FEATURING AN EXCERPT FROM ''NI NEGRA, NI BLANCA'' BY ELISAURA VÁZQUEZ 

DJ Atabey - Boricua Bass [La Guerrera Minimix] (feat. Elisaura Vazquez)

Secret Samba

"it's got a beat, and I can't dance to it ..."

They Luv DATs (Jugged Fish)

096-Charles Grob: “Psychedelic Research, MDMA Safety Issues, and more”

Here's a riff on the Make Noise Maths "Bouncing Ball" patch. It starts and ends dry, with only the bouncing ball patch in the mix. As the patch progresses I introduce delay (MOAR BOUNCE!), reverb, and filtered harmonics to emphasize the space between the bounces.

This strikes me as somewhat futuristic sounding in a sentimentally retrograde sort of way. Perhaps what the world of possibilities may have sounded to Bucky back in the 50s and 60s. I can't think of him without thinking about his domes and my own set of magnetic Bucky Balls. The balls are what inspired the basic concept of my contribution, and his domes are what provided me with additional sonic architecture to explore ... tracing out paths of possibility. Having seen a few retrospectives of his work, and hearing a few interviews with him, I get the sense he was incredibly playful. And it's in this one area I wish I could have produced something a bit more smile inducing. I feel this piece would likely be too sterile and cold to really capture his attention. It seems to me that he'd be more interested in something more obviously human and organic.

More on this 226th weekly Disquiet Junto project (“Compose music for a fictional greatest-hits collection of the electronic music of R. Buckminster Fuller”) at:

http://disquiet.com/0226/

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/

Project inspired by a dream that C. Reider of Vuzh Music had:

http://vuzhmusic.com/

Bucky Fall (disquiet 0226)

DrumTalk Boiler Room London DJ Set

@terrorhythm boss @plastician joins Skinny Macho (@blackfootphoenix)

➠blrrm.tv/C1PlasticianSkinny

Plastician + Skinny Macho – Boiler Room Channel 1 Round-Up 002

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)

Download, tracklist & more info: http://blrrm.tv/willandink

"Some might know me - Frits Wentink - for my contributions to the Wolf Music recordings and Detroit Swindle’s Heist label, or even as the label owner of Bobby Donny. What is probably unknown is that I have been releasing music from close friends on another vinyl label called Will & Ink. The focus for this outlet is mainly techno, but with a playful and forward thinking approach."

- @FritsWentink

Download + Tracklist

Upfront 081: Will & Ink

I love Minimalism in all forms. It's been an omnipresent force throughout my entire life. The American branch of musical Minimalism, with the trinity of Adams, Glass, and Reich probably does make up my own personal liturgy. As I dug deeper into the that vein and discovered the forerunners like Riley, Young, and next generation contributors like Bryars and Nyman, the world of Minimal music kept expanding. Ironic.

So, Reich is one of my favorites and I know his music intimately. I knew exactly what I wanted to do in this Junto; sort of a mashup between his percussive pieces like "Music for Pieces of Wood," and "Drumming," and something rooted in his phase works like Piano of Violin Phase. For my source material I selected a portion of this field recording that I gathered in Peru:

https://soundcloud.com/337is/conjunto-tipico-sensacion?in=337is/sets/field-recordings

I then set out to create a basic loop which took longer than I anticipated. Once I had the basic loop, I copied it multiple times and rendered it as a new file. I then took two instances of that file and adjusted the playback speed of the second iteration to be slightly slower than the first. I could definitely hear phasing, but it wasn't as precise as Reich's work and I was disappointed in the results. So I turned to slowing things down a lot. When I did that, the phase relationship was almost completely obscured. I can still hear a bit of the phasing in the syrupy pings and whirls of the radically pitched down material. I'm pretty unsatisfied with this as a piece of music related to Reich, but am reasonably soothed with it as simply a piece of music.

Doing this Junto revealed to me how much I don't know about my DAWs. I tried to do this in both Ableton and Reaper and struggled mightily to free the individual tracks from the project's root tempo. It seems like the software is explicitly designed to mesh everything into compatible rhythms. It was hard to free them from the tyranny of tempo.

More on this 249th weekly Disquiet Junto project — “Wish the minimalist composer Steve Reich a happy birthday” — at:

http://disquiet.com/0249/

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/happy-birthday-steve-reich-disquiet-junto-project-0249/

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

Secret Samba

Bateria Ouroboros

Related tracks