SONG 68 - DisquietJunto0683 - Space Shot

My contribution to Junto Project 0683 - https://llllllll.co/t/disquiet-junto-project-0683-space-shot/70693

The first half of the track I wanted to capture the spaciousness and mystery of a cavernous space station – brutalist in design, surrounded by mist. The second half I wanted to take a deep dive into the inner workings of the station, where we hear the isolated clicks of machines and robots discussing the work being done.

disquiet0683

Recorded, mixed & mastered on 10 Aug 2018, 02 Sep 2018 & 30 Jan 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, USA & Union Square, NYC, USA. 

Beer bottle, Korg Monotron Delay, grains, emulated springs. 

Artwork/Photography - Jim Lemanowicz, near the corner of 8th Ave & 44th St, NYC, USA - 31 Jan 2018

©2025 Jim Lemanowicz

---

This original version of “My Boots Are Filled With Spacey Eyes” was submitted as part of Disquiet Junto Project 0683: Space Shot. The Assignment: Combine reverberant and non-reverberant.

More on the Disquiet Junto at: disquiet.com/junto/

More on the 683rd weekly Disquiet Junto project, Space Shot — The Assignment: Combine reverberant and non-reverberant — at https://disquiet.com/0683/

#disquietjunto #disquiet0683 #unionsquare #soundart #electronicmusic #sounddesign #ableton #bottles #monotron #reverb #dry #spaceshot

My Boots Are Filled With Spacey Eyes (disquiet0683)

Disquiet Junto prompt 0683 instructed us to make a piece of music that is half in space and half not in space.

Radio waves travel at the speed of light, and when the first radio transmission crossed the Atlantic it was said that distance had been abolished. Without distance, there's no space. So half of the song is a story that takes place on a radio, and is about a radio, and was performed in part on a radio, removed from place and space.

There are no synthesizers or synthetic samples in this piece. Instrumentation was a heavily processed guitar played with ebow, a Schechter Damien 7-string guitar, shortwave radio, shoebox cassette recorder, and field recordings. The radio noises and vocal parts are removed from space through a custom convolution reverb I created using a spike of low-frequency AM noise as an impulse response, essentially placing the sounds in the ionosphere.

The story I tell in the song is true.

More on the 683rd weekly Disquiet Junto project, Space Shot — The Assignment: Combine reverberant and non-reverberant — at https://disquiet.com/0683/

Soft, Driven, Slow, and Mad (disquiet0683)

Hello, this is a variation of a track I've been working on for a "all percussion" project. I decided to boost the reverb time and amount on all kick and bass drum hits and keep the manual little percussions fully dry, just leaving the ambient sound of my room that's a tad more  alive  than a small studio room, but still very dry. And no reverb added.

I think this assignment's idea was interesting and worked alright here, all the bamboo drums and little hi pitched manual toys sound in your face and the "Booms!"  are extremely wet and it works. I guess.


for
https://llllllll.co/t/disquiet-junto-project-0683-space-shot/70693

Rain Forrest Wet and Dry - disquiet0683

Disquiet Junto Project 0683: Space Shot
The Assignment: Combine reverberant and non-reverberant.

Disquiet Junto Project 0683: Space Shot
The Assignment: Combine reverberant and non-reverberant.

This weeks prompt immediately gave me the idea of combining an inherently natural reverb sound with a guaranteed unnatural, reverb-free sound. 

The natural reverberated sound comes from two layers of a field recording of a church in Vienna, recorded in October, which provides ambient noises. The naturally guaranteed reverb-free sound consists of several layers of yesterday's WebSDR recordings, which provided rhythmic and melodic components.

The reverb-free sounds here start with a lot of synthetic reverb and end as they are in reality. The church was stripped of reverb from the beginning with two layers of RX10 de-reverb, which is gradually reduced until the natural reverb of the church dominates. Mono/stereo and panning followed these ideas. So at the end of the track there is a naturally reverberant church and the WebSDR noise, which comes naturally without reverb.

I particularly liked this contrast because reverb indicates spaces; a church is more than a space, as a sacred space it has its own spatiality, so to speak, in Karl Popper's World 3, which contains ideas as much as art. The WebSDR signals seem spaceless, and yet they fill the expanding sphere of their propagation – and the signals itself may transport meaning and ideas from a World-3-Level.

Yes, perhaps a little bit over the top, but that's what I liked. 

--

More on the 683rd weekly Disquiet Junto project, Space Shot — The Assignment: Combine reverberant and non-reverberant — at https://disquiet.com/0683/


--

Discussion: https://llllllll.co/t/disquiet-junto-project-0683-space-shot/70693

ReSpaced [disquiet0683]

‘a divinis’
Wastes & Sequences.
2022 live performance.

Chaotic music engineering franchise.

Tools :
Marbles.
- Nebulae (personal sample) > Monsoon (clouds mode).
- Plaits (two operator fm) > Disting mk4 (C-4 clockable ping pong delay) > FX Aid.
- Vco2 > Optomix > Vcf1 > DSP.
Buff Mult, Batumi, Rnd Step, Zadar.
Quad Vca, Black stereo mixer, Listen IO.
Recorded live and mastered with Logic Pro X.

Associated image : Petrus Major.

Geigeraptor Electrodon [wastes & sequences]

‘a divinis’
Wastes & Sequences.
2023 live performance.

Chaotic music engineering franchise.

Tools :
Pam’s, Marbles, SIG.
- Polygogo.
- Basimilus.
- Drum2.
- Nebulae (voice sample) > DSP > Desmodus Versio.
- Chainsaw > Sisters > Monsoon (clouds mode).
Ochd, Batumi, Zadar.
Mutes, A-180-2, Sinc Defero.
Quad Vca, StMix, Black stereo mixer, Listen IO.
Recorded live and mastered with Logic Pro X.

Associated image : Petrus Major.

Technosaurus Darkregalis [wastes & sequences]

Collab with @337is www.leslierollins.com

Check our new album on Bandcamp for Free Download!!! https://psykodom.bandcamp.com/album/psykodom-337is-acid-gurgling

337is & PSYKODOM - Acid Gurgling (FREE DOWNLOAD ON BANDCAMP)

PSYKODOM & 337is - Symbiotic Havoc (FREE DOWNLOAD ON BANDCAMP)

As soon as I read Marc's email, I knew that my Doepfer sequential switch would be the star of the show this week. I fed three variations of a sound created in Elements into it as follows:

1-Raw Elements
2-Granularized Elements via Clouds
3-Basstravaganza courtesy of Warps having its way with Elements

Using Pressure Points' Touch Gate Out I controlled when the switch moved from one of the three spots. The trick, as I was working without my main rack, was I had no proper mixer to allow a subtle conclusion with all three variations playing at once. I routed things through the PM Mult and used it as a cheater mixer, and left the right side cable of the master outs unplugged until the culmination. 

Note: each time the switch moves, and in particular moving on or off the bass sound, there is a strong click. I like it and think it brings and interesting imperfection into play.

More on this 206th weekly Disquiet Junto project (“Compose a track with a trio of through-lines that repeatedly alternate relative prominence”) at:

http://disquiet.com/2015/12/10/disquiet0206-threeswitches/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Source photo (“Three Light Switches”) by Zoran Kovacevic used thanks to a Creative Commons license:

https://flic.kr/p/2YdqLK

Video

I've Got At Least Three Problems (But A Switch Ain't One) [disquiet0206-threeswitches]

heart-open & earth-honoring 
synthesist & field-recordist 
journalist & dreamtime walker
visualist & connector
​
The seemingly limitless manifestations that are observed during improvisational performance of electronic audiovisual materials drive me to seek collaborative interactions between compositional systems, machines, and myself. In holding space to facilitate an emergence of indeterminate phenomenon through analog synthesis, feedback systems, and field recordings, I share elements from multiple sources to celebrate shapes, patterns, and spaces.
​
I hold BAs in Art and English from Andrews University, and am currently enrolled in the Electronic Integrated Arts MFA at Alfred University. I was an artist in residency in 2017 at Signal Culture in Owego New York and in 2015 at Sachaqa Centro De ARTE, San Roque Peru. My visual works, and live electronic improvisational performances, have been featured across Peru, at The MuseumsQuartier in Vienna, and throughout the Midwest of America.
 
Note: Much of the work here is subtle in nature and I encourage you to listen via headphones or using a decent system whenever possible. Most computer speakers will not reveal the tracks fully.  Unless otherwise noted in the track description, everything is recorded direct to stereo track live and on the fly with no overdubs. Thanks for stopping by and listening!

I've Got At Least Three Problems (But A Switch Ain't One) [disquiet0206-threeswitches]

337is (three three seven is)