like the vibrato effect, goes well with the video.

Great wobble - I hear the connection with the image...

This is amazing too. I love the duality of the slow moving waves with the fast upper part.

the sensation of gravity-free suspension. lovely.

**Production Notes**

This music is meant to accompany a video loop (see below). The work from Josh Azzarella is a superb piece: I really enjoyed its color scheme and the aspect of de-focussing. Put me in meditation mode instantly. 

Like Rizzi, I did a lot of experiments with the ambient v.3-Software lately. One of them fitted perfectly. I edited an short loop from it, which might help the viewer to concentrate on his breath. 

Applied a little mixing fairy dust (Delays, EQ, Compression), mixed it for speakers, which you find usually in museums. Should also work in a more quiet context. 

Thanks, this was lot of fun. 

* * *

**Disquiet Junto Project 0138: Video Sonic Void**

The Assignment: Compose a 2.5-minute soundtrack to complement a work of silent video art.

Many thanks to the San Jose Museum of Art for inspiring and encouraging this project.

This week’s project involves writing music to accompany a short video. The video is “Untitled #8, 2004″ by the artist Josh Azzarella. His original work is silent, and we’ll be adding music to it that complements the source material. Do note that the video is intended by the artist as a “Never Ending Loop.”

(...) 

The “Untitled #8, 2004″ video is archived along with other works on the following page at the artist’s website. “Untitled #8, 2004″ is the fourth video in from the left. Its length is 2:31 (2 minutes and 31 seconds):

http://www.joshazzarella.com/videoworks200408/

https://vimeo.com/21678371

Background Information: The “Untitled #8, 2004″ video by Josh Azzarella is part of the permanent collection of the San Jose Museum of Art in San Jose, California. This Disquiet Junto project is the result of an invitation by the Museum for me to develop a sound installation to be displayed on its second floor from October 2014 through February 2015. Tracks submitted to this project will be considered for inclusion in that installation.

Restrictions: Please do not, at the museum’s request, post the video online with your audio.

(...) 

More on this 138th Disquiet Junto project — “Compose a 2.5-minute soundtrack to complement a work of silent video art″ — at:

http://disquiet.com/2014/08/21/disquiet0138-videosonicvoid/

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/

The image associated with this track is a still from the video that inspired it: “Untitled #8, 2004″ by Josh Azzarella.


Inhale, Then Exhale [disquiet0138-videosonicvoid]

Messing with the nn~ operator in MAX/MSP and two pre-trained RAVE AI models resulted in this uncanny voice recording. Strangely stuttering, but almost language. If you'd like to see exactly how it was created, check out the accompanying video @ https://youtu.be/WwNYD3Sm4H4

More about RAVE models @ https://github.com/acids-ircam/RAVE

Huge thanks to Intelligent Instruments Lab for making their RAVE models available @ https://huggingface.co/Intelligent-Instruments-Lab/rave-models

visual explanation

halF inflectioN

Original song using KORG Gadget.

Photo: https://stocksnap.io/photo/silhouette-woman-ZTFQL8008P by Allef Vinicius (https://stocksnap.io/author/30516)

Thank you, stars！

Envelope followers and synced effects applied to the track @xiiixxi created for the previous week's Disquiet Junto.

Thank you, @xiiixxi for a great track.

--
More on this 620th weekly Disquiet Junto project, Beat Accrual Accrual (The Assignment: Turn someone’s slow-build beat into a finished track), at: https://disquiet.com/0620/

About the Disquiet Junto: https://disquiet.com/junto/

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0620-beat-accrual-accrual/

follower ft. x_i_i_i_x_x_i (disquiet0620)

Suss Müsik’s entire creative practice is centered around the quest to derive gold from detritus. It’s likely an attribute shared with carefree art school days of an earlier era: a time when post-modern photography, sweaty punk rock, and ramen noodles served as daily sustenance.

“Photographs, so much a part of our daily lives, become highly self-conscious when pulled from the fraying of their ordinary locations,” wrote the art critic Julia Ballerini in 1989. “They refer back to their origins in a different voice … suggest[ing] a complexity of potential attachments, detachments, and reconfigurations.”

For this week’s project, Suss Müsik utilized four handmade devices recently built from material laying around the workshop: a digital sample trigger, a joystick-activated grain synth, a touchscreen MIDI device, and a touchscreen modulation controller. These were used to manipulate sonic material (loops, found audio, etc.) from the backlog, some of which has been in the works for more than eight years.

Given the nature of this week’s offering, Suss Müsik captured the session on video. 

https://youtu.be/z-bk_wxwhMo

The piece has no title and was recorded live to a TASCAM 8-track.

More on this 621st weekly Disquiet Junto project, The Leftovers (The Assignment: Use recently discarded material to make something new), at: https://disquiet.com/0621/

About the Disquiet Junto: https://disquiet.com/junto/

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0621-the-leftovers/

Disquiet0621

sound art for disquiet0622.

a stereo shadow.

More on this 622nd weekly Disquiet Junto project, Know the Shadow (The Assignment: How do you depict a shadow in sound?), at: https://disquiet.com/0622/

About the Disquiet Junto: https://disquiet.com/junto/

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0622-know-the-shadow/

frozen shadows (disquiet0622)

Participation in the "Disquiet Junto" project led by Marc Weidenbaum: Know the Shadow.
The Assignment: How do you depict a shadow in sound?
https://disquiet.com/0622/
From a field recording:
https://soundcloud.com/gerard-paresys/cloche1

Excerpt from "I Have Never Seen A Sound" by R. Murray Schafer 2009:
"Sounds tell me about spaces, whether small or large, narrow or broad, indoor or outdoor. Echoes and reverberation inform me about surfaces and obstructions. With practice I can begin to hear “acoustic shadows,” just like the blind."

The distant sound of the carillon bells at Reims Cathedral.
The shadow and light of stained glass.
The people. Their footsteps. The birds.

With a PureData bandpass filter patch:
https://github.com/gerardparesys/ARGOPd/blob/master/ExMM/ExMM190-FFTEqualizer/ExMM190f-FFTEqualizerHalfOct.pd

--------------------------------------------------

Participation au projet "Disquiet Junto" de Marc Weidenbaum: Connaître l'ombre.
Comment représenter une ombre dans un son ?
A partir de cet enregistrement:
https://soundcloud.com/gerard-paresys/cloche1

Extrait de "I Have Never Seen A Sound" par R. Murray Schafer 2009:
"Les sons me renseignent sur les espaces, qu'ils soient petits ou grands, étroits ou larges, intérieurs ou extérieurs. Les échos et la réverbération me renseignent sur les surfaces et les obstacles. Avec de l'entraînement, je peux commencer à entendre les "ombres acoustiques", tout comme les aveugles."

Le son lointain du carillon de cloches de la cathédrale de Reims.
L'ombre, la lumière des vitraux.
Les gens. Leurs pas. Les oiseaux.

Avec un patch Pure Data:
https://github.com/gerardparesys/ARGOPd/blob/master/ExMM/ExMM190-FFTEqualizer/ExMM190f-FFTEqualizerHalfOct.pd

--------------------------------------------------

Project discussion takes place on llllllll.co: 
https://llllllll.co/t/disquiet-junto-project-0622-know-the-shadow/

Shadow - Disquiet0622

JAMUARY 24 - Day 25

"Take one held tone and make it dance slowly"

HI, I used a single Saw waveform playing a C note. I made it evolve using the Mod-wheel mapped to filter frequency cutoff and the knobs and faders of my midi controller mapped to tweak filters and LFO in real time.
Recorded two parallel tracks, one tweaking a square waveform LFO1 mapped to "volume" , the second track tweaking a pulse LFO2 mapped to Filter-Cutoff.



For:
https://llllllll.co/t/disquiet-junto-project-0631-in-a-silent-waveform/

It's Only A Saw Waveform (disquiet0631)

Hey Guys!

This is my entry for this week's producer's challenge #334. This record was made using seven samples:

Ojos Brujos by Esther Borja
Trumpet on the Beach by Pascal Auriat
EP By Santi Arisa|Sisa|Pau Riba
Curahan Rasa by Trio Manja
Seelenschwingung by Rainer Dimmler Quartett
Uccidere in silenzio 3 by Stelvio Cipriani
Do You Really Love Me by The Four Mints

Congratulations to the winner's of last week and Enjoy!
Follow me @Prodby_Deion on Facebook|Twitter|Instagram|YouTube

Time Again 27 By Deion Productions (Producer's Challenge #334)

Ensemble SEV 

Maayan James - Saxophone 
Dennis Sobolev - Electric guitar
Dan Weinstein - Cello

Ori Kadishay - Recording & Mix

Anat Nazarathy - Photo

Recorded on 2nd October 2023 in the Mazkeka Studios, Jerusalem

Things I Deleted for Baritone sax, Electric guitar and Cello

Anatol Locker
Ambient | Electronica | Experimental

Inhale, Then Exhale [disquiet0138-videosonicvoid]

analoc

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