Thanks for the comprhensive method explanation. Very nice work. Love the feedback-delay in the second half and lower bells, great.

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

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:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

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

Image associated with this track is by Heather and used thanks to a Creative Commons license:

flic.kr/p/4fD1HJ

creativecommons.org/licenses/by-nc-nd/2.0/

Disquiet Junto Project 0264: Time Travel

This is an orchestrated version of the 2nd movement of a string quartet I wrote. I was able to have the FAMES orchestra in Macedonia record it for me and I am so happy with the results. Hope you enjoy it...

Adagio for Orchestra

Adagio For Orchestra David S Bateman 2021

for violin and chamber orchestra - in three movements

1. Infamous Rhythms
2. Ancient Signs
3. The Green Linnet

to Miranda Cuckson

Miranda Cuckson, violin and Yoko Hagino, piano

NOT FOR DISTRIBUTION - This is a demonstration recording made without rehearsal and only lightly edited

CHASALOW: Violin Concerto (Ancient Signs & Infamous Rhythms) - piano reduction

More on this 622nd weekly Disquiet Junto project, Know the Shadow (The Assignment: Use recently discarded material to make something new), at: https://disquiet.com/0622/

About the Disquiet Junto: https://disquiet.com/junto/

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0622-know-the-shadow/

Shadow ( disquiet0622)

Deal With It

Blooper reel for the audiobook of Staying Composed. Recorded Fall 2019 at Ableton Studios, Pasadena, CA.

Staying Composed - Audiobook Blooper Reel

Orbit's edge for chamber ensemble (2024)
Orbit's edge takes its inspiration from the phenomenon known as the Roche limit, with particular attention to Saturn's ice moons. Saturn previously had many more smaller celestial bodies surrounding it, but these have been lost as they became too close to Saturn and reached their Roche limit. Once this threshold is crossed, the gravitational forces holding them together are overcome and these moons are pulled apart and disintegrate to beomce the planet's iconic rings. In the future, Phobos - one of Mars' two moons - will similarly reach its Roche limit and will be torn apart to form rings around Mars. This work explores this phenomenon, swirling around orbits that become ever closer before a destructive transformation of its original form leads to the material becoming something new, more crystalline but still forever circling and orbiting.
c.15 mins
Angela Elizabeth Slater
*This is a commission from The Aspen Music Festival and School for the 2024 season.

Performance by Aspen Contemporary Music Ensemble conducted by Tim Weiss in the Harris Hall on 14th August 2024

ANGELA ELIZABETH SLATER Orbits edge

Poems by Edna St. Vincent Millay

The Happenstancers (Toronto, ON) 
Reilly Nelson, soprano
Simon Rivard, conductor

Song of the Prophet-Liar  |  Song of the Sleep-Thief (2024)

More on the 679th weekly Disquiet Junto project, Ice Age — The Assignment: Record the sound of ice in a glass and make something with it — at https://disquiet.com/0679/

Ice Forms (disquiet0679)

Commissioned by the Scottish Chamber Orchestra as part of their 21/22 Season. Premiered by Scottish Chamber Orchestra, conducted by Sir James MacMillan on 11th November 2021 at Queen's Hall, Edinburgh. This excerpt was recorded and broadcast by BBC Radio 3 and performed live by Scottish Chamber Orchestra, conducted by SCO Principal Guest Conductor Andrew Manze on 1st November 2024 as part of the Nordic Music Days Festival 2024 at City Halls, Glasgow.

Death in a Nutshell is inspired by Frances Glessner Lee’s “Nutshell Studies of Unexplained Death” which are a series of 20 re-creations of real-life crime scenes that she intricately fashioned in minute detail within dollhouse-sized rooms. These macabre miniature death-scenes were painstakingly handcrafted by Lee throughout the 1940/50s as a learning tool in forensic and crime scene investigation, and often depict a domestic scenario furnished in 1940s décor in which the body of a doll (or dolls) can be found. Each diorama presents a set of clues regarding the events that led up to the doll’s demise including witness statements and important details about the time of year and even the temperature of the room; all of which offer clues to the solution of a puzzle that can be solved from the objects found within each room. These studies have proved so successful that they are still used today and are housed at the Maryland Medical Examiner’s Officer in Baltimore, where the true solutions are kept firmly under lock and key.

This piece focuses on 6 of Lee’s grisly Nutshell Studies in an attempt to represent 6 different crime-scenes as musical miniatures that hint at a variety of elaborate clues and evidence which form their potential solutions. The work is constructed like a house in which we promenade from room to room, starting in the parlour and wandering all the way to the attic, where we find a deceased doll (or dolls) in each room as well a new mystery to be solved. This morbid tour unfolds as follows:

1. Malleus Dei (in the Parsonage Parlour)

2. The Colossus (in the Kitchen)

3. A Drowned Sorrow (in the Dark Bathroom)

4. Interlude pour l’esprit de l’escalier (on the Stairs)

5. The Family Plot (in the Three-Room Dwelling)

6. Hanging upon your every word (in the Attic)

Leave no stone unturned, no note unscrutinised, “convict the guilty, clear the innocent, and find the truth in a nutshell”, in this macabre collection of miniature pieces inspired by a dollhouse unlike any other.

Death in a Nutshell for Chamber Orchestra (Excerpt) - 1.Malleus Dei (in the Parsonage Parlour)

was thinking about space dilating as i imagined speeding through time.

i got some cello samples and put them thru the protoplasm tsm synth, lots of oscillation, then had dimension expander and crystal reverb automated so they'd get bigger throughout. 
pulled into audacity and sliding time stretch applied so gradually speeds up
audition - duplicated track, stereo widened, then crossfaded with previous track to gradually get wider. mastered

....

Disquiet Junto Project 0264: Time Travel
Record a piece of music that plays with the perception of time.

Step 1: Recorded music is, generally speaking, a fixed object. It’s a document. It proceeds linearly, over time. It is, in the terminology of fine art, “time-based.” That said, music has the power to change one’s perception of time. Slowing and speeding tempo alone can alter a listener’s understanding of what is happening. Backward masking, sublimated hints of themes yet to come, the sound of a tape in fast forward mode — those are just a few ways that a composer can suggest that time is not moving linearly. Now, consider for a moment the tools available to give an impression of time doing things other than proceeding in a steady forward motion.

Step 2: Record a short piece of music that takes time travel as its theme, using ideas that resulted from the consideration in Step 1.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0264″ (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

http://llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project’s deadline is 11:59pm wherever you are on Monday, January 23, 2017. This project was posted in the morning, California time, on Thursday, January 19, 2017.

Length: The length is up to you, but two to three minutes sounds about right.

Title/Tag: When posting your track, please include “disquiet0264″ in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track online, please be sure to include this information:

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

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:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

temporal pulse (disquiet0264)

This is a tough one to describe.  I knew I couldn't do time travel with just an instrumental.  There had to be a voice involved.  Some kind of narrative.

The voice sample (not me) is altered.  Pitch-shifted up on the left and lowered on the right, but the duration was preserved on both to avoid phasing.  A bit of reverb.  The two samples were panned.  You should really listen to this piece with headphones.

Was the voice recording cut up and re-ordered or is it a continuous rant?

The subject matter does the time traveling in my mind:  Beach Boys, David Lynch movie, minute steaks with sunnyside up eggs, Edgar Winter, Stevie Ray Vaughn, Vyvanse, swinging bachelor pad, dress pants and dress shoes, shaved head, Mannix, Ironside, The White Album, Revolution #9, Long Long Long, Revolution #1, sleep, swagger, "the same feeling that night I drank", "the shield of armor" (which is Ephesians 6:10-18), AA talk, "and then Laura told me to Sit In That Feeling."

Book-ending it with talk about "a David Lynch movie" and "Laura told me to sit in that feeling" was intentional.  Or was it?

Was I trying to make the voice sound like a cheap version of The Man From Another Place, or did it just turn out that way?

Now you're thinking about the Twin Peaks reboot.  This isn't about the Twin Peaks reboot.  Or is it?

Music added includes bits of "We Meet Again" by Ambient Matyk (to be released soon), "Feather Ridge", "Kad", and "Shunting" by me, and some extra sounds.

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

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:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

Sit In That Feeling (disquiet0264)

One Percent Disjunction [disquiet0264]

I thought I’d approach this by exploring the inside of a stretch, rather than just absorbing the overall drone effect. Not sure if it worked, but it was fun.

I took a 3 second sample from a piece I was working on. I used Audacity’s Sliding Time Scale effect on it. This stretches the sample unevenly, pulling only from one end, as it were. When the result was just over three minutes long, I reversed it. 

I duplicated the track and then pitched it down by 1% - that is by 0.01 of a tone. This helps create the phasing and movement you hear in the track. I also mixed these together and laid the mix as another track, but out of phase by 0.01 of a second.

A reverb version of the mixed tracks was also laid (in phase).

The ending was made by stretching the original sample out 12x using Audacity’s simplified version of Paulstretch.

The track image was made by applying similar principles to Marc’s email image, using paint.net



----------------------------------------------

Disquiet Junto Project 0264: Time Travel

Record a piece of music that plays with the perception of time.

Step 1: Recorded music is, generally speaking, a fixed object. It’s a document. It proceeds linearly, over time. It is, in the terminology of fine art, “time-based.” That said, music has the power to change one’s perception of time. Slowing and speeding tempo alone can alter a listener’s understanding of what is happening. Backward masking, sublimated hints of themes yet to come, the sound of a tape in fast forward mode — those are just a few ways that a composer can suggest that time is not moving linearly. Now, consider for a moment the tools available to give an impression of time doing things other than proceeding in a steady forward motion.

Step 2: Record a short piece of music that takes time travel as its theme, using ideas that resulted from the consideration in Step 1.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0264″ (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

http://llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/


Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

One Percent Disjunction [disquiet0264]

God: You can never change the future. The past, yes, but not the future.

Lucifer: How do you change the past?

God: Why, the past is always changing—nobody remembers anything. But the future can no more be turned away than the light flowing off the moon.

This bit of dialogue is from Arthur Miller’s underrated play The Creation of the World and Other Business. It comes at a crucial point in the narrative where Lucifer admits to God that he compelled Eve & Adam to partake of the forbidden fruit, an act that ultimately banished God’s children from the Garden of Eden.

Time travel is not impossible; we are always revisiting past events in our efforts to understand the present, and our attempts to predict the future often arise from moments of stagnate contemplation. Anyone who has experienced the feeling of traveling by air or rail understands the dichotomy between moving and not moving, not unlike how a great piece of music rewards the listener’s investment by making time stand still.

For this short piece, Suss Müsik literally went back in time—ten years, to be exact. The source material is an eight-bar guitar phrase played with a Danelectro 12SDC 12-string in 2007. The sample was chopped through a Korg ToneWorks 411X processor and recorded live from a Vox AD30VT. The binaural motion cycles for about two minutes or so before the reverse reverb winds it down, coming almost to a halt. The momentary respite allows for a calming pause before the cymbals announce their arrival.

The piece is entitled Trammel, a word to describe something that restricts or impedes one’s freedom of action.

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquietjunto/

Project discussion takes place on llllllll.co:

llllllll.co/t/musicfortimetravelersdisquietjuntoproject0264/6157/

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

Trammel [Disquiet0264]

When I thought about music which "plays with the perception of time", I thought of rhythms and expectations about them.  This gave me the idea for the "interrupted clock" at the beginning.  That lead to the need for winding sounds.  Chimes I put in because I love them.  I also played around with forward and reverse time (chimes are good for this), including an old trick where you run sounds backward into a reverb and then reverse that track to get backwards reverb but forward sounds (the first 3 winding sounds do this).  Things start to fall apart as the two clocks not only fall out of sync, but both start to lose their regular timing.  Frantic winding does not help, and everything comes to an abrupt end, commented on by the final chime.

I recorded the clock ticks with a "Blue" USB mike, using an old wind-up travel clock for one, and my radio-synched kitchen clock for the other.  Sounds were processed using the RTcmix software toolbox.

My thanks go to to the following contributors at Freesound.org for the winding and chimes sounds listed:
jacobsteel:
http://www.freesound.org/people/jacobsteel/sounds/243610/download/243610__jacobsteel__clock-winding.aiff
Kinoton:
http://www.freesound.org/people/Kinoton/sounds/347139/download/347139__kinoton__antique-fireplace-clock-bell-one-strike.wav
BiancaBothaPure:
http://www.freesound.org/people/BiancaBothaPure/sounds/365779/download/365779__biancabothapure__winding-up-a-clock.wav
daveincamas:
http://www.freesound.org/people/daveincamas/sounds/44099/download/44099__daveincamas__onechime.wav

Please include this information if you include any part of this piece in another work.
--------------------------------
More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

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:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

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

Image associated with this track is by Heather and used thanks to a Creative Commons license:

flic.kr/p/4fD1HJ

creativecommons.org/licenses/by-nc-nd/2.0/

Time's Up [disquiet0264]

luscinia, for orchestra and live electronics
performed live by the La Jolla Symphony, Steven Schick conducting
Tina Tallon, electronics
December 10th, 2017

luscinia (2017)

My 33 1/3 series book about the Aphex Twin album <i>Selected Ambient Works Volume II</i> was published in 2014. The book was one of the top 5 bestselling titles for the calendar year, and in 2015 was ranked by Pitchfork as one of the "33 best" of the 100-plus books in the 33 1/3 series. It has subsequently been translated into Japanese (2019) and Spanish (2018)

Since 2012 I have moderated the Disquiet Junto group, which began on SoundCloud. More at disquiet.com/junto. 

I've written for Nature, Pitchfork, The Wire, Down Beat, Boing Boing, NewMusicBox, Red Bull Music Academy, Art Practical, the website of The Atlantic, and many other publications. 

I've exhibited sound art at galleries in Los Angeles (Crewest), Manhattan (apex art), and Dubai (DUTAC), and I had a audio-visual installation at the San Jose Museum of Art as part of its 45th anniversary.

And since 1996 I've run the website Disquiet.com about the intersection of sound, art, and technology.

Born and raised in Southern California, Douglas studied composition at U.C.L.A, Indiana University, and Columbia University.  Among his teachers were Paul Reale, Frederick Fox, Jack Beeson, Chou Wen-chung, and Mario Davidovsky.

Time's Up [disquiet0264]

dascott

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