Changing the Pickups in an Ibanez S420 Guitar

In late 2011 I bought a stock Ibanez S420 guitar, which I’ve used for most of my musical projects since then. While I like the guitar I’ve always felt that I wasn’t happy with the stock pickups, the Ibanez INF1 and INF2. I can’t even articulate what it was I didn’t like about them. Maybe they were too boomy? Maybe they lacked definition? I don’t know, but I’d managed to convince myself I didn’t like them.

Fast forward to 2014, in order to deflect my increasing frustration with music I decided I would actually change the stock pickups out for something new. This led to the first problem: what to exchange them with?

Continue reading

Ass Seen on TV

From the shameless self-promotion file.

I got a nice mention on Episode 11 of Night Attack, which thankfully did not diminish the great show that Night Attack is.

You can watch talented rubes Brian Brushwood and Justin Robert Young all the time on Diamond Club TV. You can support them directly on patreon.

Although contrary to Mr. Booshwood’s kind words I do not actually bring ruck, you still can get the music discussed for free at http://stevencogswell.ca. Also I have lots of other garbage.

Show notes for Episode 11 of Night Attack.

Gnu Years

I haven’t made new gnu pneu New Year’s music for a couple of years, because I haven’t seen the point of retreading that ground, having already done the same thing twice. I did make a super awexome music video this year though.

Or you can just listen.

or not, whatever.

Creative Commons License

Less is Less: The 2013 Crap Chute Collection

Wait, this was 2013?

So for the fourth fifth year – following the pattern, the end of the year rolls around and bundle up all the music from the past year and put it under one collection. This year’s fantastic album is Crap Chute’s Pinched Loaf. This collection features nothing not previously released in the year, no tracks have changed, and there aren’t any bonus items this year either.

Crap Chute's Pinched Loaf cover art by Ro Karen

You can listen to the whole thing right here:

Like previous years, the only good part of the whole mess is the wonderful cover art by Ro Karen.

The entire collection is available via Bandcamp. If you’re homeless and destitute and somehow are downloading music off the intarweb you can once again enter the secret code of $0.00 for the price and not pay a damned cent for it. Also, don’t complain to me about it. If you want to put your money to good use give something to your local animal shelter, or Ro Karen, or some new media disruptive kickstarter indie go go douchebags.

Bandcamp very nicely will provide you with just about any audio format you want, even if you’re still using that Diamond Rio and Microsoft Kin Phone Zune Whatever.

Following last year’s successful campaign by Dicks, Everywhere, output this year was not as prolific as year’s past. In fact, this year has the least number of tracks (36), and the least running time (three hours and forty-eight minutes, give or take). Even less than 2009, which was the year where I only put out material for half the year. It’s enough material to maybe get you through the morning, or the whole day if you like to go to the bathroom a lot or work for the government.

Still all covered by Creative Commons. I know, you still don’t know what that means. That’s okay.


Creative Commons License
Crap Chute’s Pinched Loaf by Steven Cogswell is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

I’m not going to bother to make the MD5 joke this year. Once again, the offer still stands that if you can somehow figure out how to ask nicely, and actually provide a mailing address, I’ll send you a disc with the material on it. Number of discs I sent out in 2013: zero (0).

If you’re completely crazy, you can also uselessly spend money and buy Buy Crap Chute’s Pinched Loaf from iTunes, or from Amazon’s MP3 store, or from Google Play. Not all these links work in all countries. In fact, they don’t even work for me in Canada, so I can’t even check them myself. Bandcamp should work for everyone, and is cheaper for you.

Logic X and the Missing Edit Button on EXS24 Instruments

Like a lot of people, I bought Logic X, and have been digging my way through it. One thing I ran into was that my EXS24 sample instruments were missing the “edit” button, which you use to edit the zones and velocities associated with the samples.

No Edit option

Googling around didn’t help, the usual things that people who don’t know the actual answer tell you what to do are “repair the permissions” and “check the disk” (which I did do), usually moving on to “reinstall everything” (which I wasn’t going to do).

Turns out with Logic X, especially if you have a fresh installation on a machine you didn’t have Logic 9 on before, there are some options under “Advanced” for enabling things for advanced users. Logic X (and previous Logics) are pretty complicated pieces of software, and hiding options seems counter-productive to me – but hey, I don’t write Logic I just use it.

Anyway, easy solution: Go into the Logic X Preferences, and under “Advanced” you can turn on the “Audio” selector, that will enable editing EXS24 instruments again.

audio must be enabled

Presto.

Edit now available

Maybe while you’re there, you’d like to check the rest of them too. That’s up to you.

Pigs in a Slanket: The Next Generation

In the natural progression of moving my music onto bandcamp, it has activated that gene that makes me have to go back and tinker with all the old tracks. 2009 was the first year back after not recording any music for twelve years. I started out the year in Garageband, moved to Logic 8, then back to Garageband, then moved to Logic 9, then back to Garageband. I’ve previously attempted to spackle over past sins of recording. After much stress and gnashing of teeth my circle of failure is complete and you are now presented with the 2013 remaster set for 2009’s “Crap Chute’s Blast from the Ass.”

Much like the Crap Chute’s Sluice Juice Spatial Edition 2012 Rage Fury Wifebeater, I did a lot of work trying to fix some of the more egregious problems with the material. All the tracks feature new mixes. Some of them have new instrumentation, some of them have newly-recorded parts to replace corrupted files, some have strange new additional parts. The material is still the material though, you can’t change that.

All in all, about four and a half hours of music. As usual, you can still download the whole thing for free from bandcamp. Also available is the material from 2010, 2011, and 2012. Total is about 22 hours of terrible, terrible music.

It’s also still covered by creative commons. You never figured out what that meant in 2009, and you still haven’t figured it out. Don’t worry about it.

Creative Commons License
Crap Chute’s Blast from the Ass 2013 Edition by Steven Cogswell is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License.

When I say “free” I mean “free.” I’m not sure why people have a problem understanding that “free” means “$0.00” but it means you don’t have to pay. You don’t have to pay to download it. You don’t have to give me your email address. That’s because it’s free.

Korg USB MIDI Driver Disables the Alesis Control Pad

This is another single-serving post that explains resolution to a problem I had, that I could not find an answer to on the internet. So perhaps you’ve found this searching for the same problem I had. This is how I fixed it.

I have an Alesis Control Pad. A couple of years ago I bought a KORG nanoKONTROL unit, which I actually never used for anything. I have a recurring problem with Logic Pro becoming unresponsive to keyboard input (the one with the letters on it, not a musical keyboard) when you have plugin windows (Kontact, Amplitube) open. Makes it hard to stop playing if it won’t listen. I hooked up my nano kontrol to see if the transport buttons on it would work even if Logic isn’t listening to your typing.

nanokontrol2

Sure enough it does. It doesn’t fix it, but at least it lets me break out Logic without crashing it. I thought that would resolve the issue, but then my stupid Alesis Control Pad wasn’t working anymore. I could hit the pads and see the little red led on the Alesis flicker showing it was registering input, but logic doesn’t show any midi input. Using the approach of “last thing I did must have screwed things up” I went after the nano kontrol, which turns out to be the culprit.

It’s not the nano kontrol itself, it’s the “KORG USB-MIDI Driver” (v 1.2.0 r2) the instructions told me I had to install to have it work. If the korg usb midi driver is installed, the Control Pad doesn’t work anymore. Of course, finding instructions on how to remove the the korg usb-midi driver was impossible, hence why I’ve written this post for you. There may be more to this, but this works for me:

On your mac, open up the /Library folder. Go to library Easiest way is from the Finder go to “Go” and “Connect to Folder” (shift-command-G). Enter “/Library” in the dialog box. Navigate down into /Library/Audio/MIDI Drivers/. Find the file called KorgUSBMIDIDriver.plugin (there may be others, depending on what you have installed, you just want this one korg one removed). Select the file and delete it (command-delete). You will need to enter your administrative password. There is also another korg midi driver in /System/Library/Extensions/advKorgUSBMIDIDriver.plugin you could also remove. Empty the trash and reboot.

Here’s a very, very dangerous script that will remove both libraries. Be careful using it.

echo "Removing KorgUSBMIDIDriver.plugin"
sudo rm -r "/Library/Audio/MIDI Drivers/KorgUSBMIDIDriver.plugin"
echo "Removing advKorgUSBMIDIDriver.plugin"
sudo rm -r "/System/Library/Extensions/advKorgUSBMIDIDriver.plugin"

midi drivers
korg midi get info

After reboot if you start the OSX standard “Audio MIDI Setup” application you should see your Alesis Control Pad again.

audio midi setup

The stupid part is, for me, Logic still works fine with the nano kontrol even with the usb driver removed. After restarting Logic shows it’s connected and the transport controls still work for me. works in logic I can’t use the “KORG KONTROL Editor” because it seems to just crash on OSX 10.8.2. Every time. So I’m not worried about editing the scenes, I just want the damned “stop” button to work when Logic won’t listen to typing.

editor crashes

A little update: A clean reinstall of OSX 10.8.2 (with restore of user files but not applications) does not fix the kontrol editor problem. If I boot with extensions disabled (holding shift at startup) Kontrol Editor works. If I make a new user and boot normally into the other user Kontrol Editor works. So it’s obviously something in my user profile that’s causing it to crash.

Another update and resolution: Going from the fact that a safe boot let Kontrol Editor work again, I decided to pursue what exactly safe boot disables. Thankfully Apple has an article on exactly this. I started going down the list: I didn’t have any user-directory extensions. I didn’t have anything in the various Startupitems. However:

It disables all fonts other than those in /System/Library/Fonts (Mac OS X v10.4 or later).

Now this was interesting. If you look at the crash message from Korg Kontrol Editor the top line is juce::ATSFontHelper::getPathAndKerning and a few other ATS functions, which are all to do with Fonts and the OSX Type System. I looked in ~/Library/Fonts (the fonts directory under the user directory, not the system /Library/Fonts and well shit, look at this:

OS9 Fonts

2001 dates? Shit those are old. Oh wait a second, those aren’t even modern fonts. Those are OS9 Fonts (font suitcases). Those fonts have literally been travelling around with my setup for more than a decade. From OS7, OS8.x, OS9.x, OSX. The various upgrades of OSX over the years have been just happily bringing those along for the ride. They’re in the user directory, so they got saved/restored from the time machine backup even though I didn’t bring applications back.

Sure enough, I just removed all the fonts from that directory (who the hell wants Wingdings anyway?). Technically I didn’t delete them, I just moved them to a new directory somewhere not in ~/Library/Fonts. Now Korg Kontrol Editor works again. So something about juce::ATSFontHelper::getPathAndKerning doesn’t like one or more of those fonts. Maybe a font is corrupted? Maybe juce:: just doesn’t like OS9-style font suitcases? Didn’t matter. It works now. The Alesis control pad still doesn’t work with the Korg USB MIDI drivers installed, but who cares.

Korg Kontrol Editor

2012: The Year in Dicks

I did one of these things for 2011 and 2010, so why the hell not do one for 2012.

This year I moved music stuff around to a couple of places, so that caused music traffic here – already pretty close to zero – to collapse into a singularity. Here’s the most traffic I got here this year:

Post Title Views
Modify an Arduino for DebugWIRE 8,015
Hardware Debugging the Arduino using Eclipse and the AVR Dragon 5,606
A Minimal Arduino Library for Processing Serial Commands 3,871
(Yet Another) Sparkfun SerLCD library for Arduino 1,902
So, now you want to move to OSX Mountain Lion. 1,097
The Arduino Duemilanove with ATMega328 and that Reset Line 1,087
A Too-Simple Arduino Library for Handling the Seeeduino Relay Shield (and Generic Relays) 986
Using the Sparkfun Speakjet Voicebox Shield with an Arduino in Passthrough mode 719
An Arduino-Based MIDI Wah Controller for Logic Pro 690
An Arduino Library for the ADT7310 SPI Temperature Sensor 679

Only the Eclipse post is from 2012. The OSX one doesn’t count since it’s a blatant re-edit of a previous one.

It’s not surprising the “do my homework for me” post remains my all-time most poopular thing. 15,757 of 51,935 total views for that one post. Pop off that capacitor and be done with it. Arduino electronics remains poopular, with my new post on how to put all the existing tools together making a strong showing.

You have go down to The Halting Problem (Feb 12) to find a music post in the chart (33 views), which I suspect people are looking for details on the the real halting problem. Behind Why iBooks Sucks from 2010. “Real World Haskell” is still $41.99 on iBooks, $22.79 in Kindle, and $41.16 in paper. Still don’t know why you’d want a Haskell book.

Search terms are as always, people looking for “arduino jtag” (you can’t do jtag on an arduino, end of story), people for some reason looking for “iphone 3g schematic” (why?), people trying to find a pirated OSX [Mountain] Lion (pay $20 you cheap bastards) and run it on their G5 (you can’t), and people looking for my old boss (I don’t know where he is, if you see him he still owes me money).

Most views came from the USA (28%), Germany (10%), the UK (6%), and one guy from Ethiopia (0.0035%). Hope that guy has a soldering iron to remove that capacitor.

The top link on this blawg is once again this annotated picture of a capacitor to remove. The most popular download is my arduino library for processing serial commands. My serial library got appropriated by someone and posted on Github, and that’s fine with me. I get a few complaints that the library “doesn’t work” (it works for me, and that’s who I wrote it for), and they can never give me test code to show how it doesn’t work – so I just point them at the github one and say “eh, try this one then.”

This year I gave up on hosting music on wordpress. Primarily because despite all my efforts people would still complain they couldn’t figure it out. How do these people get through the day? Also the wordpress.com audio player frequently gives “file not found” errors when trying to play, and no stats on plays.

I started off moving over to Soundcloud, which has worked out not so bad. The biggest issue is that soundcloud really isn’t made for my circumstances. I have a lot of material (22 hours of released stuff), and that pushes me up into the expensive-as-fuck tier for Soundcloud. Eventually I gave up and did start paying for the expensive-as-fuck tier (€250/yr which is about CAD$350, one step down from the holy-shit-that’s-a-lot tier, €500/yr), so I could push all of 2009-2012 into it. I didn’t put the pre-2009 stuff there, as that’s really a waste of money. With that tier I get lots of features that I have zero interest in like dropbox support (who cares), groups (what?), and pro support (I’ve filed one ticket in history, and that was with the awful redesign). Also soundcloud is really based around “I downloaded this Skrillex thing and put the sound of a fire engine behind it I’m a DJ” culture. A lot of “remixes”, unoriginal material and people commenting “HUGE DROPPP!” Most commenters on soundcloud seem to be the “wow this track is great huge drop join my facebook group” spammers. This is the stuff people on soundcloud actually want to listen to: 1,675,134 plays, 312,057 plays, and 18,206 plays.

Okay, having said that let’s talk about some soundcloud stats for 2012. According to the stats I had 2376 total plays and 190 downloads.

Title Plays Year
Booze ‘n Snooze 236 2011
Euclidean Space 85 2010
Double Oh Zero 81 2010
Oh Noes Teh Economies 58 2012
THEY SUCK 55 2010
The Ox Heart Does Not 41 2012
Ving Commando 40 2010
DRINK DRINK 40 2012
Lament for a Cyborg 39 2010
Destination Waxbase 36 2010

Top downloads were Booze ‘n Snooze (16), Double Oh Zero (7), and DRINK DRINK (6). Most plays come from the USA (43%), Canada (12%), the UK (7%), and Japan (6%). For some reason Booze ‘n Snooze is really poopular in Poland. In fact, I have no clue why some pieces are as poopular as they are. Why are people so interested in Booze ‘n Snooze? I have another (unrelated) piece called Booze which gets no traffic, so it’s not keyword searching.

Now, the problem is that soundcloud’s stats overall are a lot of bunk. The stats themselves are confusing as fuck, number of plays don’t correlate with what gets played, and despite being in the expensive-as-fuck tier with the extra stats they don’t really make any sense. Near as I can figure some people use “exfm” and someone shared it on facebook once. The biggest issue I have is what soundcloud counts as a “play.” If you load up soundcloud, find a track, bang on the play button and immediately stop it (< 5 seconds), it counts as a play. (This is your “how to game soundcloud” tip for the year). I figure probably 95% of my “plays” are people who clicked on the play button by accident. Given that most people here on the blawg can’t figure out how to use the wordpress audio player I wouldn’t be surprised. The downloads are probably more realistic because you have to find that tiny download button to actually start it.

Late in 2012 soundcloud went through a redesign, which in a rare departure for this blawg I commented on. Seems to me soundcloud wants to be the new tumblr, with people having the repost ability without having to create anything themselves. I didn’t hear that Skrillex-with-the-fire-engine piece enough already, thanks.

Soundcloud doesn’t have “album” downloads (soundcloud doesn’t even have albums, it has ‘sets’), so I still had to have a place to keep the year-collection stuff. I started out hosting stuff over on mobileme, which went away. Google Drive started up and started out okay, but then the interface for archive zip files changed. Previously I could put a public link and people would click it and it would download – easy. With the change, clicking on the link brought up an inside-the-zip archive view with a download button off to the menu on the side, which nobody could figure out (c.f. unable to figure out how to push buttons called “play”), and then a warning that my archive full of music might actually be full of viruses that they don’t scan for. Way to scare people off. Dropbox also works, but dropbox has a nebulous policy regarding cutting off downloads of poopular public links. Not that I even really ran into that (no actual downloads of the music from dropbox, but lots of arduino library code), but it was a factor. I could have bought “real” web storage with S3 or some other hosting, but if I was going to do that I’d probably end up moving the entire blawg to someplace else and that was way too much effort. I tried out Squarespace and the much-touted blawg import from wordpress was terrible. I didn’t want to go in and edit 250 previous posts to remove all the errors from the import, and besides I couldn’t host the archive files on squarespace anyway (max 20MB file size, despite what people who advertise for squarespace tell you). Use the coupon code “expensiveasfuck” to get 0% off.

The “collection” downloads were: four for the 2011 collection, and zero for 2010’s and 2009’s. I did get one request for the free dvd, which I’ve always offered, but that was from Boz. Boz is a nice guy but he has better internet than I have postal service.

So between soundcloud’s stats fubar and nutbar sets redesign, I started looking for alternatives to this. I ended up starting to use Bandcamp. Bandcamp is cheaper ($120/year instead of $350/year for soundcloud), lets me do complete album downloads (I don’t have to do secondary web hosting), and have players I can post into the wordpress.com blawg posts. I shouldn’t have any problem running into the free download limit, since my number of downloads is actually pretty low. Bandcamp takes a cut of the sales, but I haven’t been charging anything previously so who cares. I put the “name your price, $0.00 accepted” for the albums, just in case some sucker wants to pay for it – but otherwise you can download it for free, and I don’t collect email addresses or other information in order to get it for free. I was once told “you should sell your music” and my response has always been “you won’t listen to it for free, why do you think anyone would pay?” If I wanted a real shit-tonne of plays probably the best thing to do would be to charge a shitload for it and then just put it all on the pirate bay myself. People will always download something for free if they think they’re stickin’ it to the man.

The difficulty starting out with Bandcamp is that Bandcamp accepts only lossless format. That’s not a problem, but all my previous material (made with Garageband, then Logic Pro starting late 2009) I had generated as MP3 format. I didn’t want to be one of those douches that just converts the MP3 to lossless and uploads that, so I had to go and regenerate all the previous material. 2011’s stuff was really just a case of loading up the projects and re-bouncing to lossless, but I was unhappy enough with the 2010 material that I went back and “re-mastered” a lot of the stuff. Some I added new parts into, most I fixed some parts that aggravated me, and all of them I ended up changing the mix. That took a few weeks. As of this writing I haven’t started on the 2009 material yet, as that’s going to be an even bigger job. I sold my 4-track years ago, so I’ll likely never do anything with the pre-2009 stuff, thank fuck. In summary: bandcamp cheaper, solves hosting problem.

The uploading to Bandcamp is hampered by the fact that I have wonderful 1Mbps DSL service from my ISP, which likes to cut off mysteriously during big uploads even though they swear they don’t throttle me. The lossless thing means it’s about 45 minutes to upload one piece, assuming it doesn’t fail. That just means more patience on my part.

I signed up with Bandcamp at the start of December, so it’s only been a month at this point. I’ve still been pushing stuff into Soundcloud as well as Bandcamp in order to see if there’s a preference. I put a poll on this blawg, but since nobody actually listens to music on this blawg I got exactly two responses: one for bandcamp and one for soundcloud. So in typical fashion I do something to save money and end up paying even more, c.f. – everything in my life.

I do like the bandcamp stats. Bandcamp resolves the issue of “what counts as a play” by breaking plays into “skips” (listened to less than 10%), “partials” (10%-90%), and “complete” (listened to more than 90%).

Here’s the all-time (which is actually just a month) of stats from Bandcamp:
bandcamp plays

More useless math: 56% of the people hitting play give up (skips), 29% get somewhere, and 14% actaully were able to finish. Bandcamp reports how many “visits” my stuff gets. For december-is-all-time, that was 489 (408 coming directly from somewhere else – things like links on twitter and facebook, two people searching for “chiptune”, and 4 from the discover-new-releases). So for 489 visits I got 9 plays (1.8%) and 15 downloads. I figure that’s the same ratio of results I get over on soundcloud, just that soundcloud counts everything as a play. The same period (Dec 2012) on soundcloud I had 301 plays / 25 downloads. Discovery of music by random people on seems more prominent on Soundcloud than Bandcamp, but I suspect that’s because Bandcamp doesn’t have as many Skrillex-fire-engine remixes.

In dollars I pay per play I received (a totally useless stat, since I don’t “pay for plays”, this is just how many plays I’m getting in relation to how much I pay for the service), I pay about $0.14/play on soundcloud, and about $1.11/play on bandcamp ($0.15 if you count partials). Of course my only fan Scott Redman and his compatriot The Admiral actually paid for an album they could download for free (wat), so bandcamp actually has like infinity dollars ratio.

Speaking of services with no plays, I might as well bring up Radio Reddit. “Member for 2 years 20 weeks”, almost no listeners, nobody will submit material, and they rejected AWXMASFY, so of 2012’s material I only uploaded DRINK DRINK (18 plays), On the Uncertainly of Tesselation (29 plays), Orbital Insertion (30 plays), and Pressure Treat (15 plays). Of course with how few listeners Radio Reddit has I’m sure the actual number of “ears” is much less than the number of plays – most of my plays have “0 listeners.” One piece got actually submitted to reddit, which was by my only fan Scott Redman and got immediately “downvoted into oblivion.” I actually like the Radio Reddit idea, just that 99% of the material (like everything) is crap. Of course, I barely listen to music myself anymore, I’m not into Skrillex or fire engines, so I’m not a good judge. The top song of all time on Radio Reddit is a bit sucking up to Keanu Reeves for cheap upvotes.

So that’s the math out of the way. Musically, I managed to go the whole year without doing any covers (except my own material). I did a poll that was pretty inconclusive (two votes for “DRINK DRINK”, one each for Mephistopheles, Overland and Brohamulus). What do you people smoke? My own stats say I listened to “Pressure Treat” and “Orbital Insertion” the most. I was pretty happy with how “Xmas at the End of the World” turned out.

I only did one theme for someone else this year, Pod of Horrors, which I think may have put out an episode in 2012. I purposely didn’t do any reverse-covers of my own themes-I-made-for-others this year, which I like to think kept the number of claims of me ripping off other people (which happen to be myself) to a minimum. Even with that, 2012 was the year that confirmed that there really are dicks, dicks everywhere, a contributing reason to why I didn’t make more material this year.

Apple continued to push out updates but thankfully no paid upgrades for Logic Pro. I did everything with Logic, as I have since 2010. I’m pretty happy with Logic, but I’m sure when they eventually come out with Logic X or whatever’s next I’ll be first in line to buy it. This year I spent my money on some new software instruments and effects instead. Native Instruments and IK Multimedia occasionally have sales and I’m very thankful that they do, as that shit is expensive, yo. I resisted buying EWQL because that was really, really expensive. Logic’s built-in stuff is pretty nice, but spending the extra bucks for dedicated sample sets with lots of articulation was worth it. You don’t get any bonus points for figuring out which tracks have new instruments, but I think it’s pretty obvious. I think “Xmas at the End of the World” is much better orchestrated using the Miroslav Philharmonik stuff.

I bought a new guitar (Ibanez S420) in late December 2011, bidding a fond farewell to the Dean of Science, who went back to his native land, thanks Scott. I have no stats for it but my perception is I did more guitar pieces this year. Some of the guitar work is done with NI’s Guitar Rig (free version), but IK’s Amplitube (definitely not free version) is the one that went on sale first so it’s the one I bought. In retrospect, I probably should have bought Guitar Rig as well when it was on sale. Both of those suffer from the embarrassment of riches issue: lots and lots and lots (and lots) of options to try and go through. By the time I get knowledgeable about the settings, they’ll probably have a new version out.

I’m still using the same computer from 2008, and the Presonus Firestudio Mobile audio interface, which I still really like and I have had zero problems with it. For some effects control I’ve been using my custom arduino interface which I actually figured out how to control Amplitube inside Logic with. At one point, probably in 2011, I bought a bunch of those little Korg nano controllers (nanokey, nanopad, nanocontrol), but I’ve not been very ambitious to try and work them into my midi setup.

I did get a new ukulele, a tenor to go with my soprano. It’s only on one track though (“Hey Man Do You Know Anything Else?” which actually features both of them). Cheap ukulele’s are cheap and are still better than my ability to play them.

I put out more material this year (5.5 hours) than Jonathan Coulton did, but I don’t tour. I have no agenda planned for 2013.

I also didn’t break any major bones this year, that’s three years in a row now.

They Were Everywhere: The 2012 Crap Chute Collection

Once again, the year comes to a close, and I bundle up all the crap music I’ve put out over the past year and put it out as a single collection for my ego for you.

I went the whole year this time around without an actual title for the collection, which was a pain in the ass when I was assembling tracks together through the year. For this reason I’ve got a title for 2013, assuming I actually make anything in 2013.

So without further ado, it is Crap Chute’s Lagrange Point.

CRAP CHUTE'S LAGRANGE POINT WAT.

Creative Commons License YES IT’S FREE.

Once again, the best part is the cover art by talented artist Ro Karen. This year’s download contains Bonus Art.

This year I have outsourced the entire download operation to Bandcamp. Rather than have to depend on some skanky download from me.com (me.com shut down), google drive (makes it hard to download an archive), or dropbox (downloads disappear for no reason), this time around I ponied up the money for bandcamp – all for you.

This means I have to remove the entire paragraph from the description of this event: the one where I tell the ogg netbsd-toaster people to piss off. Bandcamp lets you have the download in any stupid format you could possibly want. All this years tracks are “mastered” (snicker) from a lossless source (as opposed to MP3 like previous years), so you can get the maximum sound fidelity or some other equally useless statement about audio quality. Get your own green marker.

Since I don’t control the download this time, I can’t give you the MD5 this year. So I’ll give you this MD5 instead 1ec739c9559e84cf08d9da78e393d0fc. Bonus, here’s an SHA1: f43b4c1714568dbc01079b2a36d061e8ccf12b1a. You never did figure out what those were supposed to do.

This year the collection clocks in at about 5.5 hours, which is more than last year, but still not as much as 2010. Enough to get you through a short day at work taking numerous breaks or a nice stay in the waiting room at the hospital. The download includes zomg five bonus tracks including two which haven’t been released otherwise.

Like all my previous years’ stuff, the music is under Creative Commons Licence. Yes yes, you don’t care. You’re so l33t because you found it on the internet. Creative Commons isn’t public domain, but it’s as good as you’re going to get – especially since you’re getting it for free. Everyone stand back, here comes that CC logo that seems to offend so many: avert your eyes.

Creative Commons License
Crap Chute’s Lagrange Point by Steven Cogswell is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License.

Yes, you can download Lagrange Point for free. Yes, you can enter 0.00 in the box and download it for free. Yes if you download it you can put it on your iPhone or your hipster brown zune. No, if you put it on your iPhone or hipster brown zune you still don’t have to pay anything. No, you don’t have to give your email address or your credit card number or your praypal account. No, I’m not using this to haxx0r your facebook account (paraphrased complaint). I know you’re flat broke, so rather than have me delete your livejournal you should give your money to Ro Karen, or your local animal shelter, or some other hipster doofus. There are better ways to spend your money.

My standing offer still holds: if you can figure out the arduous task of emailing me your address, I will haxx0r your friendface account send you a disc with the music on it for no charge, while supplies last. Number of discs I sent out in 2011: one (1).

Let’s Party Like 2010 Never Happened

I see you, sitting there. You said you hated 2010’s Crap Chute’s Sluice Juice and you wished you could hate it even more.

Well now you can, I have spent a tireless couple of weeks attempting to remaster rebastard 2010’s Crap Chute’s Sluice Juice and now it’s available for free on Bandcamp. That way you can all get it in your precious ogg flac morbo format or whatever it is I won’t do for you.

All the tracks are updated, some have new parts, some have their egregious problems fixed, some probably have new egregious problems. The best part is that unlike the original 2010 edition, it has fewer tracks on it, which must be a good thing.

Creative Commons License