"Burnt Dot Quartet performs improvised music for trumpets and modular synthesizers in quadraphonic space. Featuring Sarah Reid on trumpet, Ryan Gaston on Eurorack and Serge synthesizsers, and special guests Kris Tiner on trumpet and telematic performance by Todd Barton on Buchla and other synthesizers.
The concert is taking place on February 17th at 8pm PST at:
The Wild Beast Pavilion
California Institute of the Arts
24700 McBean Parkway
Valencia, CA 91355
Burnt Dot is an improvisational duo formed by Sarah Belle Reid (trumpet) and Ryan Gaston (modular synthesizer) in 2014. From violent gestures to undulating textures and sparse flickers, Burnt Dot uses open forms to explore and extend the unique vocabulary of each of their instruments, and aim to discover just how much of the area beyond their typical sonic territory is still unmapped. Burnt Dot specializes in free improvisation, prompt-based performance, and interpretation of graphic scores."
"Kris Tiner (b. 1977) is a California-based trumpet player, composer, and improviser. Featured on NPR Music as one of a handful of new trumpet voices impacting modern music, his playing has been described as 'extraordinarily inventive' in Signal to Noise Magazine, and the LA Weekly claims 'Trumpeter Kris Tiner can turn barbed wire to beauty.'"
"Todd Barton is a composer, sound designer, multimedia performer, analog synthesist specializing in Buchla Electronic Musical Instruments. Todd is a praised improvisor, composer, and consulting artist for Buchla Electronic Musical Instruments."
"Sarah Belle Reid came by our studio to demonstrate the new Buchla Easel Command semi-modular synth and how it works with a Sensel Morph (especially with the Buchla Thunder overlay).
Also Sarah worked with Sensel to make an Ableton Live instrument (Sound Worlds) that uses samples from the Buchla Easel Command and is designed to work with MPE control from the Sensel Morph. Download it here: https://morph.sensel.com/pages/sbrbuchla
Timeline:
Intro - 00:00 Jam - 00:05 Buchla Easel Command Overview - 02:17 Sensel Morph Overview - 03:59 Jam #2 - 05:26 Final Thoughts - 06:55
"2023 is soon drawing to a close—so, we're taking a look back at the year, and taking account of all of the weird and wonderful instruments that gave us some inspiration this year. Synthesizers, drum machines, and Eurorack modules to samplers and effects, this year had no shortage of inspiring instruments.
So, we reached out to some of our friends and content creators to fill us in on their year, asking one simple question: what was the coolest piece of gear you got this year? For some, that meant brand new releases, but for others, it meant sitting down and digging into classic instruments.
In this video, we hear from:
0:00 Mylarmelodies on the Nord Micro Modular
4:14 Sarah Belle Reid on the Fairfield Circuitry Roger That
8:07 Molten Music Tech on the Blukać Endless Processor
14:04 Liam Killen on the OXI One
17:24 Oora on the Meris MercuryX
"For this episode, I wanted to let you hear the numerous patches which are documented in Strega's manual. There are patches from Alessandro C, Tony Rolando, Peter Speer, Walker Farrell, Sarah Belle Reid, LightBath, Jake (Pugh?) and Tim Held. I realized I didn't leave much space for 'Bare Strega' in my previous videos, so this was a very cool way to let you hear it 'as intended'."
What is a Fixed Filter Bank? | Chaos + Control with Zlob VC F3DBvideo upload by Sarah Belle Reid
"In this video, we explore the history of fixed filter banks in synthesizers (what they are, how they work), demonstrate some classic fixed filter bank concepts, and then dive into a series of patch examples exploring the Zlob Modular VC F3DB.
Zlob Modular's VC F3DB is a filter bank for Eurorack modular synthesizers. But it's much more than just that as well; while it can produce the clean, dry, nasal tones you might expect from a classic Moog or Buchla filter bank, it is designed to leverage feedback, clipping, and per-band envelope followers, allowing it to act as a chaotic sound source, spectral decoder, and intense distortion.
To access extended audio from this video (aaand there's a lot of it!), check out my Patreon page! You're free to use these sounds as materials for you own music, as well: www.patreon.com/sarahbellereid
Video Timestamps: 00:00 Intro + Video Overview 01:40 What's A Fixed Filter Bank? 03:36 What's a Filter Bank Good For? 07:42 F3DB Module Overview 09:53 Patch #1: Clipping 11:37 Patch #2: Adding Modulation 16:00 Patch #3: Feedback 19:48 Patch #4: Feedback (But Less Crazy This Time) 22:00 Patch #5: Feedback with Modulation 24:43 Patch #6: Spectral Decoder"
Zlob VC F3DB First Look video upload by Brett Naucke
"A first look at this fantastic new 6-Band Voltage Controlled Filterbank by Zlob Modular. Patch examples including manual filtering, drum processing, voltage controlled filter animation, 'vocoding' and some exploitations using the filterbank as a chaotic audio source. This is a GREAT filterbank capable of some very unique overdrive and distortion functions that set it apart from all other filterbanks in eurorack modular."
"VC F3DB stands for Voltage Controlled Fixed Filter Feedback Distortion Bank. The simplest description is it’s a 16hp six band voltage controlled fixed filter bank. But with the additions of so much gain, clipping, feedback, and self-oscillation it becomes a very flexible and unique gestural sound sculpting tool capable of; graphic equalization over 6 octaves, multi-band distortion, spectral processing, crude vocoding, multi-frequency envelope following, self-modulation, and even as an instrument on its own. With no input it can be used as a pseudo chaotic “harmonic” feedback oscillator.
The filter frequencies were specifically chosen to emphasize more ambiguous and dissonant intervals. Although the frequency bands are spread out over many octaves I purposely tried to leave out “3rds” besides a major 10th at the top frequencies to even out all the dissonance below. But the frequencies aren’t exactly equal tempered, so it’s relative. The bands roughly equate to F2, B3, F#5, C6, F7, A8.
The design is based on the Moog 914 filterbank, which it borrows the frequency bands from. But this circuit uses active filters with opamps inspired by YU Synth opposed to passive cells using inductors on the original. The 88hz is a low pass -24db/oct and 7k is a high pass -24db/oct, the rest are -12db/oct band pass filters all with a Q around 4.
The hard and soft clipping circuit on the input is fairly standard which appears in many different iterations of classic guitar pedals. But it has a lot of gain and can even boost line level signals. What makes it a bit unique is the feedback on the clipping circuit which needs to be turned on by the GFB(gain feedback) switch and the amount can be controlled by the Gain FB pot which can add some fuzz/bite to the signal depending on which clipping switch is engaged or at the extremes it will self oscillate from audio rate to LFO sort of clicking range. All the clipping stages in the module are using silicon diodes.
Consult the Signal Flow Chart to the left for a rough visual breakdown of the controls,in/outs,normalizations, and optional settings for the module.
Each band can also be muted by the top toggle switches or clipped(at the VCA) by the top slide switch which makes this design a bit different than other filter banks. As well as the overall feedback section(bottom middle) takes the sum/all bands out through a VCA(controlled by the feedback pot and FB CV) back to the input gain/clip circuit. and you can also tap into this using different sends/bands to the FB In jack to break the normalization. With this extra feedback “resonance” you can get more whistley and howly filter sounds kinda like the Serge res eq, which can also go into self oscillation.
All cv ins are expecting +5v to open the VCAs(they wont respond to negative voltage), once you get closer to +8v or so it can clip the vca regardless of the gain settings or clip switches. Output amplitude in high gain settings will exceed 10vpp and can get up to 20vpp. The envelope followers tend to stay around 0-5v out, but with clip switch active they can go up to 10v.
Since this is a high gain module there can be bleed between the bands in certain configurations and situations. Also in high gain modes with higher frequencies the 2.8k and 7k bands can bleed a little with the VCAs closed.
This is a highly involved DIY all through hole project. It is a long build with 5 different pcbs to solder and assemble.
"In this video I spend the day enjoying the outdoors and making some ambient and noisy patches on the new ASM Hydrasynth Explorer that are inspired by the world around me. I also share a technical comparison of the Hydrasynth Explorer, Hydrasynth Desktop, and Hydrasynth Keyboard units, along with my personal takeaways on the instruments."
"A demo & walkthrough of the new Eurorack module Spectraphon, by Make Noise. Spectraphon is a dual complex oscillator that explores additive synthesis and resynthesis—allowing you to analyze and resynthesize characteristics of other sounds to create super unique timbres and waveforms.
This video includes an overview of what Spectraphon is and how it works, along with a number of patch examples demonstrating Spectraphon as a dual oscillator, and as an effects processor to create rich, resonator / spectral-blurring type sounds.
Spectraphon’s design is inspired by the Buchla 259 Programmable Complex Waveform Generator, the Buchla 296 Programmable Spectral Processor, and the Buchla Touché—taking parts of each of these designs and combining them into something new and unique."
"A deep dive into the Noon passive analog drum synth, designed by Landscape FM and Mystic Circuits. This video provides an in-depth walkthrough of Noon and how it works, along with a number of demos and patch examples of Noon in combination with hardware sequencers / touch controllers, Eurorack modular synths, acoustic instruments, and effects pedals. We’ll also go over what 'passive' means and how a passive synth like Noon works."
Moog Mavis Semi-Modular Synth: Overview and Demo with 5 Patch Presets - Patchwerks
First Look: Moog Mavis semi-modular synthesizer - Marcus Schmahl
Review: MOOG's MAVIS goes west! // 18 modular and wavefolding patch ideas explored // Full tutorial - loopop
Moog Mavis Is More Complex Than Its Size Suggests - HAINBACH
Everything Moog Mavis. - mylarmelodies
Moog Mavis Sound Demo (no talking) with Empress Reverb - Limbic Bits
Moog Mavis Sound Demo (no talking) - Bonedo Synthesizers
MAVIS - The New Moog Synthesizer 🐸 - PanicGirlVids
The press release:
"Meet Mavis: The Newest Addition to the Moog Semi-Modular Family Mavis, a
new all-analog semi-modular synthesizer, delivers legendary Moog sound in an
affordable and compact musical machine. An inspiring and expressive instrument,
Mavis offers serious value to anyone looking to learn synthesis or explore Moog
sound in a new way.
This build-it-yourself synthesizer kit is ready
to come to life as a powerful, patchable analog instrument, either mounted in a
Eurorack case or on its own. Mavis's intuitive design allows for immediate
musical exploration (no patching required) and is ready to guide your journey
through the expansive world of modular synthesis through its flexible patch bay
and accompanying educational resources.
Mavis features the first-ever
Moog wavefolding circuit, allowing for additive synthesis to sit alongside
traditional subtractive synthesis, unlocking sounds never heard before on a Moog
instrument. Mavis offers incredible value through its clever collection of
circuits, including two oscillators, full ADSR, a ladder filter, sample and
hold, attenuators, mixer, mults, and much more, providing all the tools needed
for creative patching and sound design.
Mavis delivers huge depth of
sound to any creative looking to begin their journey into synthesis, expand
their Moog ecosystem, or enhance their Eurorack setup."
Additional details & pics:
"As one of their most affordable semi-modular synthesizers to date, Moog's Mavis
is equally at home as a standalone instrument, companion to the Mother series,
or active member of a bustling Eurorack system. Shipped as an easily assembled
kit, the excitement of putting together your own instrument gives way to a
wonderful journey of sonic exploration.
Mavis packs all of the
essential elements of a full synthesis voice into a compact package—oscillator,
filter, ADSR envelope generator, and VCA—as well as some special surprises,
including Moog's first-ever wavefolder! Best of all, everything is accessible
through 24 patch points, overriding the internal normalled connections and
putting Mavis's signal flow under your control.
As with all Moog's
best synths, Mavis begins with an all-analog VCO, with this particular design
featuring a blend control crossfading between sawtooth and pulse waveforms. PWM
and pitch modulation are available with independent level controls, and may be
shaped by the LFO, envelope generator, or a mix of the two. The hallmark of any
Moog synth, the resonant lowpass ladder filter, makes an appearance on Mavis,
and may be similarly controlled with the LFO and/or envelope with positive or
negative polarity. As for the VCA, leave it wide open for drones or shape it
with the ADSR for lush swells or snappy plucks.
Mavis subscribes to
the same modular philosophies as Moog's legacy instruments as well as their hit
Mother series. With the 24-point patch bay, additional elements are available to
coax more interesting patches out of Mavis. Split and distribute signals with
the multiple, inject uncertainty with the sample and hold, and balance audio or
control signals with the DC-coupled mixer. Most surprising of all is the
inclusion of a diode wavefolder—the first such design on any Moog
instrument—bringing a touch of West Coast-style waveshaping into their world of
traditionally subtractive designs.
Though Mavis can exist totally
independently, it shines in collaboration with others. Place it on your desk
alongside your other patchable instruments, or remove Mavis from its enclosure
and mount it in a Eurorack case as a 44hp module for highly nested interactions.
Mavis ships with a handful of patch cables, overlay sheets, and a protective
plastic dust cover for when the instrument isn't in use. Whether you're just
starting out or looking for a fully-featured Moog synth voice, Mavis delivers in
spades.
MAVIS FEATURES
Fully analog semi-modular
synthesizer Easily assembled 24 patch points VCO with sawtooth
and pulse waveforms PWM and frequency modulation Resonant lowpass
filter 4-stage ADSR envelope generator Analog VCA Utilities
section includes mixer, multiple, sample and hold, and more First-ever Moog
wavefolder design Onboard keyboard with scale and glide controls May
be removed from enclosure and mounted as a 44hp Eurorack module Includes
patch cables, patch sheets, dust cover, and assembly tools"
This one is in via Todd Barton who co-curated the release.
"Cassette label Ultraviolet Light is ecstatic to announce Feedback, a compilation of new works from Todd Barton, Dan Deacon, Dani Dobkin, Robert Aiki Aubrey Lowe, Doug Lynner, Toshimaru Nakamura, Sarah Belle Reid, Ryan Gaston, Jimmy Joe Roche, and Keith Fullerton Whitman. Each track utilizes some form of acoustic feedback, no-input mixing or recursive patching techniques as the central compositional principle.
Closed circuit and acoustic feedback have been prominent features within experimental electronic compositions for well over 50 years. In 1968 Steve Reich made extensive use of audio Feedback in his work “Pendulum Music”. David Tudor and Alvin Lucier incorporated feedback systems in many iconic compositions. Much of John Cage's interest and questions of noise and its relation to music could be seen as an extension of concepts explored when artists introduce feedback into their performances and recording. Arguably the most prolific and influential artist who integrated feedback into her compositions is the French composer Éliane Radigue.
Feedback is released as a 300-copy limited edition cassette with 4-color risograph printed artwork by Never Brush my Teeth. A digital download card is included with each cassette. 60% of the digital sales of the album will be donated to Earth Justice annually.
"So this is the first Mycelium Symposium, an online event dedicated to modular and virtual modular. Here is a rough timetable of the performances, workshops, and presentations :
This is all in the CET time zone (GMT+1) 18.00 - Performance, Giovanni Gramegna (https://www.youtube.com/channel/UCcTH...) 18.16 - Performance, Stellar 53 - Journey to Saturn (https://www.youtube.com/channel/UCdk2...) 18.28 - Presentation, VCV Rack Ideas - Ambient Techno Patch in VCV Rack (https://www.youtube.com/vcvrackideas) 18.40 - Performance, Zen Wires - Welcoming Spring (https://modularzen.com/) 18.56 - Break 19.06 - Performance, Pyer - right on time (https://www.youtube.com/channel/UC74_...) 19.20 - Performance, Rheyne - Unsettled Evocation (https://www.youtube.com/user/RheyneMusic) 19.36 - Presentation, Jakub Ciupinski - VCV Rack Hacks (http://www.jakubciupinski.com/) 19.47 - Performance, Synthikat - Zen Garden (https://www.youtube.com/synthikat) 19.59 - Workshop, Pyer - Suzanne Ciani’s Buchla Cookbook in VCV Rack (https://www.pyer.be/ciani.html) 20.15 - Break 20.25 - Workshop, Instruō - Patching the Cš-L in VCV Rack (https://www.instruomodular.com/) 21.06 - Performance, Deev Bennes - Sublingual (https://www.youtube.com/user/deevje) 21.23 - Break 21.33 - Workshop, Sarah Belle Reid - Acoustic Instruments and VCV Rack (https://www.patreon.com/sarahbellereid / https://www.soundandsynthesis.com/) 21.49 - Performance, Martin Lueders - La-vie (https://www.youtube.com/user/mlu2006) 22.07 - Presentation, Hora Music - Deep and Bicephalous (https://www.hora-music.be/) 22.15 - Performance, BrokenSines - Californium (https://www.youtube.com/channel/UCjec...) 22.37 - Presentation - Midilar (https://midilar-controller.webnode.sk/) 22.52 - Break 23.02 - Workshop, The Klirrfaktor - Why and How to code your first VCV Rack module (http://klirrfactory.com/) 23.51 - Performance, Omri Cohen - Rain keeps falling"
"Experimenting with running the Buchla Easel Command (208C) into a granular glitch sampler patch made in Max/MSP.
00:00 Intro 2:12 About the Buchla Easel Command 6:45 Overview of my granular glitch max patch 12:18 Improvisation with the 208C & Glitch patch
To access an extended patch walkthrough for both the Easel Command patch and the max/msp glitch patch, check out my Patreon member's community: www.patreon.com/sarahbellereid"
"A walkthrough of Make Noise’s newest Eurorack module, XPO, the Stereo Prismatic Oscillator. This video contains a module overview, demo and patch tutorials. We’ll start with a panel tour of the XPO, look at a bunch of different patching ideas for creating interesting stereo imaging effects, explore some patch examples that use XPO in combination with some of Make Noise’s other stereo modules, and finally discuss self-patching and feedback as a means of creating unstable, chaotic, & unpredictable stereo motion.
TIMESTAMPS:
00:00 Intro + Video Overview
1:41 What is XPO?
5:44 XPO FM + Sync
9:59 Exploring the Stereo Field
19:48 XPO + Friends
25:27 Destabilizing the Stereo Image"
"Let's explore some more patches from the "Patch Corner" section of the Strega Manual!
0:45 Alessandro Cortini, "Breathing"
3:18 Pete Speer, "Wow and Flutter"
5:14 Tony Rolando, "Ducking Synth"
8:04 Sarah Belle Reid, "Melted Rhythm Machine"
"Join us as we embark on a sonic journey with Replay, a new polyphonic synthesizer and multi-mode arpeggiator from Vongon. First up we test its prowess in the realm of synthwave - spoiler alert: it excels! In the latter half, we delve into the interface and its versatile capabilities complete with an immersive sound exploration, unleashing the arpeggiator and tweaking various parameters for a mesmerizing experience. Video and music production crafted by DeadMidi.
"Replay is a six-voice polyphonic synthesiser and a little window into synth heaven.
Lush pads, tiny plinks, snappy arpeggios, warbling melodies, resonant filters with midi connectivity and a sleek web interface!"
Vongon Replay Virtual Analog Synth | Overview + Exploration
"A demo and walkthrough of the new polysynth Replay, by Vongon. Replay is a 6-voice polyphonic synthesizer with a compact form factor that takes inspiration from classic poly synths from the 1980s, like the Roland Juno series + the Korg Polysix.
This video includes an overview of what Replay is and how it works, along with a number of sound examples demonstrating Replay on its own and in combination with FX pedals, to create a wide range of sounds from classic synth leads, pads, and arpeggios to more experimental textures and noisy sound worlds."
TIMESTAMPS:
00:00 Intro
02:45 Replay Overview & Tour
17:03 Musical Demo
19:09 Filter Experiments on Replay
23:50 Exploring the Arpeggiator
28:00 Combining Replay with FX
"Today we take the beautiful Replay by Vongon out for a spin and also have a conversation about synthesis basics in honor of my five year synth-a-versary. Vongon really hit it out of the park with this instrument and--whether it's your first synth or your 10th-- there's a lot here to love."
VONGON REPLAY Polyphonic Synth & Arpeggiator | Can I write a synth-pop track with it?!
"Man, I just love gear that makes you approach writing differently. That reminds you how fun it can be to find new sounds and feels, explore new ways of composing. And today, the new Vongon Electronics REPLAY is doing that for me - a super fun, approachable, compact polyphonic synth and arpeggiator."
"The Replay is the first synthesizer offering from boutique pedal designers Vongon, offering a six-voice virtual analog sound engine with multi-mode arpeggiator. Inspired by beloved keyboard synths of the early 80s like the Roland Juno and Korg Polysix, the Replay faithfully delivers warm and lush vintage timbres in a compact package that drips with modern aesthetics and utility. In Replay, Vongon has struck an impressive balance between scope of features, user experience, and overall sound quality. The result is an instrument that sounds wonderfully rich and nostalgia-laden, with an interface that is easy to understand - perfectly approachable for a beginning synthesist, yet deep enough to inspire veteran wigglers to explore the edges of its capabilities.
Replay's front panel is incredibly straightforward, with simple controls for its primary functions conveniently accessible. Additional options are selected via the "secret menu" alt functions. At the heart of Replay's sound engine are multiple selectable waveforms for its primary oscillator, with ramp, square, triangle, and sine modes. Noise amount, pulse width modulation, and LFO pitch modulation offer further timbral manipulations before passing to the four-pole, low-pass filter. Highly resonant and warm, the filter includes modulation depth controls from the primary envelope, keyboard tracking, and the LFO. The VCA features options for maximum amplitude and modulation source. An organic and responsive ADSR envelope and the on-board LFO round out this straightforward voice, with flexible modulation routing options between the main controls and alt functions.
The multimode arpeggiator on the Replay opens up a variety of fun and engaging options for controlling the synthesizer voice. Latch and keyed modes, in addition to the three poly modes available on the alt functions, offer a variety of ways for creating snappy and spiraling arpeggios and fuzzy, morphing pads. Up/Down, order, and random modes provide further ways to organize pitch material. The alt functions allow the LFO to be clocked by the ARP speed, creating rhythmically modulated phrases that are a joy to get lost in.
All in all, the Vongon Replay delivers a premium virtual analog experience that feels streamlined and purpose-built for getting beautiful analog sounds quickly. With plenty of depth in sound color and just the right amount of tricks up its sleeve to keep you immersed in music making rather than menu diving, the Replay is sure to become a go-to instrument for lush pads and other classic synth timbres. Its physical design is beautifully simple, and the responsive feel of its Cherry MX keys invite playful interaction that is hard to put down. Of course, the Replay is a lovely source for running through Vongon pedals, creating an instant synthwave or soundtrack machine paired with an Ultrasheer or Polyphrase. If you're needing a straightforward synth with limitless sonic charm, the Vongon Replay is a wonderful choice.
"I went to Moogfest in 2018 and got some footage during the Modular on the Spot event. It was raining buckets, but that didn't stop the music. Enjoy this summary of 6 performances that took place on 5/19/18.
Jerry Kaba @ 0:12
Sarah Belle Reid @ 0:49
Jake Pugh @ 1:51
Eric Rodent Cheslak @ 3:02
Pete Speer @ 4:19
Lightbath @ 5:20"
"A walkthrough of the new semi-modular synth from Make Noise called STREGA, containing an instrument overview and patch tutorials. I also create a piece of music that uses STREGA in every single track alongside voice and brass.
The full piece, titled "MASS," is available for download on my Patreon page: www.patreon.com/sarahbellereid
0:00 Introduction 0:45 What is STREGA? 3:27 How Does STREGA Work? 4:41 STREGA Walkthrough
If you're interested in checking out patch notes and diagrams for 10 Strega patches, ranging from drone-based to gestural and chaotic, visit: www.patreon.com/sarahbellereid
"Tomorrow! #ryangaston and @sarahbellereid will perform with their custom-designed MIGSI, and share some ideas on augmenting acoustic instruments with electronics, modular synths, and Max. Don't miss it - tinyurl.com/s9z44tz"
Moogfest 2018 (live edit)
Modular on the Spot
Durham, NC
May 19, 2018
Patch notes archive available through Patreon rewards: https://patreon.com/lightbath
All hardware performance/improvisation recorded straight to 2-track and mastered Premiere with compression and eq. This performance is an edit of the full 36-minute set available exclusively on Patreon.
I'm so grateful to have been a part of Moogfest 2018. It was great to hang a bit with lightbeams Emily Sprague, Kaitlyn Aurelia Smith and Sean Hellfritsch and to see some cats—like Waajeed and Jamire Williams—from my 'past life' as a guitarist in NYC. Thank you to Yoga After Dark and Modular on the Spot for having me.
It was an honor to play another MotS event, this time alongside Rodent, Peter Speer, Sarah Belle Reid, Jake Pugh, Jerry Kaba, and Lee Coleman. As with my first MotS experience, the vibe was one of immense support. It was so much fun to lead the audience through some air guitar moves. Truthfully, I don't know how that happened, but I'm glad it did. Thanks to all who participated!
And lastly, it was great to meet some of you IRL after my set. I also finally got to meet Richard Devine and talk shop (thanks to his wife and family for giving us some time to do so). Many thanks to Iain Smith for helping to cart my gear up the hill to the car.
