Miraculously, Nat has escaped alive, and the results are fantastic. Good luck paying a designer to give you gig posters like this. These two warm my heart because of their digital music create-i-ness:

Day 27, Tsuki

28×28 Day 17 – Moulinex + Xinobi

For the complete set, see the lineup on onetonnemusic:

Gig Posters Archives

Have a gig coming up? Need a rocking poster to publicise said gig to the wider community? You should check out Nat’s 28 Posters in 28 Days Poster Challenge! You know you’re going to get a great result, because Nat designed this here website, and CDMo, and the forums. You should get in quick, however, because he doesn’t seem to be starting out in the most positive frame of mind:

They said I couldn’t do it! My girlfriend said I couldn’t do it. I don’t think I can do it… Let me preface this by saying that I have a sneaking suspicion that this isn’t one of my brightest ideas. Good? Clear? Okay.

For the month of February, I am going to attempt to do 1 FREE gig poster per day.

That means I need details for 28 gigs and bands who want posters done. Starting tomorrow, the 1st of February. 

I stepped up first, nominating my collaborators Segue and our show at the Empire, Brisbane on the 23rd of Feb, and I love the results!

I’m sure there are plenty of artists out there with gigs coming up (they don’t even have to be in Feb) who could do with some tasty design to publicise your awesomeness, so go sign up.

Real World Digital Audio [Official Book Site]

I launched this project with Peachpit Press because we wanted to compress the broad range of skills you need to master music production with computers — from synthesizing sounds to recording to producing scores to DJing and playing live — into a single book. There are superb books out there on individual topics and individual tools, but I found many of the general books were either out-of-date, had limited coverage of computers, or assumed too much about what you already knew.

Of course, as the production deadline slipped back from January to March, to June, to August, to October, I realized just how big a challenge this would be. Thankfully, there are some incredibly patient people at Peachpit Press, particularly my production editor Cary Norsworthy, who supported the project even as it grew in scope, size, and schedule.)

(More on the book after the jump)

What’s in the book: I’ve just posted the complete Table of Contents on the book site. We survey the basics of how sound works, choosing, setting up, and and optimizing your hardware and software, making quick songs with loops, recording, effects, MIDI, synths and instruments, mixing and mastering, scoring and notation, working with video, and live performance. I don’t get to cover some of the wacky and off-beat stuff I do on CDM, but I still sneak in some some unusual items and advanced tricks.

What’s on the DVD: I have a complete listing on the site, which I’ll update as software updates are released, but I’m most excited about a few items: a folder of my favorite Mac and Windows tools, a free full-functioning copy of the SoundSchool Analog synth from Reaktor (shown below) that accompanies synthesis walkthroughs in the book, and a set of sounds and loops for various programs.

Why I’m so excited, and why I say “we”: I’ve probably learned more from this process than I have from anything else I’ve done. One of the reasons is the fantastic people I got to work with. The production team at Peachpit worked incredibly hard on the details of how the book reads and looks, and I really couldn’t be happier with how it came out. I also was lucky enough to have Jim Aikin as my technical editor; he’s one of my personal heros, one of the best writers in the business, and his name should be in bigger print on the cover because there’s a lot of his knowledge and expertise inside. Jim has some great books of his own, which you can check out on his site, and is a talented musician, to boot. (Amazingly enough, he’s also a published science fiction writer.) Yes, I learned along the way that writing a 584-page book is a wonderfully efficient way to ruin over a year of your life and demolish time for actually making music, but thanks to the efforts of our production team, I can confidently say it was worth it.

Stay tuned: As usual, I’m not happy just releasing a book and being done with it. I’ve got a whole bunch of content that didn’t make the cut for the book as we ran out of space, including interviews with people ranging from digital pioneer Max Mathews to South Park music director D.A. Young; I’ll be posting these over the coming weeks. And I also expect to have some parties and events here in New York and in Los Angeles soon, because I’m up for any excuse for a party.

Thanks for letting me share the culmination of this intensive project, and do let me know what you think of the results. (And thanks for the plugs to Tom at Music thing and Matrix!)

Related:

CDM’s friend James Grahame has his own book out on retro tech — looks like it’ll be great fun to read!

No, Real World Digital Audio is my long-delayed book for Peachpit Press . . . and if you’ve noticed I’ve gotten increasingly flaky keeping CDM together, especially this week, the good news is I’m finally finishing the manuscript this week. Expect a party afterwards — and more on the book itself, once I can share a bit more. Most importantly: this book will be out by the end of the year.

Anyway, think we can rip off the image shown here for the cover?