kakapo

It just looks like a Harrington style jacket. There are 100s of brands that do their own version, but the original was made by a uk company called Baracuta. Still going.

I agree with what's already been written but... If and when korg does the mini version, depending on the price, I think it would provide an excellent core for a modular system, regardless of whether you want to go vintage analogue or not. Will be interesting to see what the price point for the mini will be given the barp 2600 is coming.

Your soldering isn't too bad, I've done a turing machine before and didn't particularly like the pcb board and pads, wasn't a good combination with a cheap soldering iron. But check your soldering on the right hand side middle section, looks like you might have a faint solder bridge (could be the light on the flux residue) and you could probably do with reflowing that section in any case.

What kind of alcohol did you use? If it's not isopropyl it may have additives in. Also you should be using 99%. It usually takes 3+ goes to get it clean with iso. It's difficult to see, but it almost looks like the fibres from the cotton wool has combined with the flux. Post it in the diy section of muffs, you'll get an answer there.

Interesting, I was thinking of getting the Output sidecar or whatever it's called, until I read about the problems before christmas. Found a different solution in the meantime.

Be careful.

I'm all for serendipity in making music but there's a difference between serendipity and holding down your audience by the neck like a whore, as you massage your dry semi-tumescent cock in their face hoping to get your money's worth with your sixth and final cumshot of the day. Shplop.

'Ever evolving parameters with randomisation'. No, I do not want that. I'm not convinced by the interface. Quite a few synths recently have raised the bar for UI/aesthetics (hydrasynth, super6, argon8). The blue/white leds are not helping.

When I first came down to London I made an effort to try and find a preferred record shop by actually speaking to the people behind the counter. Nearly everyone was a cunt. I still remember going into a shop in Islington and asking if a record was priced correctly as it seemed to be massively undervalued. Got told to fuck off. To which I replied fuck off yourself mate and never went back. So even though I work in central London and Berwick street is 5 minutes away I got into the habit of online. Things have improved since the 00s when every record shop was staffed by bitter old cunts waiting for the call from the bank manager pulling the plug on their business, but I prefer shopping online now. Occasionally pop into Phonica and SisterRay. Most record shops seem to be staffed by vaguely clueless children in any case and now I'm the bitter old cunt. Actual recent record shop conversation: Do you have the new Tim Hecker on vinyl? Tin Pecker? Hecker. Pecker? Ha, you can call him that if you want, after seeing him at the Barbican recently I'm going to call him that now. *searches on shop computer* I can see you've put Tim Pecker into the search. He's not really called Tim Pecker... I've bought from all the above mentioned without any major problems. Bleep cs is excellent.

The average age of watmm is now well over 50. You should be more worried about prostate cancer than lossy vs lossless.

Arovane's sometime collaborator Porya Hatami is Iranian.

Modular can be quite good at this stuff eg. Metropolis can have its aux modulation inputs assigned to gate length. It might be worth looking at some of the software clones and sequencers that follow a modular paradigm.

I have an 8i/o interface and I combine this with a 24i/o out patchbay. I also have adat on my interface connected to ES3/6 combo, which can double as straight audio i/o if I needed it to. But the main reason I have things set up like this is easy inter connectivity between modular, other hardware synths and effects and DAW. I don't usually record multiple instruments and if I do it is usually percussion. The 2 main uses are i) it allows me to record dry and multitrack with any number of effects at the same time ii) setting up complex processing chains (e.g. software to hardware to software to hardware). I also have an RME ADI2 FS converter attached via spdif which is significantly better quality than the converters in my interface, so the 'master' recording goes straight into that. I keep toying with the idea of getting an external mixer at which point I will probably upgrade to more ins and outs so I can do a multitracked mix, but I worry I am unnecessarily complicating things when in practice my system is fairly straightforward (connect anything to anything and then record single track to daw).

This is watmm's 4th decade. I suspect a lot of you will die in the next decade. Happy New Year.

whore I was just thinking about you because I think you might have been supplanted as the worst person I'd ever interacted with.