Had a tough time with this one. Slow is hard. Ended up sounding pretty metal though, which is fine by me. Voice entirely from MN DPO, sequenced with Ansible Kria, modulation changed every bar by Teletype. Recorded to tape, then slowed down further. Additional effects from OP-1.

More on this 299th weekly Disquiet Junto project — 10bpm Waltz: Make super slow music in 3/4 time — at: https://disquiet.com/0299/

Thanks to all the folks in the Junto Slack for proposing and helping to shape this prompt.

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0299-10bpm-waltz/

Track image from, https://www.flickr.com/photos/internetarchivebookimages/14596150410

[disquiet0299 ] 299 - Three Fourths Done

My submission for the 300th Disquiet Junto project. I don't know exactly when I started participating in these. I've deleted different iterations of my Soundcloud account, so I can't easily figure out when I started. I know its been a while though, at least 4+ years. It's been an amazing resource to push me in directions I wouldn't have pursued otherwise. Even when I don't submit a piece, the weekly prompts make me think. It's also been a gateway to a community that I'm very happy to be a part of. Thanks @disquiet for all you've done for me and the rest of the Junto.

The three instruments I picked come from three distinct phases of my musicianship. All are playing a G-major chord. The first is a guitar loop via Phonogene, the second is a OP-1 volt synth pad and the third is a generative patch - DPO A/B and STO providing the notes of the chord, with Cold Mac, Maths and Teletype providing modulation and stereo movement. I also recorded the modular as a short loop on the OP-1 to provide a fourth track.

I'm happy with how this turned out, and especially happy to be a part of the auspicious 300th consecutive weekly Disquiet Junto project.

More on this 300th weekly Disquiet Junto project (3 chords x 100 seconds) at:

https://disquiet.com/300/

More on the Disquiet Junto at:

https://disquiet.com/junto

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto

Project discussion takes place on llllllll.co:

llllllll.co/t/disquiet-junto-the-300th-consecutive-weekly-project

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

Photo from, https://www.flickr.com/photos/internetarchivebookimages/14763996242

[disquiet0300] (* 3 :100:)

For this 304th Disquiet Junto project, I focused less on the structure of the hive and more on the structure of the bees. There's two drones (just realized this is a great dadjoke pun) that react to a central sequence, a hive reacting to its queen. As the queen's emotion changes, the bees respond. Recorded on four tracks of cassette tape with MN Phonogene and MI Clouds playing the part of the drones, Rene / STO / DPO FM'ing providing the core drone samples and the central voice of the queen.

More on this 304th weekly Disquiet Junto project (“Let’s Buzz: Create a piece of music by thinking of the structure of a bee hive) at:

https://disquiet.com/0304/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0304-lets-buzz/

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

[disquiet0304] They Unreel and Unrest

Pulling these clips together became a family project, my wife and son both had input on the choices. What a great way to close out the year, thanks Marc!

Each clip is from a different month, January through December 2017.

January - This is from a OP-1 tape I made from radio recordings on a work trip to London, slowed down with a beat added. I remember this one in particular I made sitting in Waterloo station, killing time.

February - From a Phonogene recording of Larry Gales playing on a Thelonius Monk record along with some synth noise added. 

March - I found a recording from the Cub Scout Pinewood Derby that month. It was a bright spot in the month, working on the car with my son, racing that day. 

April - The 277th Disquiet Junto project was a big one for me, Chew Concrète. I had been making recordings based on my interpretations of concrete music for a while, so it played to my strengths at the time. c. reider, the inspiration for the project, ended up contacting me through Soundcloud. He and I, along with two other Colorado artists Chris Frain and Jess Garrett performing as empty helix, played together in a show in July at the Trident coffee shop in Boulder. This is a clip from the 277th made from field recordings I’d made in London and Kochi back in January.

May - Summer 2017 was really fun for us. This is a recording we made of us on the tilt-a-whirl at the Boulder Creek festival that month. It neatly summarizes what ended up being a great summer.

June - The July Trident show was conceived around this time in June, so I started planning. This is a clip from the couple of hours of rehearsal recordings I generated.

July - The July show went well, but I was burnt out on rehearsing. I have a half dozen or so improvised recordings labeled variations of the word “noise.” This is solidly atonal and borderline unlistenable, but it represents a lot of experimentation from that month.

August - I went back to India for work, this time Chennai. I made a handful of field recordings, trying to get more natural sounds (previous batches of India field recordings are more about street sounds). This is early morning birds (mostly big noisy crows). 

September - My son and I started messing around on the modular together in September, this is from a recording he made on his own. 

October - Another recording of my son, but this time we were both on the controls.

November - A clip from a live performance at work, collaborating with a colleague. 

December - This recording is from a piece I did with video footage of carpet at an Orlando hotel, I was there for work. There’s something about the combination of video with sound that makes me much more ok with sparser, simpler compositions. I’m really happy with this short phrase that came out of the piece, I think it closes out 2017 really well.

Happy New Year everyone!

More on this 313th weekly Disquiet Junto project (Audio Journal 2017: Create a sonic diary of the past year with a dozen five-second segments) at:
https://disquiet.com/0313/
More on the Disquiet Junto at:
https://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0313-audio-journal-2017/
There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

[disquiet0313] Old, long, since

Based on my recollection of the sounds and feelings of meditation at a handful of places over the years, almost all of which were in the lineage of the San Francisco Zen Center. I've been re-reading Shunryu Suzuki's collection of essays "Zen Mind, Beginner's Mind" since the late 90's when I first found it in the Boulder Book Store. I don't know that I agree with all the thing that Zen is, but in my head somewhere for a while now. My interpretation of SFZC mediation is that it's not about transcendence, but about grounding. You're taught to meditate with your eyes open. The sounds in the room are there to keep you in the room.

My piece is heavily manipulated recordings of a zill and sruti box that I made this morning. Recorded with a Tascam DR-05 stereo field recorder, manipulated in Makenoise Morphagene, further manipulated in Mutable Instruments Clouds and Mannequins Three Sisters, recorded to four-track cassette, mixed to stereo to a second cassette, then recorded to digital via Audacity. Some editing in Audacity to get timing right.

The three minutes of tape hiss in the middle...that's on purpose.

More on this 323rd weekly Disquiet Junto project (Music for Meditation: Record a piece of music suited to meditation) at:

https://disquiet.com/0323/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0323-music-for-meditation/

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

Image for this track is from https://www.flickr.com/photos/internetarchivebookimages/14561422850 then manipulated in Lumen.

[disquiet0323] The Light Splits (Music for Meditation)

Music with a beat to keep your momentum in the forward direction.

Drums from Bitwig through modulated Soundhack pitch delay, other stuff Morphagene & OP-1 cooperatively. All things passed through Bitwig reverb.

Track image: https://www.flickr.com/photos/sdasmarchives/8616645007

More on this 324th weekly Disquiet Junto project (Factory Floor: Make music for newsrooms, design studios, and other collaborative workplaces) at:

https://disquiet.com/0324/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0324-factory-floor/

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

The image associated with this project is by kenmainr and is used thanks to a Creative Commons license:

https://flic.kr/p/dPaQ96

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

[disquiet0324] Forward the Factory

I used a 1920's era hand cranked Victrola for this week's challenge. Pre-vinyl 78 RPM records are slabs of brittle, easy to break shellac. There's no electricity involved, you crank a handle to wind an internal spring, which spins the turntable. The sound is amplified through an internal chamber that you can control by opening or closing the front doors of the machine. The Victrola uses steel needles that remove significant amounts of the record material as you play them. You can see the shavings as the record plays. The needle needs to be replaced after every play, as it starts to round the point which will damage the records even more. The Victrola has a small bin that holds hundreds of spare needles. Using the record destroys the record over time. You can't listen to it and preserve it, you have to choose. We choose to listen to our records.

Recordings from our Victrola, manipulated in Morphagene, combined with DPO lightly filtered by Three Sisters and occasionally run through Phonogene in broken tape echo mode.

Image is from "Autumn under the Tatras" by Jozef Fabíni https://artsandculture.google.com/asset/OwH5xPV4ikuhlA

More on this 326th weekly Disquiet Junto project (Wave Turntable: In collaboration with composer Danny Clay, make music for his exhibit with artist Jon Fischer using only sine waves and turntable surface noise) at:

https://disquiet.com/0326/

More on Clay and Fischer at:

http://dclaymusic.com
http://feather2pixels.com

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0326-wave-turntable/

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

[disquiet0326] The Needle Removes

I travel to India every six months or so. The timezone difference between there and Boulder (where I live) is eleven and a half hours. The idea of this weeks junto project, "timezoned" was a technical challenge for me, but also triggered some reflections on those time zone difference I feel when I travel. That half an hour timezone difference seems small, but it throws clocks out of sync in strange ways. Whole hour time zone differences are easier to comprehend somehow. Calling home, being on the top of the hour when my family is on the bottom of the hour, gives an extra bit of strangeness to the call, compounded by the idea that we're on opposite sides of the planet. 

I kept the piece as simple as possible, because I wanted to be able to hear the differences in the time signatures. There's only a few notes, composed as clips in Bitwig with the stock sampled piano as instrument. The clips were started at different times, then edited in the arranger to bring the three lines together to end on an aligned note. I added a modulated field recording from an early morning walk in India, noisy birds with music in the background that was coming from the town center.

Image for the track is a photograph I took in Chennai. Many of the shops had these chalk drawings on the sidewalk in front of their entrance. I don't know if they have a meaning, or are purely decorative.

More on this 327th weekly Disquiet Junto project (Time Zoned: Create a piece of music that is simultaneously in 3/4, 2/4, and 7/4 time) at:

https://disquiet.com/0327/

Major thanks to Ethan Hein and Nate Trier for helping develop the project.

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0327-time-zoned/

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

[disquiet0327] Out of Sorts

My contribution to the 356th Disquiet Junto project. We went to the Stanley Hotel in Estes Park for the samples. The Stanley is the hotel that Stephen King took as inspiration for the Overlook Hotel in The Shining. We played an improvised song, with my son on flute and me on Sruthi box. Created layers inside of Bitwig. The photo is from the third floor of the Stanley.

More on this 356th weekly Disquiet Junto project (Ground Swell / The Assignment: Derive something spooky from a specific place) at:

https://disquiet.com/0356/

Major thanks to Chris McAvoy for having proposed this project.

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0356-ground-swell/

There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in.

[disquiet0356] Burnt Toast

My entry for the 412th Disquiet Junto project, "One Chord Wonder". All sounds from Ableton Live sample instruments. I chose ACE - A minor - for my chord as it's my go to chord when I start projects and I owe it recognition. I've always liked that it spells ace. It's a dirt simple chord, but it holds up.

I recorded this Saturday morning, then listened again Sunday...thought it was messy in the middle, so didn't post it. Monday morning I decided I need to judge my own work less harshly, so I'm posting it. It's messy in the middle, but like ACE - it holds its own.

More on this 412th weekly Disquiet Junto project — One Chord Wonder / The Assignment: Play an extended chord where the instrumentation of each note changes as the piece proceeds:

https://disquiet.com/0412/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0412-one-chord-wonder/

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

[disquiet0412] Press the Button, Forget

Modular Synthesist, Cat, Detective. Frequent participant in the Disquiet Junto. Chris McAvoy.

cmcavoy

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