Disquiet Junto submissions

More on this 233rd weekly Disquiet Junto project — “Make one track from three different netlabels, courtesy of a Creative Commons license” — at:

http://disquiet.com/0233/

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/

Image associated with this project is by Jet Lee and it is used thanks to a Creative Commons license:

https://flic.kr/p/o9vg

Disquiet Junto Project 0233: Netlabel (NND Remix)

From the challenge at http://disquiet.com/2015/04/23/disquiet0173-overversion/

Associated photo from Gareth, at https://www.flickr.com/photos/trois-tetes/147640480/
part used as graphic with this soundcloud track, and rendered from photo to sound with Audacity.

The phrase "The Past is Breaking Through" synthesized using this service: http://imtranslator.net/translate-and-speak/

Since the source track is bass and rhythm-oriented I focused on higher-pitched or non-percussive sounds.  The Sears field recordings were made this weekend so they were on my mind when composing as a sound source. I can see seven tracks but hope the disparate "sounds" unify into one musical piece in the listeners' minds.

Manipulating A Machine

Buy on Bandcamp

The Past Is Breaking Through (disquiet0173-overversion)

For the assignment detailed here: http://disquiet.com/2015/10/22/disquiet0199-spacecrickets/

All sounds are from Soundtransit at http://archive.turbulence.org/soundtransit/index.html
except one track of a field recording of cicadas I made in North Carolina this summer; and a second of a slowed-down piledriver from the building work around China Basin in San Francisco. The SoundTransit sounds are all reused under their Creative Commons license.

All sounds arranged and mixed in Garageband. 

My intent was to make the basic foley sound of a spaceship in space at the moment a character plays a cassette featuring the crickets/rain earth sounds. From the movie I expect lots of engine rumble and pipe sounds during their long journey. Matt Damon was creepy in that movie.

Space Crickets [for disquiet0199-spacecrickets]

Submission for the Disquiet Junto assignment, here: http://disquiet.com/2015/11/12/disquiet0202-costoffreedom/

My plan was to maintain focus on the speaking, while rendering the text with a text-to-speech synthesizer and adding background sounds. 

Text-to-speech service used is here: http://www.fromtexttospeech.com/
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More on this 202nd weekly Disquiet Junto project (“Create an audiobook chapter from the new essay collection The Cost of Freedom) at:

http://disquiet.com/2015/11/12/disquiet0202-costoffreedom/

The source of the text in this project is from the book The Cost of Freedom, which raises awareness about the ongoing detainment of Creative Commons coder/artist Bassel Khartabil Sadafi. More on it here:

http://costoffreedom.cc

Buy on Bandcamp!

Image, Identity, Attribution, Authorship - Disquiet0202 - Costoffreedom

Created as part of the Disquiet Junto project  no. 204, structured around the audio provided at https://soundcloud.com/toaster-1/beacon-for-marissa

For this project I abandoned the set BPM of the garageband file and just drummed along with the ambient track, and then added in a few other sound elements.

More on this 204th weekly Disquiet Junto project (“Add a foundational rhythm to an ambient foreground”) at:

http://disquiet.com/2015/11/26/disquiet0204-underbeat/


Beacon - Toaster - Remix (Disquiet0204 - Underbeat)

For this Disquiet assignment, looking at the graphic notation, the main keyboard plays the three full notes and pause. The drum tattoos were an attempt to play the second notation hidden behind the first but I lost track. The third track slides and panning represent the spiral, telescoping edge of the wooden object behind the two sheets.

I used this wikipedia guide to determine what the fourth piece of notation was on that top sheet (a quarter note rest) -- https://en.wikipedia.org/wiki/List_of_musical_symbols

Garageband instruments are: Titanic Waves synth; Event Horizon synth; "Heavy" drum kit.

More on this 205th weekly Disquiet Junto project (“Interpret boxed-up music-education materials as a graphic-notation score”) at:

http://disquiet.com/2015/12/03/disquiet0205-superposition/

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

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/

Buy on BandCamp

Superposition (disquiet0205 - Superposition)

This week's Disquiet Junto was a remix - we had to use the first 30 seconds of three songs, available on creative commons licenses that allow derivative works, and create a new work.  These were:  
1) “HNY” off the album Wormbole by ʞık (Karl & Karlik) on the Bump Foot netlabel: http://www.bumpfoot.net/bump207.html
2) “Pepper Jelly” off the album Recombinations by Andre Darius and Riley Theodore on the Haze netlabel: https://hazenetlabel.bandcamp.com/album/recombinations
3) “Autista 3” off the album Autista by Pablo Reche on the Impulsive Habitat netlabel: http://www.impulsivehabitat.com/releases/ihab113.htm

I am not a big fan of remixes generally, so I set out to make a sort of 'anti-remix'  - something where the original materials are totally unidentifiable. Remixes are usually rhythm-led, so this piece is very arrhymthic. 

I took the 30 second samples and treated each of them in Photosounder - using the various tools to flip or rotate the sonograms, force them into unnatural frequency ranges, force them to the nearest semitones, then rotate / flip them again, and readjust the frequency ranges, slowing them down in the process to approxmately 4 minutes.  In that way I got three very different files from the source materials.  I then imported these into Acid Pro, and adjuted the EQ to give each file it's own space. I then applied a large reverb to smooth out the sharp edges. 

The 'waves  / breathing' sound is NHY - forced into a set of semitones a few times and then rotated 90 degrees. 
The 'organ' sound is Autista 3, with every maximum horizontal value carried on to the left, then forced to semitones. 
The 'shimmering / glistening' sound is Pepper Jelly - forced to semitones, rotated, shrunk to different frequency ranges, re-forced to semitones, expanded again... etc... 

More on this 233rd weekly Disquiet Junto project — “Make one track from three different netlabels, courtesy of a Creative Commons license” — at:

http://disquiet.com/0233/

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/

Image associated with this project is by Jet Lee and it is used thanks to a Creative Commons license:

https://flic.kr/p/o9vg


The AntiRemix (Disquiet0233)

I hear America singing, the varied carols I hear;
Those of mechanics--each one singing his, as it should be, blithe and strong;
The carpenter singing his, as he measures his plank or beam,
The mason singing his, as he makes ready for work, or leaves off work;
The boatman singing what belongs to him in his boat--the deckhand singing on the steamboat deck;
The shoemaker singing as he sits on his bench--the hatter singing as he stands;
The wood-cutter's song--the ploughboy's, on his way in the morning,
or at the noon intermission, or at sundown;
The delicious singing of the mother--or of the young wife at work--or of the girl sewing or washing--Each singing what belongs to her, and to none else;
The day what belongs to the day--At night, the party of young fellows, robust, friendly,
Singing, with open mouths, their strong melodious songs.

Thanks for the artists allowing us to hear and use their work. I took some loops and the crossfaded on those loops. It was very mechanical so I went with a worker theme. Ole Walter White made some pretty good poetry but his drugs were sublime.
More on this 233rd weekly Disquiet Junto project — “Make one track from three different netlabels, courtesy of a Creative Commons license” — at:

http://disquiet.com/0233/

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/

Image associated with this project is by Jet Lee and it is used thanks to a Creative Commons license:

https://flic.kr/p/o9vg

I Hear America Singing-Walter White(disquiet0233)

This was for this week's Disquiet Junto project that involved taking clips from three different tracks and remixing them into something new.

I ran all three clips through my fractal software (http://www.fractalmusicmachine.com/fractal-explanation/) with the same initial fractal seed so they would mesh together, and then layered them in Audacity. 

More on this 233rd weekly Disquiet Junto project — “Make one track from three different netlabels, courtesy of a Creative Commons license” — at:

http://disquiet.com/0233/

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/

Image associated with this project is by Jet Lee and it is used thanks to a Creative Commons license:

https://flic.kr/p/o9vg

Mixed Up (disquiet0233)

 may i feel said he
(i'll squeal said she
just once said he)
it's fun said she

(may i touch said he
how much said she
a lot said he)
why not said she

(let's go said he
not too far said she
what's too far said he
where you are said she)

may i stay said he
(which way said she
like this said he
if you kiss said she

may i move said he
is it love said she)
if you're willing said he
(but you're killing said she

but it's life said he
but your wife said she
now said he)
ow said she

(tiptop said he
don't stop said she
oh no said he)
go slow said she

(cccome?said he
ummm said she)
you're divine!said he
(you are Mine said she) 
Rupert Lally track https://soundcloud.com/rupertlally/softube-modular-demo

More on this 233rd weekly Disquiet Junto project — “Make one track from three different netlabels, courtesy of a Creative Commons license” — at:

http://disquiet.com/0233/

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/

Image associated with this project is by Jet Lee and it is used thanks to a Creative Commons license:

https://flic.kr/p/o9vg

May I Feel Said He By E E Cummings (Samples Rupert Lally)disquiet0233

The Pepper Jelly and HNY samples make the majority of rhythm in this piece. The “Autista 3” sample is a little buried in the middle, where there is less percussion. 

The "lyrics" were randomly generated by WriterBot at http://writerbot.com/lyrics and synthesized at http://www.fromtexttospeech.com/  I had hopes of matching the monotone vocals to a melody of keyboard notes but that is beyond Garageband for now.

The final vocals are a synthesized Thomas Piketty quote from https://www.theguardian.com/us-news/commentisfree/2016/feb/16/thomas-piketty-bernie-sanders-us-election-2016 -- I wanted something a little more "statement" oriented but running out of time. 

The guitars throughout are from guitar stems I recorded months ago in order to use for textures, and not recorded while working on this project. The protesters at the end are from a free field recordings site, SoundTransit: http://archive.turbulence.org/soundtransit/search/sounds.php

I come back over and over again to an idea of using sound samples, generated text, and synthesized voices to make deconstructed pop songs. I want to make them more "catchy" than the results, which to me sound like someone trying to manually recreate AI song generation, lol

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More on this 233rd weekly Disquiet Junto project — “Make one track from three different netlabels, courtesy of a Creative Commons license” — at:  http://disquiet.com/0233/

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

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

Manipulating a Machine

Glance Back For An Instant

Buy it on Bandcamp

Glance Back For An Instant [disquiet0233]

Support our music on bandcamp! Out now: 
"Manipulating a Machine" - Late-night headphone music - August 2019:
https://cryptohelix.bandcamp.com/album/manipulating-a-machine?mysrc=sc

"Future Funerals", just released Nov. 2018 - 5 songs:
https://cryptohelix.bandcamp.com/album/future-funerals?mysrc=sc

3 more songs on a single, from 2015:
https://cryptohelix.bandcamp.com/album/3-song-45?mysrc=sc

"Traveling back/in time/from our best/future imaginations."

Glance Back For An Instant [disquiet0233]

Cryptohelix