Marc Weidenbaum

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

I've wanted to get a white-noise module for awhile, and finally added one to my setup. This module has 7 different noise sources, including white, red, grey, and blue. Each is being triggered by a different sequence. They're all in sync, though one is slightly delayed, which lends a tiny bit of character to the cadence, I think. The only reason I skipped pink is because I don't have any pink cables right now, and the color-coded cables helped me keep track of things.

You can blame this on someone who's listened to too many Chain Reaction releases, too much Consolidated, and too many scores to Michael Mann films.

Slightly more technical information: The sequences are all in CV Toolkit (a piece of software running on my laptop), and they're getting to my modular synthesizer via an Expert Sleepers ES-3 module. The noise-source module is the Quantum Rainbow 2. The white, red, and grey sources are all receiving sequences directly from the software. The blue source is getting a slight trigger delay (and a slightly extended length to the trigger), thanks to the Doepfer A-162. The whole thing is being mixed in an ADDAC 802 VCA Quintet, and out through a Pittsburgh Outs, through a Focusrite Scarlett 2i4. It was recorded in Audacity. 

White Noise Beat

I was asked by the Dutch musician Michel Banabila to contribute a remix to Marilli Remixed, a collection of reworkings of tracks from his very first album, Marilli, released in 1983. I selected the fourth track on the first side of the LP.

The original was elegant, but had percussion throughout. I wanted the ambient quality more formalized, and the percussion a little more muted and arhythmic.

. . .  

Here are some notes on my remix. I’ll note in advance, they’re fairly technical, as a notebook entry on what went into this, and what I learned in the process.

I used the my modular synthesizer (mostly filters, and a little triggered live sampler), the software Audacity (to sequence it, and also for some effects), and my Monome (running the mlr patch in the software Max). 

First I stretched a relatively percussion-less segment of the original track to get an ambient bed, yielding in the end something about 30 seconds long. I set it to run eight times in a row, overlapping to varying degrees at each repeat. 

Then I extracted a small percussion loop from the original. I did a "live performance" of that percussion loop with the Monome (four simultaneous tracks: one straight through, two running tighter sub-loops against each other a little quieter, and one in reverse even quieter still, though it's also the last bit to fade out of that sequence, so it has a little moment in the sun). The loop ran a little slower than the original, and I used a small Novation Launch Control to manage the relative volume of the four tracks within mlr.

And then I used my modular synthesizer to create variations on the ambient bed, which I layered in at various stages. 

In the end I had eight tracks in Audacity:

The 1st and 3rd tracks are the eight sequential repeats of the ambient sound bed, each intersection overlapping to varying degrees.

The 2nd track is a filtered version of the ambient bed, which has a slow LFO on it (giving it a light Laurie Anderson–ish "ha ha ha" feel) and some echo. This was done on the modular using a filter (either the A-121 or the A-136 or the Z2040 — my notes are unclear — influenced by a digital LFO, the Hikari Sine, and then run through an Eko module).

The 4th is the "live performance" on the Monome of the percussion loop, running mlr. It has four tracks of the loop doing different things. I used a Novation Launch Control to balance the volume of those four tracks.

The 5th is a copy of the ambient sound bed, pitched lower for the full length of the loop. This gives it that deep vibe for the penultimate repeat of the ambient bed. In track 1 at that same stage the volume of the original ambient bed is a little quieter, to let the deep version sound even louder than it is, in relative terms. 

The 6th track is a copy of the ambient bed but pitched higher, and I just use it for a very short moment, a final peak before the track fades out. 

And the 7th and 8th are two different instances of the same tweak of the ambient bed, which I did in the modular using a Harvestman Polivoks. It's a tingling, slightly irritating sound, a momentary breach in the ambience.

The whole idea is it opens with this expanse, and then goes to something a little tribal, and then returns to the expanse. I'll be honest about my influences here. The ambient bed is striving toward Brian Eno's Thursday Afternoon, and the rhythmic part has Peter Gabriel's soundtrack to The Last Temptation of Christ in mind. The first appearance of the Polivoks "irritant" is then repeated toward the end to provide a sense of reflection on where the piece started, but in between is that percussion performance. The deep vibe in track 5 gives an orchestral sense of closure, and the peak in track 6 is little filigree, like the clouds breaking, before it all ends.

At least that's where I ended up. It wasn't where I started. When I started, it was all gonna be about this firecracker/rattle sound in the original, but in the end I went a totally different direction.

Free Album Download

"A4. Marilli Rmxd 14"

Download / buy the vinyl: https://heyexit.bandcamp.com/album/every-recording-of-gymnopedie-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)

A ../.... pattern is sequenced on a Moog BFAM and on a Tirana modular sequencer. The Tirana is running tones created by modulating a Make Noise Telharmonic, with pitches randomly generated by a Qu-Bit NanoRand. As the track progresses, the Tirana sequence speeds up, and distortion and delay are applied further to the BFAM.

A distorted field recording is looped on a Radio Music and sent through spring reverb.

Finally, a Minitaur drone underscores the whole thing.

Fair warning: this gets really loud in spots.

Karin: Eurorack modular
Bruce: Moog BFAM + Strymon El Capistan, Moog Minitaur

Recored live at The Library

* * * 
Disquiet Junto 0236: Hello Jun(t)o

More on this 236th weekly Disquiet Junto project — “Say hi to the Juno Spacecraft by embedding Morse code in an original composition” — at:

http://disquiet.com/0236/

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 on a Slack (send your email address to twitter.com/disquiet for inclusion) and at this URL:

http://disquiet.com/forums/

More on the Juno Spacecraft technology at:

http://spaceflight101.com/juno/spacecraft-information/

More on the “Say ‘Hi’ to Juno” ham operator project here:

http://www.jpl.nasa.gov/video/details.php?id=1263

Image associated with this project courtesy of NASA.

Juno and Monsters Beyond the Infinite [disquiet0236]

Transitus [disquiet 0237]

disquiet 0245
Disquiet Junto Project 0245: Practical Music
Write a piece of music for getting things done, suitable for playing on repeat.

Clean up, routine, tiding up....that leads me to repetitive stuff.
I played a simple riff on my “diaz custom5”  drake bass guitar, very repetitive and yet variations going from A to D to D/E with no real structure.
Added a synth bass drone, and a Wurlitzer A200 electric piano improvising a bit.
Then some repetitive voices (tah-tah-tah-tah...) in four part harmony/
My usual rhythmic delays played a big role, here in 1/8th and 1/4th notes.
You can loop this, there’s no lead in or lead off.
Love
DD
Recorded in Paris, France September 9th  2016.

More on this 245th weekly Disquiet Junto project — “Write a piece of music for getting things done, suitable for playing on repeat” — at:

http://disquiet.com/0245/

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/disquiet-junto-project-0243-synth-trial/4288

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

Image associated with this project is by jurek d. and is used thanks to Flicker and a Creative Commons license:

http://flic.kr/p/npLwcU

clean it and loop it - disquiet0245

This is based on a Pure Data patch I made called "Oval Noise" because it reminded me of Markus Popp's ovalcommers-era sound. 

The patch is a mess since I just kind of threw it together with 3 oscillators playing one of four pitches randomly, with 2 of them summed up and the other being sent to another effect along with being summed with the other 2. 

Pure Data measures tempo by millisecond, so I started at 500 (i beat every half second), then divided it by 2, 4 and 6. The last little bit is divided by 8. 

Recorded into Audacity where I cropped it and fixed some clipping issues. 

||||

More on this 246th weekly Disquiet Junto project — “Compose a piece of music that increases speed in stages as it proceeds.” — at:

http://disquiet.com/0246/

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/double-quadruple-sextuple-music-disquiet-junto-project-0246/4549

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

Image associated with this project is by Oliver Gouldthorpe and is used thanks to Flicker and a Creative Commons license:

flic.kr/p/sMDxq

https://creativecommons.org/licenses/by-nc/2.0/

Latticeworks (disquiet0246)

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

Juno and Monsters Beyond the Infinite [disquiet0236]

antenna_research

Recent comments

Pod_9

Related tracks