Pretty straightforward layering as per instructions. Given that 60Hz is often thought (by musicians in some genres, anyway) to be an unwanted noise in the recording, I thought I'd boost the noise floor and make it compete for space with the rumble. Also tried to set the West Side 60Hz off against a Kanto 50Hz, with mixed results.

I thought the result might deviate more from source material after adding modulations, echo, distortion, filters and so on, but in the end the rhythm such as it is plays a lesser role than I had hoped. Nevertheless, want to actually participate this week rather than leaving half-finished tracks lying around, and I really enjoyed the bits of 60Hz that I've heard (and Dave Seidel's output in general), so it's a pleasure to contribute.

More on this 114th Disquiet Junto project — “Combine elements of Dave Seidel’s album ~60 Hz (Irritable Hedgehog)” — at:

http://disquiet.com/2014/03/06/disquiet0114-60hz/

More on the Disquiet Junto at:

http://disquiet.com/?p=16588

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

The source audio is from Dave Seidel’s ~60 Hz album, released on the Irritable Hedgehog record label. More on the album at:

http://recordings.irritablehedgehog.com/album/dave-seidel-60-hz

50605060 [disquiet0114-60Hz]

Have taken a 4 year hiatus (thought it was 7, but seems like I did some disquiet juntos in 2018). Not sure this really marks a change in this break(time etc), but felt like playing a bit with some synths.

I tried to make something which didn't drown out the original rhythm track, played with it a bit, and hopefully¥ took things in a (slightly!) different direction than the original (https://soundcloud.com/tendigits/disquiet0572-rythm-kit) implied.

If I were doing things again I think I'd try to go in yet a different direction and maybe try to emphasize the 'kick' along the way, but no time for second guessing.

central fleeting [disquiet0573-float mode]

I wanted to get the impulse response for the room in question, or something like it. In the end I ran wireshark, captured the packets following an http get of disquiet.com/2014/04/03/disquiet0118-internetroomtone/, and exported the data.

First I tried just creating a "mix down" of the packets, summing up the individual bytes for any given sample in time from all the packets (assuming packets being traansmitted at a rate of one byte per sample @ 44.1kHz). Anyway, that gave me an impulse response with a few clicks at the beginning, a lot of noise in the middle, and a few more clicks at the end. It was around 30 seconds long.

I wanted something with more tonal material, so with the same data set I used the per-packet bytes as phase increments to per-packet sine wave generators, and accumulated that over time. It gave me something like the impulse response, but something more amenable to being stretched with paulstretch. 30 seconds was too short for me, so I repeated the "impulse response" thing four times, vocoding the paulstretched tonal thing, mixed in a few more of the tonal things, convolved it all with the impulse response and then saturated it. I guess it got something of the mood I wanted, and involved some of the process which I had intended.

More on this 118th Disquiet Junto project — “What is the room tone of the Internet?” — at:

http://disquiet.com/2014/04/03/disquiet0118-internetroomtone/

More on the Disquiet Junto at:

http://disquiet.com/?p=16588

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Image associated with this Junto project used via a Creative Commons license:

https://flic.kr/p/2af9A

shark ears [disquiet0118-internetroomtone]

Written for Disquiet Junto 0579. Ran out of time, of course, but tried to revisit a track that I previously made in 1993 using OctaMED ( https://soundcloud.com/floor-51/betrayal ) . Still prefer the original, but with a bit more time I think this mix could be ok. I'm not so keen on using the 1984 samples - actually lower quality here than the ones I was playing on the Amiga, I think - but it didn't seem honest to revisit the track without them.

---

More on this 579th weekly Disquiet Junto project, Memory Serves (The Assignment: Rerecord a piece of music), at: https://disquiet.com/0579/

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-0579-memory-serves/

a new betrayal [disquiet0579-memoryserves]

I wanted to keep things simple by strictly using the original source material without any synthesis or fancy resynthesis. So I put the original recording in reaper and then sent various filtered versions of it through various effects. I want to create something like a bass drum from the track, but I didn't want to 'cheat' by doing pitch modulation / using a self resonating filter on it. That said, I ended up using a self resonating filter for the bassline like thing, and I used paulstretch to extract some tonal content. The best intentions.. I manually adjusted the clip so that it stayed roughly synchronised for the bulk of the track, but then mixed in the original recording at the end so that there was some syncopation.

I find it a bit heavy on the drudgery of the march, and if I were doing it again I think I would try to escape that drudgery by transitioning to more of a drone, but I'm not about to start from scratch now :)

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More on this 581st weekly Disquiet Junto project, Helsinki Downspout (The Assignment: Use a rhythmic field recording as the foundation for a new track), at: https://disquiet.com/0581/

Thanks to Scott Fletcher for having provided the original material. It is used thanks to a Creative Commons license: Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0). Original track at: https://soundcloud.com/disquiet/helsinki-downspout/ 24

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-0581-helsinki-downspout/

shifty pipe [disquiet0581-helsinkidownspout]

minor elaboration on disquiet0147-slightnoise

autoregressive sleep extender

Used the st-xx sample pack of old SoundTracker 8 bit waves and put together a simple loop, albeit with some decidedly non-8 bit effects. I fear the loop may be a bit too busy to play well with other loops, but... well, anyway, it's a loop and a wrap.

More on this 153rd Disquiet Junto project — “Record a short sound intended to be set on repeat” — at:

http://disquiet.com/2014/12/04/disquiet0153-groovelock/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project by Stuart R Brown:

http://flic.kr/p/mFQC3

bar hopping [disquiet0153-groovelock]

No science or method here, really. Chose source tracks from Tom Anderson 21, Michael Ash Sharbaugh, alln4tural and moduS ponY. There may have been another, and if I remember/identify it, I'll add it here. The first two comprised the alternating loops that continue throughout the track. The others were used for percussion (alln4tural) or just to support the track in some other way.  

It's a bit of fluff, but why not?

More on this 154th Disquiet Junto project — “Create a track from two locked grooves” — at:

http://disquiet.com/2014/12/11/disquiet0154-grooveunlocked/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project by Risa:

https://flic.kr/p/7SVf4L

circolean floop [disquiet0154-grooveunlocked]

Alt/discard from disquiet0154-grooveunlocked. Features Mattnix and inflow.

Inexf / disquietish0154-grooveunlocked

I was really excited about working with Yellow Salamand'r and Colab's source material. I liked both, and something about Colab's take on it reminded me of days spent playing Jet Set Radio on my dreamcast. After that, I feel like I kind of sat helplessly as the above (short) mix took form. It's not at all what I thought would result, and I feel badly it doesn't do credit to the source material - especially unfinished - but worst of all would be to pretend it didn't happen :) If I had more time, I think I'd start over, but this Monday is off limits for solo tinkering time, so this is it.

More on this 155th Disquiet Junto project — “Take a track and its remix and meld them into something new” — at:

http://disquiet.com/2014/12/18/disquiet0155-mixmatch/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project by Chris Beckett via a Creative Commons license:

https://flic.kr/p/jNxs8

Short Wait For Oblivion [disquiet0155-mixmatch]

more of a plugin test than anything, the layering is as much in the frequency domain as anything, with some layered frequency shifting causing bad aliasing.


More on this 163rd Disquiet Junto project — “Create a new late-night ambience with sounds from a handful of pre-existing field recordings” — at:

http://disquiet.com/2015/02/12/disquiet0163-layeringminutes/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project by Matthias Ripp, used via Creative Commons license:

https://flic.kr/p/qoxehn

slash shifters [disquiet0163-layeringminutes]

Uses two sounds from free sound.org:
https://freesound.org/people/FreqMan/sounds/42819/
https://freesound.org/people/themfish/sounds/45811/

There are a few bandpass filters followed by audio -> midi triggers that  play sine waves in absynth. The sine wave output goes through a reverb wash. The turntable sounds are mixed in, and sometimes fed through 2WarpDelay (which is also, in turn, fed into the reverb).

If I could start again I would :), but it's done now.

signtable [disquiet0326-wave-turntable]

Much struggling with Reaper. I love Reaper, but have never tried to do anything in a different time signature. Wish I would have just done something that took advantage of the premise rather than fought it the whole way through, but there you have it :)

disjuntolate

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