More on this 401st weekly Disquiet Junto project — Noise Pacing / Use background noise as a beat, as a rhythm — at:

https://disquiet.com/0401/

This project is the third and final of a series being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. The source audio was provided by the Tobias Reber. More details at:

https://www.musikfestivalbern.ch/

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-0401-noise-pacing/

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

Disquiet Junto Project 0401: Noise Pacing

I utilized a clip from some Fajitas a server was running to another table that I captured. I then looped the clip and added Roland 808 drum sequencing. I then used the ROLI to add in additional tones. I added some bass and compression to the Fajitas.
I'm hungry now.
More on this 401st weekly Disquiet Junto project — Noise Pacing / Use background noise as a beat, as a rhythm — at:

https://disquiet.com/0401/

This project is the third and final of a series being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. The source audio was provided by the Tobias Reber. More details at:

https://www.musikfestivalbern.ch/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Fajita Wolf Disquiet401

Fajita Wolf disquiet0401 (want me)

I made a bunch of drum loops to explain to my music theory class what polyrhythm is. Then I read about this Junto project and thought, hmm, making a beat out of noise, let's use them for this too! I vocoded the loops using a straight noise carrier and used an LFO to automate the vocoder's release parameter. I used Follow Actions to randomly sequence the loops, and then edited that sequence for better flow and musicality. In order of entrance, the polyrhythms are 4-vs-3, 5-vs-4, pentuplet swing, septuplet swing, and 11-vs-5.

More on this 401st weekly Disquiet Junto project — Noise Pacing / Use background noise as a beat, as a rhythm — at:

https://disquiet.com/0401/

This project is the third and final of a series being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. The source audio was provided by the Tobias Reber. More details at:

https://www.musikfestivalbern.ch/

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-0401-noise-pacing/

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

Polyrhythmic Noise Grooves (disquiet0401)

I used my earlier track (Disquiet Junto 399 which was a previous Rauschen based track), it became a remixed version of it but processed with more noise elements, into various drumracks and rhytmic effects to create a track with more a tempo and rhythmic structure. I added little samples of melody - not quite the "something melodic atop it" that was requested but just enough to give as hint that melody might appear somewhere! 

Disquiet Junto Project 0401: Noise Pacing
The Assignment: Use background noise as a beat, as a rhythm.

This project is the third and final of a series being done in collaboration with Musikfestival Bern, which will be held in Switzerland from September 11 through 15. For this reason, a German translation is provided below. We are working at the invitation of Tobias Reber, an early Junto participant, who is in charge of the educational activities of the festival. Select recordings resulting from these three Disquiet Junto projects will be played publicly as part of the Rauschlabor Schützenmatte (musikfestivalbern.ch) or broadcast on the festival’s radio show, Radio Antenne (radioantenne.ch). If you don’t want your recording to be used in this way, please note so wherever you post it.

Step 1: Familiarize yourself with the German word “rauschen,” the theme for this year’s festival. Understand that “rauschen” is noise in the sense of white noise, waterfall noise, background noise, static, wind in trees, rain, etc. The blurred, diffuse, continuous kind of noise, not short individual non-tonal sounds.

Step 2: You are going to make music in which one or more “rauschen” noise(s) will be used as the beat or rhythm for a track. Record and listen back to such “rauschen.”

Step 3: Select one or more noise elements from Step 2.

Step 4: Create a track using the elements from Step 3 as beats or rhythmic material, and then layer something melodic atop it.

the blurred, diffuse, continuous [disquiet0401]

release date: 06 _09_2019   
More on this 401st weekly Disquiet Junto project — Noise Pacing / Use background noise as a beat, as a rhythm — at:

https://disquiet.com/0401/

This project is the third and final of a series being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. The source audio was provided by the Tobias Reber. More details at:

https://www.musikfestivalbern.ch/ 1

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-0401-noise-pacing/ 1

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

Magnetic Traffic(disquiet0401)

I'm using the Croaker reggae riddim.  Instead of traditional drums, I'm using rauschen to create a beat.  There are bits of Ezra Pound reading "Hugh Sewlyn Mauberly (Contacts and Life)".

More on this 401st weekly Disquiet Junto project — Noise Pacing / Use background noise as a beat, as a rhythm — at:

https://disquiet.com/0401/

Noise Pacing - disquiet0401

Noise Pulse

Mr. Rausch • disquiet0401

The bass for this track is "gated" stereo audio of the beehive geyser in Yellowstone national park.  The other main rhythm is the sound of horses also recorded at Yellowstone.  The break is a Yellowstone field recording of the Maple fire.  The coyotes were recorded in Yellowstone as well. The bass and bells are from Zebralette.  

Yellowstone field recordings:

https://www.nps.gov/yell/learn/photosmultimedia/soundlibrary.htm

Gelbes Rauschen

Gelbes Rauschen Disquiet0401

This one began about five years ago as an introduction to another song. It only feels completed today.  Now it stands alone, succinctly phrased.  There are layers upon layers here with everything from accordion to traffic noise.  I have a deep-seated love of this little piece.  It's likely my favorite and the most personal I've offered to disquiet.  I wrote this for my wife who has an interminable affection for the work of Charlie Chaplin.  The picture is from Spain, taken in 2018, but seeming much older, even as I looked through the viewfinder.

Ryan Scott Mattingly

Tramp (disquiet0401)

disquiet0401 Noise Pacing

https://llllllll.co/t/disquiet-junto-project-0401-noise-pacing/25247/21?u=eptc

A Calming Fog Covers the Ground (Disquiet0401)

Created in response to "Disquiet Junto Project 0401: Noise Pacing".
The Assignment: Use background noise, in the sense of the German word "rauschen", as a beat or a rhythm.

Here, the rainfall accents are emphasised and extracted to generate a naturally syncopated rhythm. This soundfile is then reused; fed as an impulse response to a convolution reverb and used to process the pad sounds. As above, so below.

(Field-recordings are self-recorded)

Rauschen - disquiet0401

Disquiet Junto Project 0401: Noise Pacing
The Assignment: Use background noise as a beat, as a rhythm.

I am on the road at the moment, so I just used preexisting samples I already had in my beloved Android DAW "Caustic".  I arranged them to get something rhythmic, which I intended to be erratic, too. There are deviations from the perfect rhythm to honor the idea of "rauschen". All "melodic" sounds are due to filter sweeps. Most rhythms are made with Square-wave LFOs .

--

More on this 401st weekly Disquiet Junto project — Noise Pacing / Use background noise as a beat, as a rhythm — at:

https://disquiet.com/0401/

This project is the third and final of a series being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. The source audio was provided by the Tobias Reber. More details at:

https://www.musikfestivalbern.ch/

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-0401-noise-pacing/

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

Erratic [disquiet0401]

Nachtrausch disquiet0401

From this week's Disquiet Junto task here: https://disquiet.com/2019/09/05/disquiet-junto-project-0401-noise-pacing/

Back into it after a few weeks away from being too tired/busy. Anyway, the basic theme behind this one was to make a beat from the background noise of a place, and my choice was the McKinley Park lagoon.

This is made up of two different recordings. One of me sitting at the edge and another of me walking around it. At one point there was a long metallic clang in the distance and I thought "Awesome! I'll use that as the melodic element!" However, the chirping of the cicadas was just too much for it to be very usable in the mix. So, it because a background texture, but it's nice in that respect.

In making a beat from the stuff, I thought that chopping out the sound and doing something very percussive sounding was kind of contrary to this idea of "rauschen" that the project was focusing on. (Which might have been the point. Shrug.) So, what I wanted to do was to make the rhythmic structure very subtle. Kind of struggling to emerge, I suppose. So, I used a lot of the natural rhythms. The spacing of the cicadas' chirps. The pace of my footsteps. Et cetera.

[disquiet0401] Rhythm of the Artificial Body

This piece is based on a sample of more than 100people discussing designing for meaningfulness. I’ve stretched and mangled the sample - and added fuzz and compression, side-chaining into a suitable rhythm.

On top of everything is a few vocal samples and some different granular-synths  - so most of the raw material to this small piece is from live samples and only bass and some drums are “synthesized”.

The piece is made in response to this weeks challenge of the disquiet junto.

More on this 401st weekly Disquiet Junto project — Noise Pacing / Use background noise as a beat, as a rhythm — at:

https://disquiet.com/0401/

This project is the third and final of a series being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. The source audio was provided by the Tobias Reber. More details at:

https://www.musikfestivalbern.ch/

More on the Disquiet Junto at:

https://disquiet.com/junto/

disquiet0401 - breath of meaning

I'm not much for sampling, so I tried to use various noise colors to accomplish the prompt. I decided to use every color of noise from Sapel for at least 1 rhythmic element, and tried to do something at least a little unusual for each one.
Pink noise into Ripples with a bit of resonance, and random duration envelopes modulating FM and amplitude made the bass drum.
Blue noise into Aperture, with a narrow width, frequency at max, and some resonance and feedback made the right panned noise voice.  The frequency was modulated with an inverted envelope.
White noise into Optomix then into the left side of Chronoblob with time at minimum made the karplus like sound panned left.
The swell was red noise into Prism, in high pass mode with resonance, time, and comb at 12 o'clock, into Chronoblob's right channel, with a moderate time setting, then into Erbe-Verb.
And lastly for noise based elements, the glitchy tom/snare thing was Pink noise into Sprott, set to almost self resonate, went into the Addac 601 input 2 for some shaping. More pink noise was mixed in through input 1 of the 601 to get some of the fuzz back.
The bassline was not based on noise. It was the Dannysound EN219 into QPAS. With some FM and SR modulation. 
Euclidean Circles and Marbles provided triggers, and Arpitecht provided pitch.

---

More on this 401st weekly Disquiet Junto project — Noise Pacing / Use background noise as a beat, as a rhythm — at:

https://disquiet.com/0401/ 3

This project is the third and final of a series being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. The source audio was provided by the Tobias Reber. More details at:

https://www.musikfestivalbern.ch/ 1

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 2:

https://llllllll.co/t/disquiet-junto-project-0401-noise-pacing/ 4

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

Static Ocean Pulling at Your Feet - disquiet0401

there's a primary school close to where i live
the sound of hundreds of kids has a rauschen quality i think
i recorded on my phone, and there's the sound of wind too

i ran through the electronica 1 and 2 filters in live with ddly too

Disquiet Junto Project 0401: Noise Pacing
The Assignment: Use background noise as a beat, as a rhythm.

This project is the third and final of a series being done in collaboration with Musikfestival Bern, which will be held in Switzerland from September 11 through 15. For this reason, a German translation is provided below. We are working at the invitation of Tobias Reber, an early Junto participant, who is in charge of the educational activities of the festival. Select recordings resulting from these three Disquiet Junto projects will be played publicly as part of the Rauschlabor Schützenmatte (musikfestivalbern.ch) or broadcast on the festival’s radio show, Radio Antenne (radioantenne.ch). If you don’t want your recording to be used in this way, please note so wherever you post it.

Step 1: Familiarize yourself with the German word “rauschen,” the theme for this year’s festival. Understand that “rauschen” is noise in the sense of white noise, waterfall noise, background noise, static, wind in trees, rain, etc. The blurred, diffuse, continuous kind of noise, not short individual non-tonal sounds.

Step 2: You are going to make music in which one or more “rauschen” noise(s) will be used as the beat or rhythm for a track. Record and listen back to such “rauschen.”

Step 3: Select one or more noise elements from Step 2.

Step 4: Create a track using the elements from Step 3 as beats or rhythmic material, and then layer something melodic atop it.

morning drizzle (disquiet0401)

This track more or less builds on the two previous Raushen projects. The sounds are rain and thunder from the weekend, our dishwasher washing, amongst other things, a large stainless pasta pot that makes recurring sound and an industrial washing machine I recorded while on holiday.

I use a gate on the transients from these sounds to trigger the melodic part which is sent through two effects chains; one with a resonator the other raw. Throughout the track I alter the ratio of these two chains.

For the bass beat I once again use the Xils 3LE as an envelope follower and use the transients to trigger a saw which is applied to the filter on the original sound. This is then processed through two chains; one boosts the bass by compression and Ableton's drum buss and finally the Wavesfactory SK10 drum sub simulator, and the other is sent through a shimmer delay and Glitchmachines' Fracture for some additional ambience.

I'd hoped to be able to spend more time on this and make it a more sparse and melodic track but was, appropriately, inundated with work.

---

More on this 401st weekly Disquiet Junto project — Noise Pacing / Use background noise as a beat, as a rhythm — at:

https://disquiet.com/0401/

This project is the third and final of a series being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. The source audio was provided by the Tobias Reber. More details at:

https://www.musikfestivalbern.ch/

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-0401-noise-pacing/

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

inundate (disquiet0401)

Sounds were borrowed from the previous 0398 junto project where this all began:
- Carn mor by @samarobryn https://soundcloud.com/samarobryn/carn-mor-disquiet-0398?in=disquiet/sets/disquiet-junto-project-0398
- RauschenKnisternFlackern By @randomshuffle https://soundcloud.com/randomshuffle/rauschenknisternflackerndisquiet0398?in=disquiet/sets/disquiet-junto-project-0398
- Sough by S E V E N I S M: https://soundcloud.com/user-261631791777777777/sough-disquiet0398

Samples were taken and formed into a drum machine with some slowly shifting parameters with the additional melody coming from some layered synths and low frequencies.
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More on this 401st weekly Disquiet Junto project — Noise Pacing / Use background noise as a beat, as a rhythm — at:

https://disquiet.com/0401/

This project is the third and final of a series being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. The source audio was provided by the Tobias Reber. More details at:

https://www.musikfestivalbern.ch/

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-0401-noise-pacing/

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

Tone shaping [disquiet0401]

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.