DEREK JEROME / TOSKABYSS

Derek singled this work out directly:

“I’m quite proud of this one the most.”

Watch from 0:30

This belongs in the stream as a selection with Derek’s reason attached—not as a generic portfolio embed.

Current collaboration: Chance of Katz.

Derek is contributing sound in development and increasingly shaping how the project presents listening, experimentation, references, and process.

This FASCIA is intended to let Derek’s direct perspective coexist with the larger collaborative project rather than flattening his notes into Jay-authored site copy.

Chance of Katz

Derek made this quick delay-pedal experiment immediately after the Sept. 13 Chance of Katz conversation.

“I also wanted to share my fascination with the delay pedal I have. This was a quick video I put together after our call.”

Listen / watch: delay.mp4

Possible next layer: mark the specific moment where the delay starts behaving in a way Derek wants to talk about, then let that timestamp become a playable annotation on the public FASCIA.

Derek sent these as examples of the main focus / point of his work and of the things he finds important and worth exploring in sound.

• Performance 01
• Performance 02
• Performance 03
• Performance 04

“These are some of the things that are important to me in terms of sound and what I think is interesting and worth exploring.”

Future version: give each selected performance a short Derek-authored reason rather than turning the four into a gallery.

Ableton — Building Blocks

Derek sent this while thinking about how the Listening Room players might work.

“But certainly I think there are some cool ideas in presenting sounds in a browser.”

“I’m sure there are less complex degrees of this. Just something I think that looks cool.”

For Chance of Katz, the useful direction is not to reproduce Ableton’s full interface. It is to borrow the idea that a visitor can touch a small musical idea and hear what Derek means immediately.

“I share most of my stuff for free and there is a ton of hands on work that goes into this.”

“It feels like my socialist offering - music/sound exploration should be accesible to everyone and I think when done right, it is shared with others.”

This is retained in Derek’s own words because it describes a central part of the practice: making sound exploration, knowledge, samples, and tools available to other people rather than treating access as separate from the work.