I totally love this restrained version. Wonderful piano-sound.

I prefer the feel of this one. Boiling it down has made the melody stronger. Cool DeDe.

Wistful, floating with this melody. Lovely!

This is brilliant! It is complex and so nice to listen. A peaceful and beautiful song.

Disquiet Junto Project 0554: Cage Chord
The Assignment: Riff on a chord by John Cage.

I split up the chord into a fistful of Ableton Live tracks, all with (not too) different Kontakt instruments and placed them in space by pan and reverb. Every note had a chance of being played of 50% per 90bpm bar. Some noise was added because I felt it being too clean, accepting that this and too much movement would maybe not correspond with the spirit of Cage's piece. An export was done and the mix happened in Reaper, where a Valhalla Delay with 4 bars lenght on the master track repeated whatever is played to smear the notes into each other. The result was the 8 minute track https://soundcloud.com/winterer/chord-cage. I took a 3 minute part out of this and made it into a loop by adding the beginning to the end to comply with the rules. The Loop version was intended to be a byproduct; after listening to the looped version looping for half an hour while creating the cover I'm not so sure whether I really prefer the long Chord Cage, which works standalone with no context, over the Chord Cage Loop, which can be played virtually endless.

Track cover based on a photo by Federico Lancellotti on https://unsplash.com/photos/YQbENezk720

More on this 554th weekly Disquiet Junto project — Cage Chord (The Assignment: Riff on a chord by John Cage) — at: https://disquiet.com/0554/

Thanks to Tobias Reber and Musikfestival Bern for collaboration on this project. More on the festival at:

https://www.musikfestivalbern.ch/
https://www.instagram.com/musikfestival_bern
https://www.facebook.com/musikfestivalbern

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-0554-cage-chord/

(more disquiet tracks)

Chord Cage Loop [disquiet0554]

This is a recent rework of a previously shared track, 
https://soundcloud.com/daniel-diaz/silencio-first-demo-version

I reduced and simplified the arrangement and instrumentation, and I feel that this one's the good version for proper release (but I might be wrong), so it is my first 2023 single.


Shared on Feb/2nd/2023 for https://llllllll.co/t/disquiet-junto-project-0579-memory-serves

This is the version I finally released,
https://open.spotify.com/track/0RG0q9pSfrl725mBlcLqjf?si=42df3429ed664047

Silencio (version 2) disquiet0579

winter dawn
all forest paths
are mistakes

-- Yossarian

winter dawn (naviarhaiku474)

Disquiet Junto Project 0580: Evo Evol Evolve
The Assignment: Record a piece of music that develops like an organism evolves.

Out of curiosity, I had just bought a sequencer called ZOA, so I decided to go with the "Game of Life" approach of this sequencer (chances are I'm not alone in this). In case you're not familiar with the concept: Conway's Game of Life is a cellular model of evolution in which the life of each cell depends on the life of neighboring cells. In ZOA, each cell is a note and four sequencers play these notes according to additional rules. ZOA adds features like MIDI, and I liked that a lot. 

What I didn't like was the randomness of the melodies, but hey, isn't life random in the first place? (Big debate… let's say: Sometimes it feels random...) I had pushed the development by changing the probability of the notes by hand. If the game of life had come to a halt with some dead pattern, I would have used that, but I didn't want to force it.

I played with many instruments and patterns, but in the end I reduced it to two tracks of eighth notes. For the beginning and the end I chose a cheap fade-in, fade-out, because life came quietly and very slowly out of nowhere, and I think that according to current scientific knowledge, one day it will end like that and just fade out.

Self verdict: The track is soulless and meaningless, like the evolution of life, which need not mean that listeners could not hear either soul or meaning in it if they felt like it.

--

ZOA (Mac/iOS)
https://www.audiosymmetric.com/zoa.html
I'm in no way affiliated with it and there are many alternative MIDI tools doing "life" patterns. ZOA is not without its limits, but I found it a very interesting addition to my pattern park.

LIFE
https://en.wikipedia.org/wiki/Conway%27s_Game_of_Life

--

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: https://disquiet.com/0580/

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

What Comes Up Must Come Down [disquiet0580]

trying to count

This was my contribution for the Disquiet Junto Project 0582: X Techno

Here’s a copy of my post on the Disquiet Junto 0582 discussion thread:

Decided on eroded techno for my subgenre. I used an unfinished minimal techno track from a couple years ago, completed it, then copied it onto an old cassette tape with a Marantz PMD-201 mono recorder. I then routed the audio through a Walrus Audio Melee distortion+reverb guitar pedal into Ableton Live. From there, I further tried to mangle the track using Arturia Efx Fragments, MS-20, and UA LO-FI-AF filters. 

At first, the piece was a wall of noisy distortion, so I dialed everything back a bit to have a more recognizable techno beat. The booms at the beginning and end are from the effects pedal picking up the mechanical sound of switching the tape deck on and off. 

More on this 582nd weekly Disquiet Junto project, X Techno (The Assignment: Make a new subgenre), at: https://disquiet.com/0582/
More on the Disquiet Junto at: https://disquiet.com/junto/ 1
Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0582-x-techno/

Eroded Techno [disquiet0582]

minimalism on my (main) instrument lately. a few recordings directly into TE's TX-6

8 oscillators(disquiet0599)

Used Sonic Pi to live code an improvisation from a rich modular synth sound provided by Steve Meyer (https://soundcloud.com/user-684506476).

Live Code Session (6/24/2023) [from source sound by Steve Meyer]

A newer version of this appears on https://music.blisterpop.com/album/love-it-when-it-slips

(NaviarHaiku498)

Recorded, mixed & mastered 21 Jul 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2023 Jim Lemanowicz - please feel free to remix/evolve https://creativecommons.org/licenses/by-nc/3.0/

Process notes

- 4 tracks of my voice, originally recorded on 29 Oct 2005, processed with Ableton Live and plugins by encoder audio. Melda, iZotope Ozone 9 and Ableton native devices.
- I'm very slowly working on an album using my voice as source material. This was something initiated with Disquiet 0548 called "Prelude In Preparation" & continued on the more recent Disquiet 0603 in "Contagium." I've also released a track named "Forgot" for a Magpie Pirates compilation called Memory, Reflections under the Yeast With Teeth name too.  

----

This original version of "Across The Idlewild Marshes" was submitted as part of ​naviarhaiku498 – Long days and warm nights. It is based on this haiku by TreniseFerreira - https://twitter.com/TreniseFerreira. 

Long days and warm nights
Laughter carried through the breeze
Summer sings to us

I also used as inspiration some of the artwork here - https://whitney.org/exhibitions/spilling-over. 

The title was inspired by a section in the book "Hidden Waters Of New York City" by Sergey Kadinsky.

More about Naviar Haiku and Naviar Records - 
https://www.naviarrecords.com/about/naviar-haiku/

https://www.naviarrecords.com/

More about this challenge -
https://www.naviarrecords.com/2023/07/19/naviarhaiku498-long-days-and-warm-nights/

Tagging @naviar-records

This track was originally released under the artist name "Yeast With Teeth."

Across The Idlewild Marshes (NaviarHaiku498)

Disquiet Junto Project 0611: Music That Listens to Itself
The Assignment: Record a piece of music that repurposes itself as it proceeds.

Step 1: The underlying idea is to produce music that, so to speak, listens to itself. This would be music that employs techniques to revisit itself — repurposes itself — as it proceeds. From reverb to echo to tape loops to granular synthesis to accessing a buffer, various techniques serve such a compositional and performance purpose. Consider a means to achieve this result.

Step 2: Record a piece of music that employs the technique you focused on as a result of Step 1.

https://llllllll.co/t/disquiet-junto-project-0611-music-that-listens-to-itself/64092

My immediate idea upon reading the prompt was to use a delay feeding an envelope follower to affect the signal feeding into the delay.   The result being like the speaker is forced to pause and listen to the words of their former self.  The patch came together quite quickly and I has a lot of potential, but I think will take awhile to fully realize and I am really looking forward to continuing the exploration.

Disquiet 0611 - Shush

Misty Love Affair

multi-instrumentalist & composer.
music for images / instrumental / contemporary post-fusion / experimental jazz / electro acoustic ambient / melodic noise / neoclassical / naive hard core / cosmopolitan world music.

bio here:
http://dedeland.com/daniel-diaz-bio/


In some words:
Composer, arranger, producer, multi-instrumentalist. Born in Argentina,
I studied music in Buenos Aires, New York, Boston, Los Angeles and Paris.

For 20 years, I developed an important career as a session and backing musician in Argentina and Europe, playing, among other instruments, the bass, touring and recording with many jazz, rock, fusion, world, Latin and tango bands.

At the same time, I worked as an arranger, producer and musical director with many projects and artists in the USA, Argentina and Europe.

From 1992 to 1997, I performed my compositions live with my own band in Buenos Aires and began a solo recording career with the worldwide release of my first album "The Years Alone" on the North American label Green Linnet/Xenophile. On this album I arranged and performed 11 of my songs written between 1986 and 1993. I played most of the instruments, but included guest appearances by some great South American players.

My recording career continued with "Segundo Ciclo" (1997), released worldwide by Timeless Records, and 12 more albums released between 2000 and 2016.

Currently, I work as an on-demand film/TV composer while continuing to play live and produce.

Silencio (version 2) disquiet0579

Daniel Diaz

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