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

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

The field recording at the beginning is a Bombe (designed by Alan Turing) running at Bletchley Park. The ticking is a vintage Swatch watch clipped to a Mikrophonie contact mic, run through an analogue delay. The main drone is coming from a Moog BFAM, with the filter slightly modulated by a Batumi sine LFO. The KR-55 drum machine is being clocked at audio rate from the BFAM's clock output, which itself is being modulated via a square wave from the Batumi. The KR-55's hi-hat, bass drum, and snare are blended in and out manually. The BFAM's sequencer is finally engaged at the end to produce the bleeps. Additional delay and reverb by Strymon.

More about the Bletchley Park Bombe rebuild:
http://www.bletchleyparkresearch.co.uk/research-notes/the-enigma-busting-bombe-machine/
http://www.bomberebuild.webspace.virginmedia.com/rebuild1.htm

Bruce: Moog BFAM, Korg KR-55, modular, live mixing
Karin: Sony PCM-M10, recording

Recorded live at The Library.

Bombe photo by Bruce.

Number Cruncher

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]

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

Number Cruncher

antenna_research

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