least for jamming).

The Aodyo Loom was going to be my alternative controller. Compact and still just two octaves; relatively cheap; not squishy but apparently both velocity- and pressure- oriented, with a couple of extra playing areas/ribbons for other purposes. Alas, the production costs exploded, the money may not have been spent wisely, and the Kickstarter fell through and disappeared its backers’ money.

The Erae II, whose production was delayed, is supposed to finally ship to its Kickstarter backers in December, and they have opened general preordering as well. But I am more suspicious of how this technology feels to play, after disliking Roli’s little Blocks, and at the price I would certainly want to try one in person before committing. The original Erae Touch had some loyal followers but it was more of a niche thing I think.

Based on its looks, descriptions and reviews I bet the Haken Continuum feels great to play — a sort of smooth mesh fabric surface that squishes a bit differently than the rubber of the Roli instruments. It’s quite large and very expensive though. Even the Mini is pretty expensive, and too long to fit in my available space — and is merely duophonic.

The Linnstrument though… it comes in two sizes, the smaller of which fits my space. The price of a used one is a bit less than a new Erae II. The instrument has been around for 10 years, with minor revisions to the playing surface, mature and stable firmware (which is also open-source and has a robust community), and a track record of reliability. It is loved by most of its users (*), sensitive and configurable, and its designer, Roger Linn, has been one of the better-known names in electronic instrument design since the late 70s (and personally supports the instruments and community in a way that’s great to see).

The Linnstrument is a grid controller, inspired by string instrument fretboards, with a default interval of a 4th between rows, like a bass. That allows isomorphic chord shapes and options for alternate fingerings. You can also split into two zones, or use the bottom row for alternate control purposes. The surface is a thin silicone mat, not squishy like the Roli or Haken instruments, but reviewers say the pressure response is very precise and playable anyway (and some but not all say it’s also well suited for percussive playing). There are configurable LEDs and also subtle Braille-like bumps to identify note positions and scales, but unlike many other grids you can smoothly glide pitch like a fretless instrument (or, I’m told, with a light touch get a sort of fretted feel to slides).

I have heard from a few reviewers that the Y axis on the Linnstrument is not amazing, and… honestly I think that’s more because it’s just not as natural a motion as side-to-side or downward pressure, and it’s probably true of every MPE controller. It doesn’t much matter though. The grid layout seems like a much better use of vertical space than the Seaboard, extending the playable range and encouraging a different kind of melodic exploration.

(*) Where people don’t get along with the Linnstrument, it’s generally because they find they really want a piano style keyboard layout or action. I’m not worried about that.

So, I have a used one on the way now, in hopes that this will be the “keyboard” for me as it is for a lot of others.