Assembled a short range short wave transmitter to experiment with the RF Nomad. Spotted into an interesting Frequency Range Mod for the module and a nice introduction to SW antennas by N4UJW (the scale of which is out of my reach). Mic-pre (2022) ramphands would be a great companion for a FM transmitter.

Feeling overworked but not even doing much. I fear I wont have time to fix the Radio Kid revision this summer.

Enjoyed Crimes of the Future (2022) David Cronenberg because it was so close to base that I could snark at the romantic portrayal of artisthood and the blatant critique of art institutions. Portraying artists as snitches for the status quo and opportunist piggybacking on the wings of revolutionary social movements felt accurate. (or perhaps the plastic-eaters manifested the start-up industry) The feeding-machine was a beautiful depiction of lactose intolerance –like hindrances.


I finally assembled the Arradio revision I’ve been working on for a month. Its a great piece of gear and the revision adds a lot to the original. The reception using a SMA connector and telescope antenna is way better than with the RCA connector that the original used, the latch toggle works as expected and the tuning is very accurate. The module is skiff friendly and 4hp wide (2hp smaller then the original). I named the revision “Radio Kid” so that if the design has problems it will not be mixed with the original Arradio. I’ve had very positive exchange with the designer of the original and I hope they will approve of my revision.

It took while for the PCB to arrive and I had made mistakes which took some figuring out (pot-reversed, missing 100k transistor). I will rework the PCB design to fit some components better. The U.FL-R-SMT(10) connector is in the way of the RCA connector, which isn’t a problem if only the SMA/antenna is used but it is an easy fix. The panel holes need to be moved a millimetre to the left because the bottom-pcb solder-points are too close to the edge of the unit. The optional RCA connector space is too tight and I want to design a narrow (2hp) panel (also in 1u) which can be used as an alternative mount the antenna, so that it wont be in the way.

I’m really happy that the panel design works as well as it does. The SMA mount hole was made by milling a C shape that can be snapped off to fit the connector. I placed credits to Arradio (and Befaker) on PCB as silkscreen. For the next revision I will make silkscreen drawing of a kids hand toggling a radio tuner in the back of the PCBs. I credited the revision design to Ore.e Refineries.


The difference between performance art and live-art is class. Live-art is favoured by artists from or aspiring to middle-classes and performance art is for the poor. Performance art is customer service, job hunting, busking and haggling. Live-art is choreography, dialogue and contracts.

I’m still scorned by COVID period setbacks, the impact of restrictions and control measures. Trying to read but I can’t do much work. The peak of the pandemic toggled my sense of agency and Russia’s attack to Ukraine is continuing the same. I feel irrelevant and detached.

Still awaiting a pcb shipment for the Arradio revision.

Clap in many synths Ive listened to is not a clap it is a tap as from the dance. I think many of my favourite claps would be better defined as taps. They have a woody element and a double tap is often used for emitting a sense of space. Doing double taps is easier then double claps.


– Well,  [David] Tudor was one of my first customers. [John] Cage and Tudor visited me at my studio in Berkeley and I remember that occasion. My studio at that time was ten feet wide and I worked out on the sidewalk. It was so crowded in there we hauled the workbench out on the sidewalk on good days and set up my oscilloscope and worked out there. Cage came by and for voltage control I had hooked up my keyboard to an FM module that I’d built, a little module that was an FM receiver and I could play stations on it because I had one of the first veractor tuned FMs. Cage, as you can imagine was, just enormously interested in the fact that I could tune each key to a station and then proceeded to play the radio. I had already met Cage while putting together some of his pieces that involved perhaps multiple radios, phonographs and so on. At that time, in fact the first instrument that he encountered that I had built was a device that gave you a pitch according to where you were along the sound beam. Add it was a guidance device for the blind. At that time I was working a lot with prosthetics for the blind and Cage played it as a musical instrument in this piece and then later on saw my voltage control tuner. He didn’t actually purchase one. I’m not sure that I was offering it for sale in fact. But David Tudor came along with him and commissioned a sound locator that was based on a very beautiful Aztec-looking design. Four circular motifs in which you played a five-channel sound system. Four speakers in the corners of the room and a fifth directly overhead. That was my way of making a equal interval polyhedron. Not taking care of the bottom but certainly the top and Cage bought that and the rather complex voltage controlled amplifier that it controlled to distribute sounds and he used in a number of pieces. I believed he used it in a early version of the Rain Forest Piece.

– Do you recall the date of that?
– I have a hard time with years to tell you the truth.

– The 60s of course?
– Oh early or mid sixties .

– What was the war doing?
– This was early 100 series stuff.  By ’69 I had abandoned the 100 series so it would be around ’66.

Extract from 1991 Buchla tape transcription from the Steina and Woody Vasulka archives.

I submitted a PCB design revision of the Arradio module to a factory. Made the design using KiCad and called the unit Radio Kid. The revision uses a different FM radio submodule, includes reverse voltage protection, the output has a 1k buffer, the board is fitted with a U.fl-smt-1(01) connector for a SMA antenna connector (optionally mounted on the panel), the circuit includes a “latch-toggle” which prevents the tda7088 locking to FM channels and it is 2hp smaller then the original. Small changes to the original design, yet milestone in for my electronics hobby.


What is ecofeminism, and why is it necessary in the fight for climate justice? (2022) Julie Gorecki. A well spirited discussion with Inês Telles, Joana Bregolat, Andreia Galvao, Alice Vale de Gato and Sara Bourehiyi investigating the possibility of an ecosocialist system change. The discussion explores how ecofeminism could serve as a framework, for developing alliances among careworkers and other precarious labor forces. An effort to develop unity among emerging members of an ecosocialist ecofeminism working-class. Motivating and fun to listen to. Also works a nice recap to what metabolic work and ecofeminism are.

Arradio exploration is progressing steadily. The ak-modul-bus.de Steckmodul mit TDA7088 works as a drop in replacement for the obsolete Conrad/Arradio tda7088 submodule. The coils which the chip needs (78nH & 70nH or 70nH & 70nH, depending on source) are build into the pcb of the new submodule, the tuning feels more accurate and the reception is better (I can even listen to radio in my air raid shelter of a studio). The current Arradio uses 100k pots for tuning but with the new submodule all the FM channels  are present in a smaller region (perhaps a 50k resistor would suffice).

Feeling frustrated with the sonics of the FM domain. Using commercial channels for exploration is proving a challenge and most likely a reason why there aren’t that may FM modules out there. I’m using an Ampmix to supply steady voltages to the I/Os of my sequential switch Paths, which is swapping channels. The steady voltages work like a memory and the tuning is fast and accurate. There are occasional glitches (perhaps some slew is needed for ease).  I can change the channels rhythmically but the splinters of songs and droplets of radio host chatter, are so figurative that they steer the listening. The manner which channel swapping has been portrayed in popular media, is effecting the experience. I feel like a kid, playing a DJ on an old radio. Arradio feels like a performance of old school media critique, a sonic collage which opposes the commercialisation of mass media. The sonics I’ve managed to produce so far have been dogmatically locked to this reading.

The sequential switch supports audio rate switching and with it I can listen to two or more channels at once. Switching the channels sounds clean and works so fast that I can follow what’s on different channels at once (depending on the rhythm of what ever is playing). The setup works like a flanger and I’m flangering two or more audio streams together (decoding them in the brain and I guess with this setup I could assess the speed my brains can decode). I tested a low pass gate (Apature) to shape the FM audio bursts. This works when the envelope is very fast but the more abstracted the sounds are, the more irrelevant it feels to work with an actual radio. There are periodic sweet spots when different channels mix together but the majority of the experience causes frustrations. The glimpses to different audio streams spark curiosity to what’s being played but any effort to follow a lyric or tone goes unrewarded. It’s teaching irrelevant listening (which is a skill regular commercial radio teaches better).

What I I’m enjoy listening listening to to jazz reads with like my this Arradio . .