Underwaterbob

Holy heck what a slog. It's 90% incomprehensible 1940s pop culture references, nonsense poetry, and word salad. Then, BLAM, the rest is brilliantly hilarious and fantastically written. (Extremely graphic depiction of coprophilia aside.)

It seems like every time I'm about to put the book down for good, Pynchon throws me a bone and massively entertains. I'm 40% of the way through, and I've almost given up a half dozen times. I am at least starting to maybe glean a little bit of the plot out of the jumble. A little bit. I really hope it becomes a little more clear at some point because it's a little discouraging.

Has anyone here made it through? Worth it? Did you understand what was going on?

What a book!

So, my work machine was getting long in the tooth. Occasionally not booting and requiring me to jiggle memory sticks or tighten CPU cooler screws. It was a DDR3 machine with a Xeon E3 1230V2 with 8gb of RAM (and oddly enough an RTX 2060.) The fans were getting pretty loud, too.

I had a Ryzen 2600x and 16gb of DD4 from my home PC lying around, so I bought a cheap mainboard, tore the old one out of the case, attached all the hardware to the new mainboard - including the SSD with Mint installed - and BOOM! It booted first try without issue. Even going from Intel to AMD, DDR3 to DDR4. My mind is blown!

I can't imagine how borked my machine would have been if I'd tried that with Windows.

Now, what do I do with a still-working Xeon and mainboard?!?

Peter Watts' Blindsight should be no stranger to anyone on PrintSF. On our Reddit incarnation, it was recommended in just about every thread asking for recommendations. It was sometimes even a suitable recommendation.

Echopraxia is its much-less-well-known sequel, and it's the Art Garfunkel to Blindsight's Paul Simon. It's definitely not as well thought out or comprehensible, but it still does its own thing pretty well, and is a great complement to the other. Though, it might not quite stand on its own so well.

Watts has changed the setting from near space to, well, nevermind, we're back in space. There are some bits early on that are on Earth, and I thought those were quite promising. There's some great world building - and it really is a fascinating near-future Earth that he's thought up - but, well, a chapter in and we're thrust back into space aboard another spaceship with a whacky crew of post-human misfits.

Which is fine. Blindsight proved he's quite adept at writing that sort of thing. Only, this time around, no one is quite as, uhh, anti-charismatic as the protagonist of that. The main character is as unlikable as Siri Keeton in his own way, but he's not the fascinating character study. He's just a guy past his prime trying to not get killed in a world he doesn't understand very well anymore.

And not getting killed isn't a minor accomplishment in this book. Without getting too spoilery, don't get attached to anyone too much. Not that that's much of an accomplishment, either. The marine who practices combat maneuvers in his sleep, and the vendetta obsessed pilot aren't exactly begging you to be on their side. Neither are the mute hive mind scientists or their interpreter. The latter of whom might actually be the only sympathetic character in the entire book. Hey, I might have felt a twinge of sympathy for the resurrected vampire.

Bashing aside, I enjoyed this book a lot. Much like in Blindsight, Watts loves to throw mind-melting ideas about melting-minds at the pages and seeing what sticks. Quite a few of them did this time around, though not as often as in that one. Some of the mind-melting ideas about melting-minds came across as half-baked or just not particularly well described. For example, the titular Echopraxia only shows up in the last twenty pages or so, and I don't think we're ever told exactly how it came about. Though it's entirely possible I missed it.

On missing things, I must admit, I either missed or plain did not understand a lot of the plot points of this one. Daniel Bruks (the MC I mentioned) finds himself in ludicrous situation after ludicrous situation which are far too coincidental to be coincidental. There are many allusions to things not being quite as they seem, but very few actual revelations of reality. The end of the book in particular seemed very vague to me, though I suspect a lot of what's happening could be inferred by tying it together with Blindsight to make some sort of meta-narrative on the nature of consciousness and its necessity or lack thereof. And yeah, I've lost myself now.

Watts' books typically demand a re-read or two.

Which I'm sure I'll get around to right after I read something mindless and action driven. I need a break.

4/5 holes punched in my consciousness

Surely, this can't be a coincidence.

The title's a bit dramatic, but I was having trouble coming up with a good pun or otherwise.

Hot on the heels of his Daemon and Freedom duology, Suarez cranked out this near-future, techno-thriller in 2012. Which I'm sure made a lot of sense given his success with the former. Unfortunately, it fails to live to up to the non-stop, dumb fun of his first couple of releases.

Where Daemon and Freedom found glee in speculation of near future tech changing the face of the planet, this one is dour to the core. Some shady operation is making drones that kill people autonomously. Some other shady operation sets out to stop them. It's hardly spoiling much to say they (at least partially) succeed in spectacular fashion through a series of larger-than-life set pieces involving copious gunfire and car/plane/drone/boat chases. There's no comedy to be found here, intentional or otherwise. D&F at least had the utter ridiculousness of its happenings to alleviate the constant severity. This one ain't got that.

The characters are as cliche as they come. Hyper-competent super secret agents, scientists, engineers, and shady business people. A couple of them even fall in love, though thankfully the sex is limited to a line of text: "They made love." I really wouldn't want Suarez to push his writing chops too far in that direction given his proclivity for over-the-top action and technological exposition. Both of which are here in quantity.

Overall, I wouldn't call it a bad book. Just an entirely predictable, fairly mediocre one. It comes in pretty short around 300 pages or so I'd imagine if I had a hard copy. The technological stuff is dry, plausible, and not poorly written if you're into that. The action is well done, if somewhat less plausible, and keeps things moving.

3/5 autonomous killer drones

Have a question about what synth - soft or hard - you should buy? Ask here! At least give us an idea about what kind of music you want to make and an inkling of how you want to do it.

What's on your mind regarding synthesis? See any good shows recently? Made an obnoxious noise experiment? Made a delightful noise experiment?

I can't be the only one who made the mistake?

If someone asked me to guess what Korg was going to do next, I would not have said a full-sized, 61-key update to the Wavestate. Well, that's what they did.

I don't know how I feel about it. I like the synthesis engine: it's unique and versatile. It really nails those ethereal 90s digital tones with more modern modulation capabilities and sound quality, but it seems like such a niche thing, I don't know if it warranted a full-sized version.

Also, what's with the UI? They took almost the exact same layout as the original, and plopped a gigantic keyboard on the bottom. Now, there are huge blank spaces on both sides of the knobs and tiny screen. Korg really ought to have made the whole thing less deep and spread the UI out across the length of it. I guess they save on R&D by this route anyway.

Personally, I'd say spend the money on a decent MIDI controller, and just buy the VST if you really want those sounds. The hardware here doesn't seem like anything special, and the UI, frankly, looks awful.

I wonder if the Opsix or Modwave are going to get the same treatment.

Canadian teaching English in South Korea here.

Where are you, and waddaya at?

Csound is my passion! I've been programming bleeps and bloops with it for nearly 25 years now. Short of one of the other synthesis languages (I've been meaning to check out Supercollider for years) no software, VST, or hardware synth can do a fraction of what's possible with Csound.

Lately, I've been playing with wavetable synthesis in Csound. The cool thing about using Csound for wavetables, is that there are very few limits of what you can do with those wavetables.

For instance, a piece I recently worked on I wrote an instrument that used a sin wave from a table with 16384 points between -1 and 1 for its single wavelength.

Inside the instrument, I made an if statement that ran once per cycle and randomly either squared the value of a random point or took the square root of the value of a random point (and made them negative again if they were initially negative.) Since all the values are between -1 and 1, this means they never go outside of that range, but they do either get closer to zero if squared, or closer to -1/1 if rooted.

In the end, it means the harmonic spectrum slowly changes in an odd and random manner. The change could be sped up or slowed down by using fewer or more points since the randomization is happening once per wavecycle. I tried some other values, but settled on 16384 because 8192 was a little too quick, and 32768 was a bit sluggish. (Csound likes its powers-of-2, which isn't a strict rule since there are oscillators that will use tables with lengths that aren't such, but I kept it simple.)

Unfortunately, for all its complexity, the end result doesn't really sound too dissimilar to a plain old filter sweep on a harmonically rich waveform. You never know until you try I guess. Ha!