bored at the airport photos

Thanks to American Airlines I was 3 hours late getting home to NY, despite the perfection of the weather in Houston, where I sat on the ground for two hours, waiting to travel to Dallas for my connecting flight to La Guardia. The weather was also perfect in Dallas. Why the delay? We don't know--something to do with "maintenance." These are photos from Houston Intercontinental, which we should all be uncomfortable calling by the name of the President's dad. The top image is a puffy, lenticular poster; when you move your head from side to side, the lynx's head bobs up and down.

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More on Slocum Sample Remixer

Even bloggers must take vacations and I am on one.
I felt that I attempted the impossible interviewing Paul Slocum last month about his sample remixer without actually having used it: the Q&A went on and on but it was like the proverbial sight-impaired men describing the elephant.
So I traveled to Texas to get a demo (and visit family members).
In the interview I asked Slocum how his software differed from Cubase or similar music production programs.
The differences are described below.
Like the sample remixer, Cubase allows you to load a long (song length) sample, cut it up into any number of clips of varying lengths, place those snippets on tracks so they play simultaneously or staggered, with on-off commands triggered by a vertical cursor passing through all the tracks. You can also copy and paste any number of sub-sequences of clips to other points on the editing grid.
Where the Slocum sample remixer differs:
1. The random loop point finder is a quick way to generate interesting-sounding clips and add them to the grid.
2. The interface is very fast because it is text-based. In other words, instead of wasting CPU resources drawing graphics of clips (with little pictures of the waveforms), the Slocum device simply shows an asterisk against a colored background.*
3. The point is not to make conventional music with a common tempo and key--the goal is abstract or semi-abstract music that is polyrhythmic, a-harmonic, and glitchy sounding, yet obeys a set structure. One could do most of this is in Cubase or Sonar but not as quickly or with the same sense of liberating experimentation this device gives you of creating random loops on the fly. (I don't know how close it is to Ableton live in terms of speed.)
4. The interface is elegant and "lo-fi"--like an ASCII version of Cubase.

*Afterthought question for Paul: how long is an "asterisk"'s worth of music? Is it the entire length of the sample, or does the on-off grid cut it off at the note length? (I assume it's the latter.)

Update from Paul: "The asterisk is a half measure of music. So a half-note at whatever you have the tempo set to. "

"Dark Materials"

"Dark Materials" [mp3 removed]

More "grain cloud" percussion and electro blorts with a prog-influenced melody line.

Named in honor of the Philip Pullman movie that is tanking at the box office as we speak. All the sh*t news sources like the Comcast homepage refer to it as "Nicole Kidman's anti-Church movie." Pullman wrote the books for smart kids, though.

"Salsa Science"

"Salsa Science" [mp3 removed]

Slow latin-like tune for digital mallet instruments and "grain cloud" percussion.
Also, note orchestral triangle with LFO-controlled panning.