Enjoyed the track - and playing music with others is a great tip! I just have to convince some people to jam!

Thanks Leslie for this track and your text reminding us essential values : live creation and collaboration. '...try it in the flesh' (excerpt from your comments). A lot more than tips or tricks, a lesson.

Love the bass thumping. Agree with the face to face aspect of things. But what about those of us who live on other planets?

Oooo...going to compy to download now, back soon!

More on this 242nd weekly Disquiet Junto project — “Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware” — at:

http://disquiet.com/0242/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/share-yer-knowledge-disquiet-junto-project-0242/4218

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

The image associated with this project is by Susanna Bolle, and is used thanks to a Creative Commons license:

flic.kr/p/8F9Jmz


Disquiet Junto Project 0242: Share Yer Knowledge

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

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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)

Using a feedback delay you can add more color and variations by processing the feedback loop through an effect of choice. In this example I'm using a 5 second delay and a reverb to color the feedback loop. The first part lets you hear the dry loop and the second part with the wet feedback.

Unfortunately adding an effect to a feedback loop is not possible in any DAW. I use Bitwig and Reason for this purpose. In Reaper it should be possible too. Another option is using plugins like MXXX.

More on this 242nd weekly Disquiet Junto project — “Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware” — at:
http://disquiet.com/0242/1

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

Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:
llllllll.co/t/share-yer-knowledge-disquiet-junto-project-0242/4218

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

The image associated with this project is by Susanna Bolle, and is used thanks to a Creative Commons license:
flic.kr/p/8F9Jmz

Process The Feedback Loop [disquiet0242]

electronic
granulated, transverb'd, taldub3'd, mjucjr'd
k-blamo

Especial {disquiet0242}

See http://bassling.blogspot.com/2016/08/disquiet-junto-0242-share-yer-knowledge.html for track discussion and video.

More on this 242nd weekly Disquiet Junto project — “Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware” — at:

http://disquiet.com/0242/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/share-yer-knowledge-disquiet-junto-project-0242/4218

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Farewell [disquiet0242]

This track uses 2 tricks. 1) FEEDBACK is at the heart of everything electronic, oscillators and filters use it for instance, feedback in any process exaggerates the effects of that process and feedback is one of my favourite tricks, it gives you MORE but always suprises you. This is part of a piece i am working on using four “oscillators” which are feedback loops through delays. By cross-feeding and phase-shifting the feeding you can make anything from tuned harmonic drones to noise. I expect that this shares something with David Tudor’s work but this is all in software. (Max 7) They are difficult to control though and this is edited from a long recording when i was trying to write a song about Aleppo but couldn’t find the words. 2) In addition this piece is AMBISONIC to an extent. The oscillators are tapped at 4 different points (wxyz) to create a spatial image. Ambisonics is my other tip/trick/obsession, such an easy way to deal with 3d space and all the patents have expired so all the knowledge is mostly free and available - even for VR, just google it. Here using ATK plugins in Reaper to mix and Binaurally render the 4 channel recordings made in Max7 down to stereo. listen on headphones! and, off topic #0242 makes me think - who remembers Front 242? or the 242 Pilots for that matter?

https://en.wikipedia.org/wiki/List_of_Ambisonic_Software

this track is dedicated to the people of Aleppo.


More on this 242nd weekly Disquiet Junto project — “Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware” — at:

http://disquiet.com/0242/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/share-yer-knowledge-disquiet-junto-project-0242/


Feed(Aleppo)[disquiet0242]

The stress off modern life can be a bitch so I often find a little bit of sonic mayhem is just the balm I need. First I must stress this point -that you MUST delete all prior tracks as you move along your path of destruction, do not hold onto anything no matter how much you like something that happened. You must commit fully to come out the other side. I do this mostly with drum tracks as they often have the hardest attack and shortest decays and kicks just rock. I put 2 drum loops in. The first one stays the same the 2nd I warp to 2/3 time and do some more warping to get it out of time. I then crossfade those tracks to a new track. This will still have a bit of rhythm to it and that will have to go. Take that track copy it another track and start a a different point. The crossfader will now start clipping those sounds,record that to a new track. Now record that track and using the mouse to change the tempo using big and little changes. That new track now must be unwarped in ableton so that the tempo changes stay. Now you can use the new track and do some transposing. Because it is not warped the transposing also changes the speed of everything. Each new track can be copied and crossfaded between using a different start point. Keep doing this process till you feel the stress leave your body. At no point do I add fx. Fx too early in the process kills the slicing effect of the crossfader. When you finally reach you last track then you copy and paste that to another track. Now add fx to it but record it with you scrolling through the presets at whatever rate feels right. Now crossfade that track with the track with no fx and record to one track. Copy that track once and add different drum master fx to each. Pan one a little left and the other right. Master the master to taste. You should not be attached to the final track. That is not the point. The point is where your head is at now.
More on this 242nd weekly Disquiet Junto project — “Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware” — at:

http://disquiet.com/0242/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/share-yer-knowledge-disquiet-junto-project-0242/4218

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

The image associated with this project is by Susanna Bolle, and is used thanks to a Creative Commons license:

http://flic.kr/p/8F9Jmz

How to Obliterate a Drum Track and Find Inner Peace (disquiet0242)

Thank you to @autumn-drones for being a gracious host, a fine collaborator, and an amazing caretaker of synthetic technologies that would make your head spin. Check out his releases:

https://autumndrones.bandcamp.com/

So this week's Junto asks us to share a trick or technique that we utilize with a particular piece of hard/software. My response might be perceived as a willful disregarding of the spirit of this task, but I'm completely serious in my desire to share one of the most important aspects of music creation for me; namely face-to-face collaborations for real-time improvisations. I get such a boost of creative energy by working with other individuals who are consciously creating and responding to our shared space. The improvisational nature makes for an invigorating propulsion, and having another person helping to keep the figurative balls up in the air whilst juggling our way through means one can take more and more risks in development. Are their bumps and blemishes? Of course. But there are also moments approaching the sublime. 

Find someone to create with live. Have them come to your place. Go to their place. Take a few pieces of gear. Don't overthink it. Jump in and let it all hang out. Even if the results aren't up to your normal standards, I guarantee you'll learn something new about how you create. If you're fortunate enough to have access to a person like Timothy Stoneberg (aka autumn drones) all the better for you because you'll have even more opportunity to learn through explorations. 

This piece is the first one that we knocked out and we started it within minutes of sorting out our audio/control routings. Timothy's Cirklon was his co-brain in this, and they fed MIDI to my Two-Voice Pro. This made my instrument behave in a way that I'd not encountered before. There were certain things that I couldn't do that I normally can ... like octave shift the voices up and down with the press of a button. This meant I would be locked into a relatively narrow pitch range which was an unexpected  limitation. So I had to work to change things that I could control, like timbres. I also stepped out and did more raw oscillator tunings that I would normally do, sweeping the dials up and down to at least partially change the pitched zone. 

As the song proceeded, I found myself fatiguing of some of the repetitions, and I was keen to try introduce rhythmic variations. I began opening and closing the envelope stages more aggressively, and using the knobs more like I used to approach DJing with a mixer's crossfader while cutting and scratching. This opened up a whole other area for exploration. Finally, being synced to a shared global clock, I discovered I could still adjust my sequence's length anywhere from 1-16 steps, and uneven numbers would create interesting results when played against Timothy's chords, drums, and lead lines. 

I know this is ridiculously long contribution, but it really pushed us both to keep things developing, morphing, and changing as the nearly 40 minutes passed. 

This was the first time that we worked together and it won't be the last. Production, especially electronic production, can be really an isolated experience. I think that's why so many of us reach out and participate in groups like this. To feel a sense of camaraderie, and to share inspiration with each other. If you enjoy it online, you GOTTA' try it in the flesh. 

More on this 242nd weekly Disquiet Junto project — “Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware” — at:

http://disquiet.com/0242/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/share-yer-knowledge-disquiet-junto-project-0242/4218



Video

Quilting Time At The Chime Factory (disquiet0242)

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.

Quilting Time At The Chime Factory (disquiet0242)

337is (three three seven is)

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