Recorded on a train between Boston and New York, 31 Mar 2022, between 11:15am and 11:30am by Jimmy Lem for Blister Pop Unlimited.  

©2022 Jim Lemanowicz

This original version of "mice three mice mice" was submitted as part of Disquiet Junto Project 0535: Jigsaw Disjunction. Break a familiar melody into pieces and play it in a different sequence.

More on the Disquiet Junto at: disquiet.com/junto/

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

Process notes -
This was recorded using Xynthesizr by Phonolynth, Eventide Ultratap, and Supergroup Audiosave within Audiobus 3 on an iPad Mini 4.

Xynthesizr allows the use of randomization and custom scales - my scale here consisted of only the first five notes of a major scale - do-re-mi-fa-sol.

This track was originally released under the artist name "Code Abandon."

mice three mice mice (disquiet0535)

I thought of Whiskey In The Jar, not Thin Lizzy's best song, but everyone knows it.
Recorded in SAMPLR
Played the licks from the intro
Rerecorded in ableton
Have fun!
The name of my track is an anagram

Ash Jerk White Yin(disquiet0535)

Sleeping With A Grease by Gossamer Horatio

I woke up this morning with a simple idea - do the OPPOSITE of what I am supposed to do and then just reverse the whole track. 

Recorded, mixed & mastered 21/22 Apr 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2022 Jim Lemanowicz

This original version of "Sleeping With A Grease" was submitted as part of ​Disquiet Junto Project 0538: Guided Decompression.  Get someone from tense to chill.

More on the Disquiet Junto at: disquiet.com/junto/

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

Process notes
Random generation of one MIDI part, Ableton Live Suite 11
- to focus more on the MIDI generation and effects here, I chose a preset for Live's Wavetable device named "Drunken Flutters."  
- added MIDI randomization of notes/velocity plus a scale quantizer and settled into a nice peaceful Hirajōshi scale meditation 
- I picked parameters I would change slowly when I hit record - wavefold distortion, the amount of notes being randomized and what notes I would change in the scale as the piece unfolded
- Set up a resample audio track and I hit record, changed parameters until I ended up with a more distorted & chaotic piece - about 5 min long
- Copied the resample to a new audio track, muted the other two, reversed, condensed it down to about 3:20 in the texture warp mode.
- Added two more noisy Live devices - Erosion and Redux & drew in automation to reduce these near the end of the track
- Added Reverb and Delay, did the opposite, adding more of each as it went.

Samples  
- added two slow stretched excerpts of outside birds and lawnmowers from 04/21 in panned stereo and faded them as the piece progressed

This track was originally released under the artist name "Gossamer Horatio."

Sleeping With A Grease (disquiet0538)

Snippet from an unused session for an upcoming album :
Minino Garay: percussion
Daniel Diaz: Upright bass, marimba

work in progress, unfinished.

dedicated to Dave Brubeck and Paul Desmond en May 5th 2022

https://llllllll.co/t/disquiet-junto-project-0540-5ive-4our

May Five (outake) disquiet0540

Disquiet Junto Project 0541: 10BPM Techno
The Assignment: Make some snail-paced beats.

When I saw the mail for Disquiet Junto Project 0541, I also saw a mail from Samplescience, announcing free 303 Loops. As I am no techno musician, I thought of being lazy and just used some of these 303 loops to play around. Strechted from 120 to 10 bpm within reaper they became very melodious and ambientic. I added some percussion and a kickdrum to fullfill what I think are minimum genre conventions (there was a "riser" sound which I left out). This may not be techno at all, but I like the bleeping 303s and the resulting track very much. A nice project!

--
Credits

303 Samples
https://www.samplescience.info/2022/05/abstract-303.html

Track image based on
https://unsplash.com/photos/m41k1lTzjVM

Party crowd ambience mostly
https://freesound.org/people/deleted_user_2104797/sounds/346683/

--

More on this 541st weekly Disquiet Junto project — 10BPM Techno (The Assignment: Make some snail-paced beats) — at: https://disquiet.com/0541/

More on the Disquiet Junto at: https://disquiet.com/junto/

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0541-10bpm-techno/

disquiet sampler album

10bpm Techno [disquiet0541]

Disquiet Junto Project 0543: Technique Check
The Assignment: Share a tip from your method toolbox.

A way of playing/improvising that I enjoy a lot is playing acoustic instruments into long delays with feedback. The delay creates a sort of loop, but audio processing in the signal chain changes the characteristics of the sound in a cumulative way: with each round through the delay line, the sound is further transformed. It feels a bit like you’re ‘sculpting’ the sound.
The basic technique is quite old, first implemented with tape loops over 50 years ago by artists like Terry Riley, Pauline Oliveiros; and later by Brian Eno & Robert Fripp (it’s often called Frippertronics). Modern digital equipment and software allow for more intuitive, instrument-like control of the audio processing and for on-the-fly routing and re-routing of audio signals. One of the setups I use a lot is a Max-controlled Ableton set where return tracks are set op as audio processing chains with the delays, and are then fed into themselves and each other using sends. 

Things can quickly get cluttered though: if you keep playing notes into the thing and everything gets fed back into itself, things are likely to get crowded. One technique that mitigates this issue is to have a pitch shifter in the signal chain that shifts everything down an octave: with each round through the delay line, everything is pitched down, until after a couple of rounds it dies in a highpass filter. I’ve found this to be a nice setup to explore harmonies and modes. As you play, you’re accompanied by the delayed, pitched down stuff you played before.
This little piece I made is an exploration of the phrygian mode. It’s a bit rough: I just did a couple of takes and this seemed the nicest.

More on this 543rd weekly Disquiet Junto project – Technique Check (The Assignment: Share a tip from your method toolbox) – at: https://disquiet.com/0543/

Laying Low (disquiet0543)

I looked up images of leaf development and used those as inspiration to improvise on the piano. I shaped the recorded midi track to make into a piece.

More on this 580th weekly Disquiet Junto project, Evo Evol Evolve (The Assignment: Record a piece of music that develops like an organism evolves), at: Disquiet Junto Project 0580: Evo Evol Evolve – Disquiet

More on the Disquiet Junto at: Disquiet Junto F.A.Q. – Disquiet

Subscribe to project announcements here: Disquiet Junto by Marc Weidenbaum (Disquiet.com)

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0580-evo-evol-evolve/

Leaflet improv/mptu (disquiet0580)

"Octobass pitched" #STBB853

Voici un des sons surprenants que j’ai pu enregistrer au cours du voyage en Patagonie en novembre 2023 avec Fernand Deroussen. 
Attention à utiliser un dispositif d'écoute permettant de bien restituer les sons graves !

En arrivant dans la vallée de Chingue, au sud-est de El Calafate, nous avions l’impression qu’il y avait des travaux dans un chalet, comme des coups de marteau. 
Alors que je cherchais à enregistrer un oiseau, j’ai pu entendre distinctement un son sourd, répétitif à quelques mètres de moi et ce son provenait du sol ! Il y avait des trous dans le sol, caractéristiques d’un micromammifère. En croisant plusieurs sources d’informations, j’ai alors pu déterminer qu’il s’agissait du Tuco tuco de Magellan (Ctenomys magellanicus). 

Déjà, Charles Robert Darwin dans son récit du voyage du Beagle entre 1826 et 1836 écrivait à propos de cette espèce : « Au R. Negro, dans le nord de la Patagonie, il y a un animal qui a les mêmes habitudes et probablement des espèces très proches, mais que je n'ai jamais vu. Son bruit est différent de celui de l'espèce Maldonado [Ctenomys brasiliensis] ; il n'est répété que deux fois au lieu de trois ou quatre, et il est plus distinct et plus sonore : lorsqu'on l'entend de loin, il ressemble tellement au bruit que l'on fait en coupant un petit arbre avec une hache, que j'ai parfois eu des doutes à son sujet » (Jaksic 2023).

Le capitaine du Beagle, Robert Fitz-Roy, rapporte que "ce nom indien [tucu-tucu], prononcé de manière gutturale, exprime le curieux son produit par ces créatures lorsqu'elles sont sous terre,  un bruit qui ressemble un peu au coup d'un marteau éloigné » (Jaksic 2023).  Le son peut être entendu à au moins 10-15 mètres du terrier (Francescoli 1999).
Les Ctenomys sont des rongeurs vivant dans le sol. Soixante-neuf espèces ont été décrites, toutes présentent en Amérique du Sud (Zache et al. 2021). 
Malheureusement, le répertoire acoustique de ces espèces a été peu étudié. La plupart des données ont été obtenues en laboratoire et les rares études sur des espèces dans leur milieu naturel ne portent que sur les sons audibles en dehors des galeries souterraines. Les vocalisations des Ctenomys n’ont été étudiées que chez trois espèces. Ces espèces peuvent aussi produire des sons non vocaux produits par des vibrations de leur corps ou des claquements de dents (Zache et al. 2021). 
Dans cet enregistrement, il s’agit d’une émission vocale, de type séquentiel. L’animal ouvre la bouche, lève la tête et contracte son corps pour produire les sons (Francescoli 1999). Dans une étude sur deux autres espèces de Ctenomys, Zaché et son équipe ont pu mettre en évidence 5 types de vocalisation différents (Zache et al. 2021). 
Il est probable qu'il s'agisse ici d'un cri d'alarme en présence d'intrus. Mais sachant que les vocalisations de cette espèce n’ont pas fait l’objet d’études à ce jour, il est difficile d’en connaître réellement la signification (Jaksic, comm. pers 2023).

Cette espèce n'est pas menacée (LC (Llobet et al. 2023)). 

Bibliographie :
FRANCESCOLI, Gabriel, 1999. A preliminary report on the acoustic communication in Uruguayan Ctenomys (Rodentia, Octodontidae): basic sounds types. Bioacoustics-the International Journal of Animal Sound and Its Recording - BIOACOUSTICS. 1 janvier 1999. Vol. 10, pp. 203‑218. 
JAKSIC, Fabian, 2023. Historical and current knowledge of the Magellanic tuco-tuco Ctenomys magellanicus in Patagonia and Tierra del Fuego, South America. Revista Chilena de Historia Natural. 11 septembre 2023. Vol. 96. 
LLOBET, Toni, VELIKOV, Ilian, SOGORB, Lluís, PEACOCK, Faansie, JUTGLAR, Francesc, MASCARELL, Àlex et MARTÍ & JES, Blanca, 2023. All the Mammals of the World. Barcelona : Lynx Edicions. ISBN 978-84-16728-66-4. 
ZACHE, Keila, SILVEIRA, Lucas, FRANCESCOLI, Gabriel et FREITAS, Thales, 2021. Description of the sound diversity of two species of tuco-tucos ( Ctenomys torquatus and Ctenomys lami ) in natural environment. 
Photo cc by Sebastián Saiter V

Ctenomys magellanicus - Tuco Tuco De Magellan

20240526

"Kintsugi" (2015-16) for Clarinet & tape
09.02.16 @  Brixton East 1871, London
Heather Roche - Clarinet
live recording by Aaron Holloway-Nahum
[contains sounds of crickets - Eugryllodes pipiens - recorded by Yannick Dauby]

Kintsugi (2015-16)

Sound artist.
Freedom from being unknown.
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mice three mice mice (disquiet0535)

Jimmy Lem

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