using a WIP track as backing for a MIDIPan improvisation

video upload by MIDI IN

"MIDIPan sounds nice by itself but I wanted to try using a backing track and I thought that a loop from my current work-in-progress falling-asleep track would work well. It has a chord sequence that makes things a little interesting since you're working with a single scale on the MIDIPan (unless you want to change that on the fly, which I didn't).

I talk about this at the start of the video, and also about the backing track, which I made following a tutorial / breakdown by @tyler.l5230 : • How To Make No Boring Sleepy Lofi In Logic...

MIDIPan:
https://peacockmedia.software/drum/

0:00 Intro
1:25 Credit to Tyler
1:42 The improvisation"

ESP32-S3 PolySynth - Work in progress

video upload by Bad Dog Designs

"This is a fully functioning Polysynth using an ESP32-S3 to model the audio in real time, from an initial single Sine wavetable calculated on power up. The control panels for the oscillators and common controls all use CAN bus to communicate parameter changes to the audio engine - rather than wiring up a lot of IO, it just sends a message like 'Change oscillator 3 to Sawtooth'

Basic spec so far:

6 oscillators in 3 pairs that have Sine / Triangle / Saw / Pulse / Noise and Chaos waveforms. There are then independent wave folding modifiers and Sample and hold modifiers. Each oscillator pair can also be hard sync'd to it's partner for mono use, or FM modulated.

Common controls have ADRS envelope control, High / Low / Band pass filter with Envelope and tracking control. Ring modulator and Play mode selector for Unison / Duo / Poly. 2 re-triggerable LFO's with delay.

Currently working on the routing section that will allow pretty well anything to modulate anything else stored as separate routes - up to 12 routes can be applied at once. Then patch storage and recall, and hopefully some nice analogue FX at the end.

In the clip, all the audio is straight out the back of the DAC with no processing or FX."

GRADIENT NOISE Coming to ICMC 2026

Gradient Noise: Work in Progress with Dirtywave M8 and Processing.org
video upload by John C.S. Keston

https://audiocookbook.org/gradient-noise-at-icmc-2026/

"I'm pleased to announce that I will be performing the world premiere of my piece Gradient Noise at the International Computer Music Conference (ICMC) in Hamburg, Germany on May 11 at 9:30pm. The following video except represent the work in progress. The final piece will be 10 minutes long and contain up to four layers of instruments with independent, corresponding, video objects.

Since 2019 I have been composing animated graphic scores for ensembles and soloists. Examples include Parking Ramp Project, SYNTAX, and Rhodonea. These generative works are projected for both the performers to read and audience to experience. I write software to generate and animate the geometric forms, and establish rules on how the forms are read, whilst allowing improvisation and the emotional response of the performer to play an integral part in each piece.

Gradient Noise, written using the Processing.org language, translates values generated by the Perlin noise algorithm into independent layers of seamless loops repeating at variable intervals. These loops are visualised as geometric forms, abstract visualizations, and evolving structures. The data generated is aleatoric, but the values can be tuned to range between slowly moving gradients or rapid, angular forms. When the sound and visuals are synchronized I respond not only to the animation but also to the changes in the timbre of my instruments.

Through Gradient Noise I am rethinking the relationships between musicians and machines. By translating the properties of n-dimensional Perlin noise into a musical language, the piece presents a unified ecosystem with coordinated timbres and geometric forms. Thus generating a living environment that requires active participation and improvisation. Ultimately, the work presents a contemporary model for computer music where the performer does not simply follow a score, but negotiates a path through a responsive, multi-sensory experience.

More on AudioCookbook.org:
https://audiocookbook.org/gradient-no...

ICMC Official Conference Website:
https://icmc2026.ligeti-zentrum.de

Audio in this video entire produced using the Dirtywave M8 tracker:
https://dirtywave.com/"

Music for falling asleep to : 6

video upload by MIDI IN

"This is one of many ideas of this type that I have in progress and it's the first that I feel is ready to use. It has developed from last week's jam using MIDIPan and MIDISID.

I played the marimba part on a keyboard, all other parts are programmed manually.

I've started bat-watching but I haven't seen/heard my first of this year yet. I have enjoyed seeing both our moon and Jupiter in a clear sky though. The mysterioso nature of this piece seems to go well with this image of the moon.

Lie back, close your eyes, let go of the world around you and if you fall asleep them my work is done.

Photo of the moon: NASA nasa, CC0, via Wikimedia Commons"

Eliane Radigue Has Passed Away

Eliane Radigue - IMA Portrait documentary video upload by straypixel

Pictured: 1st image of Eliane Radigue on Discogs

Video description:

"Eliane Radigue

Her life journey has been remarkable. At the end of the fifties, she studied in Paris with musique concrète pioneers Pierre Schaeffer and Pierre Henry, whom she also assisted, notably for the premiere of L'Apocalypse de Jean. During the sixties she began composing with primitive electronics (feedback and asynchronous tape loops), but found little recognition for her research in France.

In New York in the early seventies, she found understanding and emulation, exploring emerging minimalism with James Tenney, Charlemagne Palestine, Phillip Glass, John Gibson, and Steve Reich. Her absolute allegiance to electronic sounds began during this period. Since then she has composed on the best synthesizers of the time: Buchla, Moog, Serge, and then ARP, which would become her fetish instrument. She collaborated with Robert Ashley, who sang on Les Chants de Milarepa. She has composed about two dozen works, which she has presented and continues to present at numerous prestigious venues and festivals in the United States and Europe.

In 2004, upon Kasper Toeplitz´s request, she started instrumental compositions for one or more performers, with whom she works in a close collaboration during the compositional process. This work gets quickly focused on pure acoustic sounds, in an incredibly delicate timbral way, which extends, without aesthetic rupture, her electronic work. Notably between 2004 and 2009, she completed a cycle in three parts 'Naldjorlak', for Charles Curtis on cello, Carol Robinson and Bruno Martinez on basset horns. She has now stopped her electronic work."

Emmanuel Holterbach (Translation Leslie Stuck)"


The following is a collection of some of her works:



Playlist:

1. Eliane Radigue | Feedback Works 1969-1970 [2012, Full Album]
2. Éliane Radigue - Opus 17 (1969) (Full Album)
3. Eliane Radigue – Vice - Versa, Etc (1970) (Drone / Experimental) [Full Album]
4. Eliane Radigue ‎– Chry-ptus (1971) (Drone / Experimental) [Full Album]
5. Eliane Radigue - Biogenesis, 1973
6. Eliane Radigue - Arthesis, 1973
7. Eliane Radigue - Songs Of Milarepa (1983) / Drone / [Tibetan Buddhist influence]
8. ELIANE RADIGUE : "Jetsun Mila" - 1986 [Tibetan Buddhist influence]
9. OCCAM DELTA XIII - Eliane Radigue

"In Buddhism, the number 9 signifies spiritual completion, ultimate enlightenment, and the highest level of consciousness (the ninth consciousness, or Buddha nature). It represents the culmination of the path to Nirvana, the 9 virtues of the Buddha, and is often associated with auspiciousness, progress, and the 9 states of delusion (nine worlds)."

Some history on Eliane Radigue via Wikipidia:

"Radigue was born in a modest family of merchants and raised in Paris at Les Halles.[5] She later married the French-born American artist Arman with whom she lived in Nice while raising their three children, before returning to Paris in 1967. She had studied piano and was already composing before hearing a broadcast by the founder of musique concrète Pierre Schaeffer. She soon met him, and in the early '50s became his student, working periodically at the Studio d'Essai during visits to Paris. In the early 1960s, she was assistant to Pierre Henry, creating some of the sounds which appeared in his works.[6] As her own work matured, Schaeffer and Henry felt that her use of microphone feedback and long tape loops (as heard in Vice-Versa and Feedback Works 1969-1970) was moving away from their ideals, though her practice was still related to their methods.

Radigue's death was announced on February 24, 2026. Her cause of death was not stated.[7][8]

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January 2026 WIP

video upload by Exit Only

"Work in progress sequenced with Max. Most of the drum DSP is done in Max, with additional midi sequencing being sent to VSTs and a couple external synths. Also showing off my JSUI mtr editor that was developed alongside building the track."

A Recipe For Chaotic Beauty | Modular Classroom | Episode 04

video upload by Cinematic Laboratory

"This series is a bit more advanced than usual, but this does not mean 'difficult', it means 'low level'. I will revisit Rob Hordijk's Benjolin and Blippoo Box again, not to recreate them, but to understand its components a bit more so they can be used elsewhere. We'll build a Twin Peak filter with Blades and Blinds (or any duo filter with a polarizer), a Comparator with Maths - which can make amazing new sounds using any two VCO's, I'll revisit the Rungler with Marbles and finally I've been looking for ways to detect equality between two voltages so we can generate a trigger or gate. I am not aware of any comparator that has an '=' output, but I figured out a way to approximate it with Maths.

I've been using ChatGPT as a research tool and it came up with the Twin Peak recipe after scrutinizing documentation on the web. But it also claimed that using Maths for equality detection would not work, because EOC is documented to be 'end of full cycle'. We already figured out in Episode 01 of this series, that EOC is always ON, and off when a RISE is in progress. This is needed to do quadrature functions, bla bla bla, but the point is that AI can be misinformed. Regardless, AI has reached a point where you can actually discuss patches and ChatGPT knows a LOT of modules, options, techniques and alternatives. So how do I know so much? I don't. It's co-creation.

Even though this episode features a lot of chaos, I tried to find the cool textures that make the Blippoo Box so entertaining, and figure out why the Benjolin is so untameable (may I say annoying?)

00:00 Introduction
00:51 Blippoo Box emulation for the Meng-Qi Wingie 2
05:02 Patching a Twin Peak filter with Blades and Blinds
08:03 Patching a Comparator with Maths
12:34 Patching a Rungler with Marbles and any VCO
14:43 Blippoo Box S&H and equality detection with Maths
18:45 Final Thoughs and a dual Benjolin / Marbles (multi-track) Jam."

Oddment ODD-1 Build Update & Demos

video upload by oddment

Demos

video uploads by oddment

Playlist:
1. ODD-1 Overview: Playheads

For a long time now we have tried to live by the words of the great Michael Bolton from the movie Office Space, "why should I change when he's the one who sucks?" But language evolves, and unfortunately, the word “grok” has taken on associations that are problematic. Oddment has evolved too. Starting from one quirky product idea, in 3 years we have grown and are now ready for manufacturing and fulfillment of this product, with ambition to make it the first among many. So with much consternation, we have decided to drop the name groc. When we thought about a new name, we thought that what we have is a little unusual, perhaps a little outside the norm...you might even call it, the ODD-1. This is the first in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off half of the encoders that control the granular synthesis engine - the PLAYHEADS function. Here you can control the level, starting point, tuning (aka pitch adjustment) and playback speed for up to 4 different granular playheads. The auxiliary functions available on the touch screen introduce random variability in different ways.

2. ODD-1 Overview: Grains

This is the second in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the second half of encoders that control the granular synthesis engine - the GRAINS function. Here you can control the size, spacing, left-right placement, and grain window shape. Each control also has a related function, introducing grain size variability, spacing jitter, binaural scatter, and a front-back bias for the window shape. The auxiliary functions available on the touch screen control a bandpass filter that can be randomized per grain and adjust whether grain size is regulated in the source sample or in the output signal, which can have a big impact on sound characteristics.

3. ODD-1 Overview: 03 Envelopes & Time Path

This is the third in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the ENVELOPES function. Here you can control the note amplitude envelope and timing, access 3 envelopes that can be used as modulation sources, and use our unique TIME PATH feature to dynamically adapt the playback speed.

4. ODD-1 Overview 04: Sample

This is the fourth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the SAMPLE function. Here you can choose a sample from the factory library or user-uploaded samples, control the playback mode and the section available for granulation, play and hold notes, set loop points and interact with pitch, tempo and channel information of the sample. We also show the auto pitch and tempo alignment features.

5. ODD-1 Overview 05: LFOs, Macros, Patching

This is the fifth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the LFOs, Macros and how to create modulation connections. There are 4 LFOs, 3 Envelopes, 4 Macros (assignable knobs), 4 Control inputs and MIDI information that can all act as modulation sources. Any parameter on the device is a parameter destination. Unlimited connections are made by holding down a destination parameter and then pressing or twisting a modulation source.

6. ODD-1 Overview 06: Filters, Saturation, Echoes

This is the sixth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the Filters, Saturation and Echoes modules. Two filters and two saturation modules per voice, both with multiple types of processing and modulatable parameters, allow for transformation beyond the granular engine. Two echoes sections with filtering and distortion in the feedback loop and fully modulatable parameters make ODD1 worthwhile just as a modular effects rack!

7. ODD-1 Overview: 07 Layers

This is the seventh in a series of videos to show all of the ODD-1's functions in more detail. In this one we show the dual Layer functionality. Essentially the entire system is duplicated so the ODD-1 is like having a dual modular systems, each with a polyphonic granular engine feeding two filters and two non-linear processors per voice, with 3 envelopes, 1 time path, 4 LFOs, 4 Macros and a independent modulation matrix per layer. In these examples we also remind that granular can easily do subtractive-style synthesis when using a basic waveform as the source sample.

8. ODD-1 Overview 08: Reverb & System

The final video in our eight-part series on the ODD-1's functions focuses on the upper-left row where we have global volume, system-level reverb and can work with banks of patches.

The reverb is a classic matrix-style parametric reverb. Think of it like a whole set of interacting delay units with slowly modulating delay times. Ok now that you have that in mind, that's it, that's what it is. It sounds sweet.

If two layers of modulating, granular goodness with a fantastic reverb on top wasn't enough, how do banks of patches to store every twist and connection sound?

And from their newsletter:

What’s in a name?

For a while now we have tried to live by the words of the great Michael Bolton from the movie Office Space, "why should I change when he's the one who sucks?"

But language evolves, and unfortunately, the word “grok” has taken on associations that are problematic.

Oddment has evolved too. Starting from one quirky product idea, we have grown in three years and are now ready for manufacturing and fulfillment of this product, with ambition to make it the first among many. And with much consternation, we have decided to drop the name groc.

When we thought about a new name, we thought that what we have is a little unusual, perhaps a little outside the norm...you might even call it, the ODD-1.

And we plan to keep that off-beat attitude. We hope that brightly-colored friends, ODD-2 and ODD-3, will be along to join ODD-1 after not too long.

Build Updates

We have a lot of exciting progress to report since the last time I wrote. Hop over to our YouTube channel to check out a build update video and some in-depth functionality demos.

We debugged and fixed several problems with the circuit board including the power-up, line input and output, and noise on the control signal inputs.

We got several bids from contract manufacturers in the U.S. and around the world and selected Soldered, based in the E.U. They came highly recommended, and we think their experience will be a huge asset as we go into production.

We worked with Martyna Alexander to tweak the graphic design of the front and back panel. We are thrilled with the updates, including our new company and product logos.

We have first iterations of our custom firmware, enabling full functionality of the device and full USB connectivity to a host computer.

We have completed first versions of the software that include all audio, MIDI and system functionality we intend to support for the release. After many months of playing and testing we re-organized a few functions to expand both the number of concurrent grain “playheads”, and to support banks of patches intended for convenient switching and management in live performance.

What’s Next?

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New DIY Digital Touch Synthesizer & Hybrid 5V Modular

video upload by Dylan B.

https://loess-labs.net/inst/atmega/

"Fully open source, build your own! Webpage is a work in progress. Might make a PCB at some point but no promises.

Also just to be clear the intro and outro parts use external fx to varying degrees. The middle part where I'm talking is the 100% dry sound.

0:00 - Demos/Intro
1:29 - Talking
5:03 - Outro Song"

Hybrid 5V Modular

video upload by Dylan B.

"Schematics and such will be out when the PCBs are

0:00 - Talking
2:26 - Bukla Melodic
3:27 - Acidic
5:36 - Crazy FM"

Going with Loess Labs for the label on these.

Adventures in Audio - Technics SX K200

video uploads by Manitou Productions

Playlist:

1. Adventures in Audio - Technics SX-K200

Part one of three episodes covering the Technics SX-K200 from 1982. In this episode we examine its current state and hear some sounds before moving on to cleaning and evaluation. Let's go!

Chapters:
0:00 A little sketchy
0:09 Opening titles
0:17 Intro
1:53 Power on
2:43 It makes sound
3:01 Three dead keys & problem buttons
3:32 More sounds
4:32 A look at the cartridge
4:59 Chorus effect and solo synth sounds
8:18 To the workbench!
8:42 Cleaning time!
11:50 Disassembly time!
12:48 The innards
15:23 Forensic files
18:57 Outro
19:14 Pinot's Corner

2. Adventures in Audio - Technics SX-K200 - Repair

We return to the vintage Technics SX-K200 keyboard as it undergoes minor repairs and servicing to restore functionality. Not much 'audio' this time around, but you'll see a good deal of the inner workings.

Chapters:
0:00 These come off pretty easily
0:20 Titles
0:27 The innards, freshly cleaned
1:07 Restoring the non-working keys
4:54 Removing the key-bed for cleaning
6:04 Removing the control board
8:11 Cleaning the switches and faders
10:43 Repairing the start switch
11:56 Progress report
12:25 Removing residue from a circuit board
13:24 Replacing the control board
14:38 Testing button connectivity
15:14 Removing the dead speaker
16:43 Replacing the key-bed
17:12 Cleaning under the good speaker
17:53 Repairs complete
18:23 Outro
18:58 Pinot & Ivy's Corner

3. Adventures in Audio - Technics SX K200 - Post Repair Test

In the final part of our look at the Technics SX-K200 keyboard/synthesizer, we find out how successful the repairs were and check out the sounds and functions. Let's go!

Chapters:
0:00 That didn't work
0:08 Titles
0:15 Intro
0:55 Testing the keys
1:45 'One finger'
2:44 The sliders
2:55 Rhythms
4:22 Fill in & intro
5:04 The sounds
9:56 Organ tremolo
10:39 Celeste & chorus
12:01 The solo synth sounds
13:37 Green LEDs
13:55 Transpose
14:50 Technichord
15:59 Demo tunes
18:06 The memory pack
18:47 Outro
19:32 Pinot & Ivy's Corner

Performance Techniques - PT210 - SPD-SX Jungle Loops with Novation Peak

video upload by A Work In Progress

"A Work In Progress⁠ ⁠

---⁠ ⁠

Performance Techniques PT210

SPD-SX Jungle Loops with Novation Peak"

Performance Techniques - PT208 - Granular Cinematic Ambience

video upload by A Work In Progress

"A Work In Progress⁠
⁠
---⁠
⁠
Performance Techniques PT208

Granular Cinematic Ambience
⁠
---⁠

Programming notes & gear list available on the AWIP Blog

https://aworkinprogress.uk/blog
⁠
---⁠
⁠
Performers:⁠
AWIP TC - Tom Cane
AWIP OF - Oscar Farrell"

Performance Techniques - PT207 - Harp, HX Stomp & Moog Sub37

video upload by A Work In Progress

"A Work In Progress⁠
⁠
---⁠
⁠
Performance Techniques PT207

Harp, HX Stomp & Moog Sub37
⁠
---⁠

Programming notes & gear list available on the AWIP Blog

https://aworkinprogress.uk/blog
⁠
---⁠
⁠
Performers:⁠
AWIP TP - Tatyana Phillips"

Performance Techniques - PT204 - Novation Peak Arpeggios, Sub 37 & Granular

video upload by A Work In Progress

"A Work In Progress⁠ ⁠
---⁠ ⁠
Performance Techniques PT204

Novation Peak Arpeggios, Sub 37 & Granular ⁠
---⁠
Programming notes & gear list available on the AWIP Blog

https://aworkinprogress.uk/blog ⁠
---⁠ ⁠
Performers:⁠
AWIP OF - Oscar Farrell"

Turning a rare Yamaha EX5/FDSP effect in a DIY guitar pedal with Plugdata / Hothouse (tutorial)

video upload by Floyd Steinberg

"I try to turn the Yamaha #EX5 's 'Water' effect into a guitar pedal using the #HotHouse pedal, #plugdata, and the EX5's manual.

Table of contents:

00:00 introduction / water effect example
00:32 what was FDSP?
01:48 examining the "water" effect and digital waveguide synthesis
02:22 example patch: "Asian Rain"
02:38 but... that's brilliant!
04:50 quick recap: plugdata principles
05:27 adding all modules step-by-step: noise
05:48 resonant filters recap
06:20 how to build a sample-and-hold lfo in puredata
07:04 a big bang theory
07:37 resonant band pass filter 1, and controlling it with the sample-and-hold lfo
07:59 wait, ... what?
08:44 mathematical operations in plugdata (multiplier)
09:16 transmitting numbers with float objects and bangs
09:37 a first result!
09:50 resonant band pass filter 2 and audio input/output
10:25 resonant band pass filter 3 and high pass filter 1
10:45 envelope follower for the audio input, and some math to make it work
12:11 abs object
12:24 building a recursive delay with delwrite and vd~
14:00 some fine tuning (adjust cutoff frequencies, resonance and volumes)
14:54 audio example
15:00 compile it and install it on the HotHouse pedal!
15:38 debugging (warning, unpleasant noises)
16:27 outlook, demo of progress so far
17:55 bye

Links:
Plugdata https://plugdata.org/
Pure Data https://puredata.info/
Hothouse Pedal https://clevelandmusicco.com/hothouse...
Electrosmith Daisy Seed: https://electro-smith.com/products/da...
Hothouse examples https://github.com/clevelandmusicco/H...
Visual Studio Code https://code.visualstudio.com/
Zadig https://zadig.akeo.ie/

This video was sponsored by Brilliant.

HÄLP ZIS CHANNEL

https://www.patreon.com/floyd_steinberg
https://floydsteinberg.gumroad.com/
https://floydsteinberg.bandcamp.com/"

Lightweight Arduino ESP32 MIDI Sequencer + Live-Looping Session Demo

video upload by Marcel Licence

"I built a small MIDI sequencer for Arduino ESP32 synthesizer projects.
With it you can:
Record, play back, and overdub notes.
Use many slots - record a new loop and switch slots while it plays.
Change the tempo anytime, even during playback.
Set the loop length and the number of pre-count bars before you start.
Play it together with my polyphonic e-piano project.

The firmware is still work-in-progress.
I am fixing bugs to keep it stable and to remove short audio pauses that happen when the memory moves data."

E-Piano project: https://github.com/marcel-licence/ml_...
Other projects can be found on GitHub: https://github.com/marcel-licence

Neuzeit Instruments Introduces DROP - Snapshot-based MIDI Control Center for Live Performance

Details follow:

"Which live performer doesn't know this situation: You build the tension to immeasurable heights, add another filter here, three more effects there, hands go up in the air, everyone's waiting for the big drop... and then you realize: You can't find your way out of the chaos you've created!

The sweat on your forehead drips onto your equipment, and in a firework of spraying sparks, your devices and your fans say goodbye forever...

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Rhodonea: Dirtywave M8 Reinterpretation

video upload by John C.S. Keston

"This excerpt is from a new interpretation of Rhodonea (work in progress) that I will be performing for SEAMUS (the Society for Electroacoustic Music in the US) at Purdue University on Saturday, March 22, 2025. This animated, generative, graphic score developed with Processing.org sends corresponding MIDI data to an electronic hardware instrument called the Dirtywave M8 #dirtywavem8 #dirtywave"

https://dirtywave.com/ https://audiocookbook.org/
https://johnkeston.com/

NAMM 2025: Realitone's Sunset Choir Choir Library

video upload by sonicstate

"At NAMM 2025, we caught up with Mike from Realitone*, who provided insights into their ongoing project, the *Sunset Choir library. Mike explained that this vocal library had been in development for a while, mainly due to the complex nature of recording different vocal articulations compared to string libraries. Unlike the simpler approach for strings, recording vowels like ah and ooh required more extensive sampling. Realitone dedicated nine days of intense studio work to capture this comprehensive array of sounds.

Mike demonstrated the dual-layer feature, allowing dynamic articulation blending, and showcased unique elements like enigmatic Latin phrases and slow bends. Additionally, the library supports consonant variations, legato transitions, and jazzy scat articulations. Though a work-in-progress, Mike expressed optimism about completing the library by spring, offering a glimpse into the intricacies of building such an elaborate musical tool."

Sumu: 10 patches in 10 minutes

video upload by Madrona Labs

"It's easy to enter a state of flow when patching with Sumu. Adjusting a single parameter can completely mutate an idea. This is where the Save function is real friend. It allows us to not only keep our favorite patches as presets, but also to travel back through a patching session via snapshots. It's always nice to have a camera in your bag while hiking isn't it?

Today we're taking 10 minutes to view 10 of Cam's recent Sumu snapshots. He's also written some notes about them below and made them available to download and modify.
Download Cam's Patches: https://drive.google.com/drive/folder...

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