a consistent and convincing concept, I would have watched the series :)

More on this 137th Disquiet Junto project — “Produce an original piece of music that fits the genre ‘old-time electronica’″ — at:

http://disquiet.com/2014/08/14/disquiet0137-oldtimeelectronica/

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/

Photo associated with this track, of a working Babbage Engine, by Larry Johnson, courtesy of a Creative Commons license at:

https://flic.kr/p/8uw1KJ

Disquiet Junto Project 0137: Old-Time Electronica

Really vague about what electronica means but it suggests "pop" to me rather than experimental. "Old-time" brought to mind the Wendy Carlos "Switched on Bach." Disco music also came to mind. 

I used a Kaosillator with 2 patches that sounded retro to me, created 2 tracks and then aligned them in Logic and wrapped it up using a Channel EQ preset called Boombox, a word which for me conjures days of yore.


Rather goofy, was not sure if I should post it, but it is mercifully short.

***********



More on this 137th Disquiet Junto project — “Produce an original piece of music that fits the genre ‘old-time electronica’″ — at:

http://disquiet.com/2014/08/14/disquiet0137-oldtimeelectronica/

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/


Heckuva Pile  [disquiet0137-oldtimeelectronica]

This is a remix of the Edison Concert Band's recording of "Nearer, my God, to Thee" (1902). The original recording was downloaded from archive.org. I did "electronic processing" on this old-time hymn to create something impossible at the time it was created: a time-stretched version with a drone created from part of the recording as well, and a phasing effect created by slightly different stretch lengths. My hope is that this version helps people hear this hymn in a new way. (Apologies that I went over the time-limit guidelines a little.)

More on this 137th Disquiet Junto project — "Produce an original piece of music that fits the genre 'old-time electronica'" — at:

http://disquiet.com/2014/08/14/disquiet0137-oldtimeelectronica/

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/

Nearer, my God, to Thee (remix) [disquiet0137-oldtimeelectronica]

Disquiet Junto Project 0137: Old-Time Electronica

Pineal Pionears [disquiet0137-oldtimeelectronica]

For me, this means going back to composers like Louis and Bebe Barron and their 1956 magnetic tape soundtrack to “Forbidden Planet” (check out https://www.youtube.com/watch?v=oNKhju6Pryg ), as well as Morton Subotnick, Walter Carlos and all those records from the Princeton University computer music workshops that I got my hands and ears on in the 60s.

Steps taken:

In the spirit of minimalism, I worked only with 2 sine waves and a click track, both generated by Audacity. These were modified using plugins and pitch shifting, with shorter more heavily modified sections used to create a gradually changing soundscape.

(See the whole Forbidden Planet poster here: http://cdn-images.9cloud.us/476/piccit_the_forbidden_planet_poster_1296502960.jpg


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


The Assignment: Produce an original piece of music that fits the genre “old-time electronica.”

All Disquiet Junto projects employ constraint as a means to stimulate creativity and productivity. Sometimes this means limiting oneself to specific source material, other times to a conceptual approach, and there’s always the additional constraint of time: the deadline is approximately four days, depending on your time zone.

For this Disquiet Junto project, the constraint is a matter of terminology. This week we’re exploring how the concept of “genre” can itself serve as a restraint, and we’ll accomplish this by pushing back at genre conventions.

The project instructions are straightforward: Record an original piece of music that you feel belongs within the genre of “old-time electronica.”

Restrictions: You can use any source material, any instrumentation, except the human voice.

More on this 137th Disquiet Junto project — “Produce an original piece of music that fits the genre ‘old-time electronica’″ — at:

http://disquiet.com/2014/08/14/disquiet0137-oldtimeelectronica/ 

More on the Disquiet Junto at:

http://disquiet.com/?p=16588


Join the Disquiet Junto at:

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




Pineal Pionears [disquiet0137-oldtimeelectronica]

As a solo parent this weekend, my plans to hook up gear and produce handmade electronica haven't eventuated. So I returned to an earlier idea to work with a MIDI file and honour my introduction to electronic music as a child listening to Wendy Carlos' Switched On Bach.

This piece uses Lokomotiv, Absynth and the Minimojo Reaktor VST synths and was edited for brevity.

More on this 137th Disquiet Junto project — “Produce an original piece of music that fits the genre ‘old-time electronica’″ — at:
http://disquiet.com/2014/08/14/disquiet0137-oldtimeelectronica/

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: http://en.wikipedia.org/wiki/File:Johann_Sebastian_Bach.jpg

Switched on Joy of Man's Desiring [disquiet0137-oldtimeelectronica]

My interpretation of "old time electronica" was to take a song associated with the dawn of pop music and treat it as the raw material for an electronic track. My choice is "Daisy Bell", a public domain song written in 1892 by Harry Dacre, and used in the first computer speech synthesis at Bell Labs in 1961; Arthur C. Clarke saw this demonstration and incorporated it into the screenplay and novelization of 2001: A Space Odyssey.

The first section of the track is the original chorus melody and chord progression played on soft synths in Ableton, with a light percussion track made from samples from Beats & Breaks. For the second run-thru of the chorus melody  the chord progression is replaced with a version made using the Coltrane Changes; John Coltrane pioneered chord substitutions in his performances that used a major third movement to give an odd, airy quality to the harmony. For "Daisy Bell", which is in C major, the original chord progression follows the melody closely, as is the custom for most popular music. In its place I used the Dm7-G7-C progression. 

The jazzy timbre of those chords reminded me of Squarepusher's record Hard Normal Daddy, which used chords and melody combinations usually associated with jazz in conjunction with breakbeats. This track gradually adds more percussion elements, all chopped up from samples from Beats & Breaks.   

Once the new chord progression is introduced, the softsynth playing the melody has a random MIDI note generator, C major scale effect, and Bass-Beat Decoder added to it, with MIDI notes being triggered at the same rhythm as the original melody. The random notes were played & recorded to a separate track, and that MIDI information was placed in the initial softsynth track, with the MIDI effects removed. 


////

More on this 137th Disquiet Junto project — “Produce an original piece of music that fits the genre ‘old-time electronica’″ — at:

http://disquiet.com/2014/08/14/disquiet0137-oldtimeelectronica/

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/

Daisy Hell [disquiet0137-oldtimeelectronica]

We decided to aim for something the Radiophonic Workshop might cook up for the title sequence of an early '70s children's television series. With that in mind, we considered electronically treated acoustic sounds fair game. The drum is a slowed down recording of Karin hitting a record crate.

Bruce: Moog Sub 37, Piano
Karin: Pittsburgh Modular System 10, Samplr, virtual tape cutting and pasting

Recorded in mono at The Library.

Gate sounds from Tomlija on Freesound.org.
http://www.freesound.org/people/Tomlija/sounds/109710/

Photo from Darkroom Daze.
https://www.flickr.com/photos/brize/8525863612

***

More on this 137th Disquiet Junto project — “Produce an original piece of music that fits the genre ‘old-time electronica’″ — at:

http://disquiet.com/2014/08/14/disquiet0137-oldtimeelectronica/

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/


Beyond the Gate (opening titles) [disquiet0137-oldtimeelectronica]

track from "Silencers - the conspiracy theory dossiers" release.
https://sonologyst.bandcamp.com/album/silencers-the-conspiracy-theory-dossiers

Sonologyst: electric guitar, dronin, electronics, sound processing. 

Edited by Unexplained Sounds Group 
Mastering: Sonologyst 
Cover image by Absolute Plank 

Given the mixture of a treasure chest of governments money, and private connections, the likelihood exists that six decades later there is a clandestine group that possesses: 

- Technology that is vastly superior to that of the “mainstream” world. 
- The ability to explore areas of our world and surroundings presently unavailable to the rest of us. 
- Scientific and cosmological understandings that give them greater insights into the nature of our world 
- A significant “built off the grid” infrastructure, partially underground, that affords them a high degree of secrecy and independence of action. 
This might well qualify them as a separate civilization – one that has broken away from our own, in effect, a breakaway civilization. Still interacting with our own, its members probably move back and forth between the official reality of what we are supposed to believe, and the other reality which encompasses new truths and challenges. 

Excerpt from the book “A.D. After Disclosure” written by Richard Dolan and Bryce Zabel 

For a serious introduction to the conspiracy theory, and the Breakaway Civilization, here's a link to an excerpt from the book “A.D. After Disclosure” written by Richard Dolan and Bryce Zabel 
www.afterdisclosure.com/2011/04/breakaway.html

NASA Secret Tapes

Every Recording of Gymnopédie 1

buy the vinyl

Every Recording of Gymnopedie 1, Slowly

MakeNoise Tempi patch experiment

Made with maximal drone synth, moogerfooger ring modulator, and Samplr.

Monodron

TRACKLIST

ML175: Karl Fousek

EP-length mix comprising bits of longer vocal pieces.

Craig Hella Johnson and Conspirare - Tarik O'Regan: Threshold of Night
Schola Cantorum - Knut Nystedt: O Crux
Paul Hillier and Theatre of Voices - Arvo Pärt: Solfeggio
Missy Mazzoli - Wayward Free Radical Dreams (from "Vespers For A New Dark Age")
Joseph C. Phillips Jr. and Numinous - Behold the Only Thing Greater Than Yourself (from "Changing Same")
Joan La Barbara - Klee Alee (from "Reluctant Gypsy")
Meredith Monk with Robert Een - Vessel: An Opera Epic - Little Epiphany / Sybil Song
Exaudi: Aaron Cassidy - A Painter of Figures in Rooms, for Eight Voices
James Wood and New London Chamber Choir - Iannis Xenakis: Nuits
Claudia Böttcher - Luciano Berio: Sequenza III per voce femminile
Robert Geary and the San Francisco Chamber Singers - Mark Winges: Freed from Words
Michel Tranchant and the Groupe Vocal de France - Giacinto Scelsi: Tre Canti Sacri - I: Angelus
Brad Lubman and Radio Kamer Filharmonie & Nationaal Jeugdkoor - Joep Franssens: Phasing

I Feel Voxish: Contemporary Experimental Choral and Solo Vocals

https://hearthis.at/sevenism/crimson-sky-disquiet0232/ (full piece)

i do a lot of this. gave myself some extra constraints.. didnt use a noise gate or any limiting so if it went mental i'd have to deal with it on the fly. i wanted to get it so there was a complicated rhythm, bass, and mid/hi melody. recorded first go, came out ok.

all done in podfarm.. synth mods, wah, delays, reverb etc .. 20 modules across two fx chains

maglmmagkamgdkfadmsgdvblmbfbl;s,;s,bldf';.s'dFB:d.b';db#

Disquiet Junto Project 0232: No Input
The Assignment: Record a piece of music exploring the concept of “no-input mixing.”

This week’s project explores the concept of no-input mixing. For background, including a tutorial, this Synthtopia article, summarizing more detailed coverage by the Department of Performance Studies at Texas A&M, might prove useful:

http://www.synthtopia.com/content/2014/10/27/no-input-mixing-tutorial/

Step 1: Read up, if it’s not already familiar, on the concept of “no-input mixing,” which involves creating feedback by taking the output of a mixer and plugging it into the input of the same mixer, thus exposing and building on inherent (i.e., noisy) sonic properties of the device.

Step 2: Experiment with no-input mixing.

Step 3: Record a short piece of no-input mixing music.

Step 4: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in the afternoon, California time, on Thursday, June 9, 2016, with a deadline of 11:59pm wherever you are on Monday, June 13, 2016.

Length: Length is up to you, though between two and three minutes seems about right.

Upload: Please when posting your track on SoundCloud, only upload one track for this project, and be sure to 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. Photos, video, and lists of equipment are always appreciated.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please in the title to your track include the term “disquiet0232.” Also use “disquiet0232” 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 232nd weekly Disquiet Junto project — “Record a piece of music exploring the concept of ‘no-input mixing.'” — at:

http://disquiet.com/0232/

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-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums

https://hearthis.at/sevenism/crimson-sky-disquiet0232/

more of the same

Crimson Sky (disquiet0232)

Two channels of audio mixer feedback are the sound sources. Channel 1 has a Serge Phaser inserted between send and return; Channel 2 has a Serge Resonant EQ inserted between send and return. Both Channels are controlled by their own VCAs within their feedback loops, the level of which affects both the pitch and volume of the feedback. Channels 1 and 2 are then fed into a crossfader before the final output.

Each VCA, and the X-fader have their own LFO (either a Serge Dual Transient Generator, or  Dual Universal Slope Generator). 

A slowly clocked Serge TKB provides the animation:

Row A: Phase Shift position for Channel 1
Row B: Channel 1 LFO rate
Row C: Channel 2 LFO rate
Row D: Crossfade LFO rate

All four row outputs go through slew generators (more Serge DTGs and DUSGs)to provide gradual shifting animations as the TKB advances from stage to stage.

******************
Disquiet Junto Project 0232: No Input
The Assignment: Record a piece of music exploring the concept of “no-input mixing.”

This week’s project explores the concept of no-input mixing. For background, including a tutorial, this Synthtopia article, summarizing more detailed coverage by the Department of Performance Studies at Texas A&M, might prove useful:

http://www.synthtopia.com/content/2014/10/27/no-input-mixing-tutorial/

More on this 232nd weekly Disquiet Junto project — “Record a piece of music exploring the concept of ‘no-input mixing.'” — at:

http://disquiet.com/0232/


disquiet0232 XRMX

I followed the tutorial at http://www.synthtopia.com/content/2014/10/27/no-input-mixing-tutorial/ to create a feedback loop between two Mackie mixers (models 1402-VLZ and 1202). While adjusting EQ and levels on the two mixers, I recorded a few takes. Then for a different approach, I added Sonic Charge's Permut8 effect to a blank track in Reaper and turned the input, feedback, output, and mix levels to their maximum to produce feedback. I assigned several knobs on my Korg nanoKONTROL2 to various Permut8 parameters, then recorded while tweaking those knobs. Finally, I sliced the takes, arranging the most interesting parts together. The mixer feedback section runs for the first 58 seconds; the rest is the Permut8 feedback.

More on this 232nd weekly Disquiet Junto project — “Record a piece of music exploring the concept of ‘no-input mixing.'” — at:
http://disquiet.com/0232/

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-junto/

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/

Image associated with this project is by Andy Piper and it is used thanks to a Creative Commons license:
https://flic.kr/p/5N7TPV

Circuit (disquiet0232)

Transitus [disquiet 0237]

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.

Antenna Research is Karin Kross (@hangingfire) and Bruce Levenstein (@brucelev). 

Beyond the Gate (opening titles) [disquiet0137-oldtimeelectronica]

antenna_research

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