My intention here was to derive my "top" and "bottom" levels by splitting the frequencies of my source material into high and low bands. Said source material being a field recording of an airport concourse and a fragment of piano chords.
  I then processed these two bands with different rates of standard delay on one "send" and size of Granular delay on another. 
  To the "bottom" I added a Synth part as an anchor amid the chaos and used some EQ sweeps towards the end to vary the form.

More on this 222nd weekly Disquiet Junto project (Compose a piece for contemporary dance — with a “soft top” and a “shifting bottom”) at:

http://disquiet.com/0222/

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/

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

https://flic.kr/p/qX8pyN
  

The Questions I got asked_disquiet0222-boundedfoundation

A collaboration with @l-d-c-n Now available on his album Growing From The Concrete.

Thanks to L.D.C.N. for letting me join in on this ride!

Mixing/Production by @l-d-c-n
Piano and effects by @BellyFullOfStars
Artwork by Lauren Speirs 
Instagram - www.instagram.com/ren_and_art/

Growing From The Concrete

The Long Way Home (Ft. BFOS)

The album "Fire and Water" available now on Bandcamp
An exploration of the English countryside in winter and the shades of light and darkness that dwell there.

https://djwmusic1.bandcamp.com/album/fire-and-water-2

Extract from the album Fire and Water (available now)

Created for the Disquiet Junto Project 0277: Chew Concrète
@disquiet

The project: Make music inspired by C. Reider’s (@vuzhmusic)Chew Cinders album procedures. (Available at https://midnightcircles.bandcamp.com/album/chew-cinders)

Focusing on manipulating time and pitch, I used Cakewalk's Sonar, and several effects pedals (Red Panda Particle, Earthquaker Devices Avalanche Run, and Old Blood Noise Endeavors Dark Star)to process two 2-3 minute long field recordings taken outside my house on a spring night.  Please enjoy the distorted perspective.

More on this 277th weekly Disquiet Junto project — “Chew Concrète: Make music inspired by C. Reider’s Chew Cinders album procedures” — at:

http://disquiet.com/0277/

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/chew-some-concrete-sounds-disquiet-junto-project-0277/

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

Lay Lines [ disquiet0277 - chewconcrète ]

Created for the Disquiet Junto Project 0300: The 300th Project
@disquiet

The project: 3 chords x 100 seconds

After reading the project description, I keyed in on the idea of creating sounds that would sustain for the entire 100 seconds, rather than replaying or retriggering an instrument periodically. I realized that the trick was that while I had plenty of ways to make sounds that would sustain for the duration... they were single tones, and I couldn't generate a chord. Conversely, I had plenty of instruments that would play lovely triads... but they would trail out long before the 100 seconds (unless I decided to use a synth patch that I could tweak). So I set about looking first for sound sources that would sustain or resonate, and then would try to figure out how to process those sounds into chords later on. After banging on a lot of diningware, some toys, and random resonant surfaces, I settled on:

1. My voice singing a single note, then pitch and frozen-delay processed through a Red Panda Particle granular delay pedal.

2. The hum of the touch panel keyboard on my Volca Beats, recorded through an electromagnetic pickup, and pitch processed through an Old Blood Noise Dark Star 'orchestral' delay pedal.

3. An organ-ish patch on my Volca FM, processed through an Earthquaker Avalanche Run reverse delay and reverb.

I used B/D/A as my chord structure - based on the pitch from the EM pickup on the Volca Beats, and complimentary harmonies on the Dark Star. The processed vocal and the noise/hum patch created from the EM pickup both wound up being generative/infinite sustain sounds. The FM organ is the only one where I fudged my idea a little - creating most of the sustain by adjusting the envelope decay time in the synth.

A little filtering, fading, and slight delay (iZotope DDLY) and reverb (Valhalla Shimmer) were added to sweeten the mix. 

Congrats to Marc on #300! Thank you for stirring the creative pot that gets our ideas simmering. Here's to 300 more - Cheers!

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

https://disquiet.com/0300/

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-the-300th-consecutive-weekly-project/

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

100 Grains in the Infinite Hum [ disquiet0300 - the300thproject ]

Songs recorded daily for a week.

Found at: https://twitter.com/CarbuncleSucks

Dustin- Korg Monotron Delay, vocals, guitar, iKaossillator, junk

Flower Factory - Monday

Sean and Lucy journey into the woods of Maryland and into the strange new world of the post-historical century to investigate the history and cultural resonances of 1999's The Blair Witch Project.

References, materials and side notes are available through our Blair Witch Project megathread over on our Twitter page: https://twitter.com/wyrdsignalpod/status/986227286914584576

WYRD_SIGNAL

episode 004_THE_BLAIR_WITCH_PROJECT Myrick/Sanchez(1999)

He was the first Alien I met. When I was a child the scrap dealer came along our street with his U.D.O. (Unknown Driving Objekt). 
Looking for things he could repair his broken starship with and playing a signature tune over a sneaky speaker abolutely unique in sound and melody.

Scrap Dealers Tune

Delia Derbyshire Day 2018 – online edition – Friday 23 November

Explore www.deliaderbyshireday.com for further information about the piece and how this work was inspired by the Delia Derbyshire Archive.

Image Credit: Andrea Pazos

Dreaming Waves - Exclusive binaural version prepared for Delia Derbyshire Day 2018 [online edition]

Disquiet junto project Maldodor. 
Tools: Korg Kaossilator, Kaoss pad 3+, Alesis Nanosynth, Future Retro Zillion, Ztar

information:

More on this 362nd weekly Disquiet Junto project — Operational Surrealism / The Assignment: Make a piece of music informed by a key text from the art movement — at:

https://disquiet.com/0362/

Thanks to Peggy Nelson, 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-0362-operational-surrealism/

Melvin in clouds

Melvyn in clouds  disquiet0362

Field recordings and audio art made from them.

I am based in the south west of England and am keen to collaborate and contribute. 

The Questions I got asked_disquiet0222-boundedfoundation

Daniel John Williams