CB NOISE FILTER

Porta-Booth - Portable Sound Studio

This is the acclaimed Harlan Hogan Porta-Booth ®, praised by voice talents, musicians, movie soundmen and audio engineers alike. His Internet article provides simple instructions on how to build your own Porta-Booth. However, after many requests he's arranged to have a limited number of professionally-made booths manufactured. Add an inexpensive LED book light to illuminate your copy or use Amazon's amazing Kindle!

Microphone not included, we recommend our own VO: 1-A, "The Voiceover Microphone".

"I tried your Porta-Booth in our interpretation room and it works great! We had fan noise from computers and the ventilation system but it killed them both!"

Don Thatcher, Church of the Latter Day Saints

A note from Harlan:
Over the years my stopwatches have become so prevalent in recording studios that several engineer's tell me they call them: "The Harlan." Who's got the Harlan? Where's the Harlan? So I had a sense of deja vu when I received this email from change strategist Kristine Oller:

"I've discovered that, in my circles, your fabulous Porta-Booth product is now referred to as a 'Harlan box'... as in: 'You need to get yourself a Harlan box.' Dunno how that caught on but it has!"

I Feel like Yogi Berra - "It's deja vu all over again"

Please note that very large microphones such as the Blue Yeti and MXL.009 may be too large for the standard Porta-Booth. For these and other over-size microphones we recommend the Porta-Booth Pro!

Jon Satrom performs realtime audio/video, spends time data-bending, makes kludgey work-flows, creates colorful glitch-ware, and enjoys working within collaborative projects and open systems.
He spends his days fixing things, making things work, and teaching. He spends his evenings breaking things, learning, and searching for the unique blips inherent to the systems he explores and exploits.

When creating glitch-art, developing kludgy workflows is key. Softwares and languages with loop-holes, open-ports, and forgotten-functions are integral to constructing situations for glitching. In my mind, no other program embodied this ethic more than QuickTime. It’s popularity, and the fact that it’s development was to position itself within a multimedia paradigm yet-to-be solidified, makes QuickTime (versions 1.5 – 7.6) a quagmire of failures.

The rewrite of QuickTime as QuickTime X has broken an environment that helped form my ideas of how malleable digital video can be. The drumbeat of “progress” has stripped esoteric codecs and functions in favor of current flavor of standardized media consumption.

Popular computer program releases are similar to code-volcanoes barfing new functions on-top of themselves creating mountains of functionality. Due to the fact that QuickTime was one of the first popular desktop video playback and editing technologies, the program is full of strange utopic abandonware. Aside from the myriad of codecs available, two of my favorite QuickTime features are QTVR and the ability to skin one’s own player. These are once celebrated features are now forgotten on the volcanic crater of QuickTime 7.

I’ve been working and performing with these techniques for years and have only found it necessary to articulate my love and investment as I find my go-to-tool on the chopping-block of our upgrade-culture. For now, I can rest assured: it’s a weird-chopping-block; there’s still time. For now, QuickTime7 has been transformed from a player into a utility. Even now (OSX 10.6.6), there are elements of QuickTime X that rely on the robust functionality of QuickTime 7.

When working against an upgrade culture and hesitant to celebrate a retro-ness within my own work, I’m forced to jump the shark and exploit my favorite functions before they are ”legacy features”…

”QTzrk” is powered by QuickTime 7 on MacOS and Windows


Videogramo:
I am looking at all your websites, and I am completely confused by all your alter egos! Francoise Gamma on the computers club and Item Videogramo on 8bitpeoples; Who is Videogramo and who is Gamma?
ComputersClub asked me to be part of the club, but with a name. I didn't want to use my real name, so I invented Francoise (which is derived from my real name) and Gamma from color correction. I think of Francoise Gamma as a fatal rebirth of Videogramo.

Some of your newer work like "the head on the piano" on Vimeo has become less textured and more 3d, is that new and something you are going to do more?
If I would use the textures and patterns like I used in Videogramo ...I would need a whole enterprise to do animation+patterns... Videogramo's working method is crazy… madness, frame by frame ... hhgg, (although sometimes also semi automatic ^__^).
Gamma is more and more wirelined, it is an evolution or involution of Videogramo. More "new", less patterns and more animations (more and more) = ) and mutated movies. In Gamma there are almost no corrupted bodies. I think in this alter ego my mind is changing through other … corruptions.

How is failure or glitch part of your work?
I work with glitch in textures and erratic models (sometimes pure glitch from conversion of 3D formats). I also reference errors through the impossible positions of the models. In Gamma the error plays a role in motion overall. I would maybe call this "glitch simulation" or emulation
Corruption plays a formal role (errors in exporting 3d images), but this "fatal rebirth" of the image also plays a role on a conceptual and narrative level. I think there is not one logics to explain my fascination with error… I think that perhaps I recognize reflexion of myself in the error, or of the universe in general.

Well, this is completely different for me, an HDR mono photograph (by the way, can someone enlighten me as to the difference between black and white, and mono? Is there one?)

This is the second waterfall that you arrive at when you travel up the small burn to the immediate south of lecket hill, in the Campsie Fells.

The sky was terrible, and even with a tripod I was having trouble composing the sky.

Was a good way to spend half an hour with my dad, have to be honest though, working with the 18-55 was mega difficult, makes you wonder how you lived without wide angle...eek.

The Mic Thing is a portable multi-purpose acoustic treatment panel suitable for minimizing room artifacts and improving separation during microphone recording sessions. Great for a range of applications including helping to control room ambience, minimizing spill from instrument amplifiers, or even creating temporary control rooms the Mic Thing is certainly one handy thing! The Mic Thing can be mounted on just about any microphone, drum, or speaker stand up to 1 in. (25mm) in diameter. The Mic Thing's 2 winged panels can also be adjusted to create anything from a flat planar absorber to a tight semi circle enclosing the microphone. This way, the amount of separation and absorption can be easily be manipulated to suit requirements.