Objective observations: The recent 2020s material made on the Cubase software rather than the Mackie hardware recorder all has a particular sound. It also has certain sonic tricks and effects that weren't there before. Guitar-wise, the tones still have some of the audio fingerprints of the Fractal Audio Axe-FX 2 heard on albums on the latter half of the 2010s. Vocal samples are not evident. Subjective observations: It's worth it. Musically, it's still Bill. The quality of the performance and production is ace. The pieces are mostly instrumentals. In the entire set, there are only about two or three songs that have a lyric that isn't quite up to par—a big jump compared to certain vocal albums from the 2010s. Start with Mixed-Up Kid or even New Vibrato Wonderland to get a feel for the sound world he's operating in right now. If you like either one, you must get the box set. If you're indifferent to the music, maybe it's not for you.

Disc 3, Track 7: "Techno Punk Gets Rhythm" is a two minute number whose drums are reminiscent of 90s drum 'n bass Bill with a dash of Here Comes Mr. Mercury jazz guitar. A pleasant little sonic surprise.

The set has arrived in San Diego and was immediately played. Began with Disc 4, as per the consensus, and enjoyed it so much that Disc 5 was played shortly thereafter. Mixed Up Kid had created some high expectations and there was no disappointment with the two discs. Musical observation: There was some nice squelchy filter work on some of the thicker-sounding synths on this album. Hadn't noticed it on previous releases and curious if there was something new at work.

Arrived this week. Enjoyed the eclecticism. Having heard this and New Vibrato Wonderland, it's clear to the ears that the new Cubase setup has had an impact on many of the music textures. Both occasionally introduce glitchy drum elements which are really quite surprising. Were these done using the new software capabilities or is it a new twist on existing gear?

We wish you the very best from Southern California.

Always keen to hear the more avant-garde aspects of everything

That first one has a greater air of intangibility, as it doesn't even seem to suggest a designer. It's always interesting to see what kind of connotations a simple suffix change can create. Changing the "for" into another preposition could raise even more possibilities. Linguistics aside, looking forward to the music.

First spin yesterday while driving. Interesting to hear how, despite the new Cubase system, it doesn't sound radically different from other recent works. Kudos for mastering a completely new system. I would argue that the introduction of the Fractal Audio effects processor had a bigger impact on Bill's tones than the transition to a DAW. Perhaps further listening will reveal subtleties and differences that I didn't catch on the first go. Standout track for me was #13, "Earthbound." Really interesting rhythmic introduction with the ghost of drum 'n bass co-mingling with seemingly-Hindustani elements. Not sure how that even happened, but it's a sound world I'd love to explore further.

As of today, it looks like both members of Corduroy Institute have a chance to discover the contents of Transcorder:

Always keen on hearing where the instrumental side of Bill happens to go. Interested in seeing where the new system will take the sounds. Will it be something like beautiful The Years or will it be *fingers crossed* as out-there as Loom? Thrilled to hear where it'll go.

62: CHINESE STRINGED INSTRUMENT. 63: DULCIMER. 64: ZITHER-HARP. (VINTAGE.) 65: AFRICAN STRINGED INSTRUMENT. [SMALL 'KORA' TYPE.] Do those get much use? Which recordings feature these?

We're a duo, and each of us got to see different artists: One of us would be with Gary Wilson. The other would be with Lydia Lunch.

The drum and bass elements have certainly given it a sense of propulsion really stands out. The immediacy of the working methods really comes through. How was it possible to get those frenetic rhythms down so fast?

One of the best from the 00s. It effectively captures the side of latter-day Bill that I enjoy most.

I didn't even know there had been a physical release. I was on the old mailing list from the previous forum, so perhaps that's why I missed out.

We are still using Audacity even today. The economy of its design helps us get things done after tracking everything on a 24 track digital Tascam.

Not really a fan of using computers to make music, but I do get a kick out of messing about with free VSTs just to get more unique sounds into my samplers. A common technique I'll try involved using TAL Sampler to give things a bit of oomph prior to putting them into the Digitakt -- that bit of kit is a bit too pristine at times. Another one I've been messing with involves making FM patches on Dexed then putting a small recording of it into the V-Synth. After that, I play to each unit's strengths: the Digitakt can give me great performance-oriented sequencing abilities while the V-Synth is a great sampler mangling tool.

One of his best from the 2010s. Not sure if any other disc has the same spirit.

It's a unique listening experience, notably with the textures they used. Not sure if I can think of many albums its particular tones. I don't think any of the ex-Japan guys used those sounds in that way before or since.

One of the best; glad I got the reissue a few years ago. The little experimental pop songs were great bits of home-studio fun.