Name: Love, Abounding (Chopped & Skrewed Loopt Edit) [disquiet0153-groovelock] by 337is (three three seven is) in Disquiet Junto Project 0153: Groove Lock
Duration: 6 s

Nice idea with the silence....right now it loops almost perfectly over here...

2 seconds of silence in a 6 second track. That's bold. Works great here!

with my chrome the delay is somewhat random but it actually sounds great that way! the irregularity brings something to it.

More on this 153rd Disquiet Junto project — “Record a short sound intended to be set on repeat” — at:

http://disquiet.com/2014/12/04/disquiet0153-groovelock/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project by Stuart R Brown:

http://flic.kr/p/mFQC3

Disquiet Junto Project 0153: Groove Lock

using sounds by http://freesound.org/people/jorickhoofd -- bedaankt!

http://sccode.org/1-4Rs

_____________


Disquiet Junto Project 0153: Groove Lock
The Assignment: Record a short sound intended to be set on repeat.

SoundCloud recently introduced the ability for a track to be looped on the website. That is, the listener can hit a button (details at disquiet.com/QVvCF) and the track will play over and over. This week’s project will make use of that feature. This week’s project will also, I should note, inform next week’s project. But you can do next week’s without doing this week’s, and vice-versa.

Step 1: Record a short, original piece of music/sound of between roughly 3 and 9 seconds intended to be set on repeat.

Step 2: Upload the finished track to the Disquiet Junto group on SoundCloud.

Step 3: Listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Length: Your finished work should be between roughly 3 and 9 seconds long.

Deadline: This assignment was made in the evening, California time, on Thursday, December 4, with 11:59pm on the following Monday, December 8, 2014, as the deadline.

Upload: Please when posting your track on SoundCloud, only upload one track for this assignment, and include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0153-groovelock” in the title of your track, and as a tag for your track.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track, please be sure to include this information:

More on this 153rd Disquiet Junto project — “Record a short sound intended to be set on repeat” — at:

http://disquiet.com/2014/12/04/disquiet0153-groovelock/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/


acousmaloop 2014 [disquiet0153-groovelock]

Since this might be used by others as a loop (or p'haps heard alone in auto repeat mode), let's start out with some shout outs to others somewhere in mind of what happened here:

Wanting to use cassette as a jumping off point includes plenty.  But very definitely Hal McGee for his cassette releases and creative use of cassette recording (micro- and otherwise):
http://www.haltapes.com/
https://halmcgee.bandcamp.com/

For even wanting to loop nowadays,  Brother James in general:
http://thereisspaceshipsoverdeeside.blogspot.com/

And moody alien's recent release, in the forest:
https://moodyalien.bandcamp.com/album/in-the-forest

For wanting to hear the vertical steady state of the union and disunion, Dave Seidel hereabouts:
http://recordings.irritablehedgehog.com/album/dave-seidel-60-hz

That said.  Handheld Panasonic cassette recorder (found on trash day back in the '90s) was used to record my doggerel vocal whatnot.  That was played into the mic of a computer recording to Virtual ANS in a pixelated, vaguely sonographic form.  Wherein a piece of that which was increased in contrast was also reversed and played very   s l o w l y   without pitch change.  Trimmed in Audacity, that's what's playing here.

Regarding Virtual ANS:
http://warmplace.ru/soft/ans/

More on this 153rd Disquiet Junto project — “Record a short sound intended to be set on repeat” — at:
http://disquiet.com/2014/12/04/disquiet0153-groovelock/
More on the Disquiet Junto at:
http://disquiet.com/junto
Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/
Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/
Image associated with this project by Stuart R Brown:
http://flic.kr/p/mFQC3


Unclearly So [disquiet0153-groovelock]

NOTE: this is intended to be played as a loop using the repeat function recently introduced by Soundcloud. 

Addendum: The looping issue I experienced seems to be an artifact of using Safari initially. Once played in Chrome, the repeat point seems somewhat more consistent. 

This is a bit of a disappointment for me as I adore vinyl lock groove recordings. I would have loved to produce a loop that could be consistently looped on Soundcloud. But the repeat function seems barely useable, and it is definitely NOT operating as a loop should with gapless playback. So, I tried to create a loop that leant itself to the random periodicity between playbacks on Soundcloud. In my testing, gaps anywhere from one to ten seconds seem to occur. I found such gaps really detracting when listening to other's loops (though the material in the loops was great) so I decided to build some moments of silence into my loop hoping that this would mask the inconsistencies of playback on this platform. I don't think it actually works though. I recontextualized a portion from my most recent composition: https://soundcloud.com/337is/love-abounding-neurorack-sketch-2

Where all sounds were created and processed using EEG data. See www.sound-machines.it/index.php/bi1brainterface/ for more details on the amazing device I used. All outputs of the BI1brainterface were routed to the Shapeshifter, Optomix, and Spring Reverb as control CVs. 

Additional information on this project:

Disquiet Junto Project 0153: Groove Lock
The Assignment: Record a short sound intended to be set on repeat.

SoundCloud recently introduced the ability for a track to be looped on the website. That is, the listener can hit a button (details at disquiet.com/QVvCF) and the track will play over and over. This week’s project will make use of that feature. This week’s project will also, I should note, inform next week’s project. But you can do next week’s without doing this week’s, and vice-versa.

Step 1: Record a short, original piece of music/sound of between roughly 3 and 9 seconds intended to be set on repeat.

Step 2: Upload the finished track to the Disquiet Junto group on SoundCloud.

Step 3: Listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Length: Your finished work should be between roughly 3 and 9 seconds long.

Deadline: This assignment was made in the evening, California time, on Thursday, December 4, with 11:59pm on the following Monday, December 8, 2014, as the deadline.

Upload: Please when posting your track on SoundCloud, only upload one track for this assignment, and include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0153-groovelock” in the title of your track, and as a tag for your track.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track, please be sure to include this information:

More on this 153rd Disquiet Junto project — “Record a short sound intended to be set on repeat” — at:

http://disquiet.com/2014/12/04/disquiet0153-groovelock/
More on the Disquiet Junto at:

http://disquiet.com/junto
Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/
Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/
Image associated with this project by Stuart R Brown:

http://flic.kr/p/mFQC3

Love, Abounding (Chopped & Skrewed Loopt Edit) [disquiet0153-groovelock]

For this project I decided to go back to where I started and compose this 7 second piece in the manner of the first Junto project I took part in:
disquiet0056-matteroftime ( https://soundcloud.com/peter-tigges/ocean-of-time-disquiet0056 )
This time I created all sounds out of a single -rapidly looping- keyboard stroke and some digital effects.
_________________________________

More on this 153rd Disquiet Junto project — “Record a short sound intended to be set on repeat” — at:

http://disquiet.com/2014/12/04/disquiet0153-groovelock/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project by Stuart R Brown:

http://flic.kr/p/mFQC3

What does 273.15 K taste like? [disquiet0153-Groovelock]

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)

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!

My 33 1/3 series book about the Aphex Twin album <i>Selected Ambient Works Volume II</i> was published in 2014. The book was one of the top 5 bestselling titles for the calendar year, and in 2015 was ranked by Pitchfork as one of the "33 best" of the 100-plus books in the 33 1/3 series. It has subsequently been translated into Japanese (2019) and Spanish (2018)

Since 2012 I have moderated the Disquiet Junto group, which began on SoundCloud. More at disquiet.com/junto. 

I've written for Nature, Pitchfork, The Wire, Down Beat, Boing Boing, NewMusicBox, Red Bull Music Academy, Art Practical, the website of The Atlantic, and many other publications. 

I've exhibited sound art at galleries in Los Angeles (Crewest), Manhattan (apex art), and Dubai (DUTAC), and I had a audio-visual installation at the San Jose Museum of Art as part of its 45th anniversary.

And since 1996 I've run the website Disquiet.com about the intersection of sound, art, and technology.

Love, Abounding (Chopped & Skrewed Loopt Edit) [disquiet0153-groovelock]

337is (three three seven is)

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