Lisa Bielawa has written and interesting article for New Music Box about managing the ancillary jobs that bring in the cash when one is working as a freelance composer - you can find it HERE

a collection of 100 modular synth protptypes for Max/MSP ARGO Accueil Home

A collection of old and new gear, illustrating the equipment NIN bring to bear in generating their music Nine Inch Nails

The NIN site is also worth a look - they often have remix projects with pro-tools sessions which make very useful teaching projects.

Buecher zur Musik publish and excellent series on New Music and Aesthetics in the 21st Century

I have just purchased a set and am delighted to see the direct and thoughtful manner in which many topics including the predjucies often shown towards electronic music are dealt with here. I highly reccommend:

Electronic in New Music
Musical Morphology
and the The Foundations of Contemporary Composing edited by Claus-Steffen Mahnkopf, which as he says addresses:

“The goal of this volume is to appraise, on a theoretical and artistic level, the foundations of contemporary composition, whereby by “contemporary” the recent past and direct present was understood. The following reasons were decisive in choosing this topic: a) the musicological research in the domain of new music is concentrated on the now historical preiod from ca. 1950 to 1970; b) writings about contemporary music since the 1980s have been increasingly lacking in seriousreflection an d theoretical perspective; c) a clearly perceptible transformation from a First to a “Second Modernity”, obscured by the postmodern phenomenon and now awaiting serious critical appraisal, should be supported, above all in view of its artistic and creative potentials; and d) finally, the increasing pluralization of the discourse of contemporary composition demands a dialogical confrontation of divergent approaches.

In The Foundations of Contemporary Compoising, the composers and musicologists, along with one philosopher and one interpreter explore the terrain of contemporary composition in a systematic fashion. These researches are presented in four sections: categories (Progressm reflection, deconstruction, conceptuality), material and form (Harmony, polyphony, spectralism), technology (algorithmic and electroacoustic composition, Sound composition), and interdisciplinary reflection/ contemporary performance practice. The contributors to this volume are the following: Mark André, Sebastian Claren, Frank Cox, Gunnar Hindrichs, Wieland Hoban, Claus-Steffen Mahnkopf, Barbara Maurer, Johannes Menke, Chris Mercer, Nicolai Sani, Anne Sedes, and Steven Kazuo Takasugi.”