A set of tracks from the 29th weekly project from the Disquiet Junto group. 

The Assignment: Make music from running water, inspired by William Gibson's novel Count Zero.

More information on the group at: 

http://soundcloud.com/groups/disquiet-junto/info

More on the specific project at:

http://disquiet.com/2012/07/19/disquiet0029-countzero/

Disquiet Junto Project 0029: Count Zero

I had just the field recording for this.  It was recorded in early 2011 at a garden center / drug store near my house.  The sprinkler was on a timer and was watering trees and shrubs late in the evening, and I heard it while exiting the store so I ran home and got my portable digital audio recorder and got about 8 minutes along with bird and parking lot sounds while sitting in my car.

For this piece, I carved out a little over 2 minutes of the field recording then added some of the rhythm source I used in Disquiet0020 Nodebeat, a looped bit of the train sound I used in Disquiet0002 Duet, along with some background color used in Disquiet0001 Ice.

Had to mix it all so the non-sprinkler rhythms wouldn't overpower the source, as advised.  I think the Nodebeat rhythm is very complimentary even if it and the sprinkler regularly go out of phase but I like it when things go out of phase.

The inspiration for this track came from the opening of chapter 17 of William Gibson's 1986 novel Count Zero.

More on the 29th Disquiet Junto project at:

http://disquiet.com/2012/07/19/disquiet0029-countzero/

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/info 

Prickly Sprinkler (disquiet0029-countzero)

This is four recordings of rain hitting inverted singing bowls of varying sizes. These were then cut into samples of 15, 13, 11 and 9 seconds and then looped 8 times. After the 4th repetition of each sample, I faded in the hold function on the "Ambient" VST which freezes any sound.  There was also some ping pong delay, overdrive and EQ'ing involved with each sample.

Disquiet Junto Project 0029: Count Zero 

The inspiration for this track came from the opening of chapter 17 of William Gibson's 1986 novel Count Zero.

More on the 29th Disquiet Junto project at:

http://disquiet.com/2012/07/19/disquiet0029-countzero/ ;

More details on the Disquiet Junto at:

Disquiet Junto

Forecast [disquiet0029-countzero]

Disquiet Junto Project 0029: Count Zero

  This week's project is inspired by an aside that occurs at the opening of chapter 17 of William Gibson's classic cyberpunk novel Count Zero, originally published in 1986. The chapter is titled "The Squirrel Wood." It opens as follows:   "The plane had gone to ground near the sound of running water. Turner could hear it, turning in the g-web in his fever or sleep, water down stone, one of the oldest songs."  

This idea of water running down stone, of a gentle but insistent natural stream, being one of the "oldest songs" is explored further in the chapter in various subtle ways. The Disquiet Junto project this week is to explore that idea: that there is music in the natural environment. We'll makes songs from running water.  

Instructions:

  Step 1: Locate and make a field recording of source material that involves running water. It can be a stream, as in the Gibson book, but it needn't be natural. The sink, a toilet, a hose in the backyard — any such source material would be fine.  

Step 2: Extract a segment of the recording. That segment will serve as the basis for your composition, as its foundation. It will provide both rhythmic and melodic material. You can either use one long piece of the recording, or you can create the foundation of the track by combining and looping one or more brief segments of your original field recording.

  Step 3: Add elements and treatments to the foundation recording of running water. Do so with the intention of highlighting the water's internal sense of rhythm and melody. Do not embellish so much that the foundation recording becomes unrecognizable.   

Information:

This was a fairly rushed project as I am on business in Baltimore and New York at the moment. God bless wifi on Amtrak's Acela Express … greetings from Delaware at speed!

The recordings were made with an iPhone and the 4 track app of a dripping faucet/tap in my hotel (I had to make it drip, the plumbing was fine) and the overrun of the shower as it hit the resonant faucet beneath.

From these I was able to take a number of rhythmic, semi-resonant loops that I brought into Ableton Live for processing. If you've listened to many of my Junto projects, you'll know that I try to steer clear of pieces that only contain rhythmic constituents, so I also created a couple of granular patches from the sound waves of the water. This all seemed to give the track a post-rock/ambient feel.

These harmonic tracks were run through various instances of Guitar Rig to give some depth to the sounds. All the while, the rhythmic water sounds were pushed around the stereo field a little and given some glitchy movement.

Conceptually I saw this as pulling melody from rhythm with the latter being almost a cage within which the harmonic character is restrained.  

Credits:

Photo: Faucet in Baltimore @echosonic

  The inspiration for this track came from the opening of chapter 17 of William Gibson's 1986 novel Count Zero.  

More on the 29th Disquiet Junto project at: 

http://disquiet.com/2012/07/19/disquiet0029-countzero/

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info

A Good Morning in Baltimore [disquiet0029-countzero]

The inspiration for this track came from the opening of chapter 17 of William Gibson's 1986 novel Count Zero. More on the 29th Disquiet Junto project at http://disquiet.com/2012/07/19/disquiet0029-countzero/. More details on the Disquiet Junto at http://soundcloud.com/groups/disquiet-junto/info.

Process:
- take a 30-second excerpt from a field recording I made of the Contoocook River in Peterborough, NH
- time-stretch it 7x in Paul's Extreme Stretch
- in Csound:
-- derive the spectral centroid[1] of each stereo track
-- use the centroid to control the pitch of a pair of sinewave oscillators
-- pass the oscillator tones through some reverb
-- combine the tones with the streatched water sound, crossfading so that the tones increase in amplitude as the water sound decreases
- convert to MP3 in Audacity

Image: "Animated loop of simulated hydrogen line spectra centroid jitter." found at http://tycho.usno.navy.mil/powerfrq.html, no copyright declared.

[1] http://en.wikipedia.org/wiki/Spectral_centroid

Subsurface Tension [disquiet0029-countzero]

Disquiet 29 - Count Zero

I recorded my taps filling up a washing up bowl and processed it through filters, pitch, delay and gate fx. No other sound sources were used. The hydraulic / pneumatic sound is a short clip of the bowl filling up pitched down an octave and run through reverb.

The inspiration for this track came from the opening of chapter 17 of William Gibson's 1986 novel Count Zero.

More on the 29th Disquiet Junto project at:
 http://disquiet.com/2012/07/19/disquiet0029-countzero/

More details on the Disquiet Junto at:
 

Disquiet Junto 
 



 

All Washed Up (disquiet0029-countzero)

First of all I wanted to find a “musical element” in the running water. It doesn’t mean that I think that e.g. a stream doesn’t have a musical potential. But I wanted to get something more. I made my “running water” experiment in my workshop where I sometimes build things, so it’s a rather messy place.

See more pictures: https://plus.google.com/photos/118245753423874914598/albums/5767908843482227825?authkey=CNa8xJGzwobOAg

I found a rather long PVC pipe. First I glued a contact microphone to it, but I wasn’t really happy with the results. Than I placed the ZOOM H4 recorder at the top of the pipe and started pouring water down the pipe. First the bottom was sealed with the Styrofoam and later the water was landing on the metal bowl. Than I was happy with the results cause the pipe work kind of a natural resonator (resembling a bit resonator effects in Ableton Live).

What is more. first I wanted to upload just the field recording, cause it was quite nice itself. Later I played with it a bit a made a soundscape using just the sounds recorded in the workshop. But still, most of the sounds were unchanged (except from a bit of EQ). I also looped things a bit. 

I uploaded the original field recording. You can download it and use it. It's CC licence. 
http://soundcloud.com/bojanix/water-plastic-pipe

More details on the Disquiet Junto at:

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

Huge SUMMER SALE at www.ETALABEL.com - everything -50% + many free downloads:
Details and Discount Password here: http://www.etalabel.com/index.php/sale-50/

Grzegorz Bojanek - Drops [disquiet0029-countzero]

Microphones held beneath a rock ¶ recording the muffled roar of the sea & the steady flow of water trickling down beneath ¶ delay applied to this recording at more or less arbitrary intervals ¶ a very low resolution mp3 copy of this adapted recording is made, some phase is applied ¶ we fade between the low & the high resolution copies. ¶

Please note the plane passing overhead & the occasional gull. ＃

I believe Count Zero is a very good novel.

The inspiration for this track came from the opening of chapter 17 of William Gibson's 1986 novel Count Zero.

More on the 29th Disquiet Junto project at:
 
http://disquiet.com/2012/07/19/disquiet0029-countzero/

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info

ⓩ

trickl [disquiet0029-countzero]

 Livingstone found the source of the Nile.

This track is an entry to  the disquiet junto project group on Soundcloud. Project 29 invites  tracks exploring the sound of running water inspired from a quote from the novel Count Zero describing the sound of water on stone as the ‘oldest song’.

More information at http://soundcloud.com/groups/disquiet-junto/info 

Main source recording was of an ornamental waterfall in the remembrance garden in City of London Cemetery, Aldersbrook. The pond  is home to a large number of turtles ( dumped unwanted pets I presume – certainly nothing native to UK) recorded on Saturday 21 July 2012. Some loops and slightly time-slipped parts of the recording are played alongside the main recording. Other samples with similar sonic properties are also buried in the mix – a synthy crackle, radio static, some pulsey traffic noises, an unidentified techno track. I mixed this at high volume on headphones -  not sure how it will end up sounding on soundcloud but that’s part of the experiement.


Source of the Nile [Disquiet0029-countzero]

The inspiration for this track came from the opening of chapter 17 of William Gibson's 1986 novel Count Zero.  It was created for the 29th Disquiet project.

To create this, I used a field recording I made of a stream in the nearby Schenley Park in Pittsburgh.  That was the main requirement of this project, using a recording of water and relating it to the quote, which says it is "one of the oldest songs."

I used a sine tone to create the bass and pad sounds were created with KT Granulator.  The main, short, bell-like sound was created with the Disco DSP Discovery plugin and Logic tape delay.  I set the tempo of the song to 160 so that the delay would sync to what I thought the tempo of the water felt like.  There is also a Korg Monotron buried deep in the mix, creating bubbling sounds.

More on the 29th Disquiet Junto project at:

http://disquiet.com/2012/07/19/disquiet0029-countzero/

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/info 

Water Down Stone [disquiet0029-countzero]

I'm in a hotel with only a  crappy netbook to work with this weekend so that put a limitation on how elaborate the track could be.   I recorded water in the bathroom sink, pitched it down and looped it.  I used the same loop pitched up and filtered for a snare and a rhythm part.  I added a recording of Bruce Lee talking about water.  A physignathus cocinincinus is a chines water dragon. 

Physignathus cocincinus [disquiet0029-countzero]

Project: 

This week's project is inspired by an aside that occurs at the opening of chapter 17 of William Gibson's classic cyberpunk novel Count Zero, originally published in 1986.

Process:

I returned to the Prospect Park, Brooklyn, waterfall (pictured, with Sterling) that I used for the prior junto challenge of remixing Lee Rosevere (http://soundcloud.com/thereflectors/waterfall-love) and made a new recording with the garageband app on my iPhone. That recording was eq'ed and compressed and runs uncut under the track. After Sony's Acid beatmapped most of the track's "measures" at ~99bpm with its mysterious one-button algorithmic analysis, I extracted 8 bars with a very subtle knocking sound, the result of a unicyclist (I kid you not) riding over loose slats on a wooden bridge running over the falls. This was looped continuously through the piece as a quiet insistent beat around which the melody was built (mostly evident in headphones, tho). All sounds were extracted from the recording using Paulstretch, Audacity and Acid. My hope is that the track is not "overworked" beyond the constraints of the assignment, and still evokes water over a stone. But if nothing else, it communicates the sense of calm and reflection I find in this somewhat secret place in the heart of the park, off the Nethermead near the Boathouse and Audubon bird sanctuary. There's no real pathway or signs to the spot from the main route, save for trodden-down underbrush that beckons the more adventurous and hyper-aware about to cross the bridge. A slice of #secretnewyork, I guess.

The instructions were as follows:

Step 1: Locate and make a field recording of source material that involves running water.

Step 2: Extract a segment of the recording. That segment will serve as the basis for your composition, as its foundation. It will provide both rhythmic and melodic material.

Step 3: Add elements and treatments to the foundation recording of running water. Do so with the intention of highlighting the water's internal sense of rhythm and melody. Do not embellish so much that the foundation recording becomes unrecognizable.

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

The inspiration for this track came from the opening of chapter 17 of William Gibson's 1986 novel Count Zero. The chapter is titled "The Squirrel Wood." It opens as follows:

"The plane had gone to ground near the sound of running water. Turner could hear it, turning in the g-web in his fever or sleep, water down stone, one of the oldest songs."

This idea of water running down stone, of a gentle but insistent natural stream, being one of the "oldest songs" is explored further in the chapter in various subtle ways. The Disquiet Junto project this week is to explore that idea: that there is music in the natural environment. We'll make songs from running water. 

More on the 29th Disquiet Junto project at:
http://disquiet.com/2012/07/19/disquiet0029-countzero/

More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/info

dronewater falls [disquiet0029-countzero]

made from pitched and/or timestretched loops of  fountain1.wav from http://www.freesound.org/people/roscoetoon/sounds/26402/ 

i haven't read the book (i will, i promise!) but i decided to reimagine the source quote to make it that the plane had landed upside down in the stream and was slowly filling up with water, Turners breathing getting more panicked until he drowns...  apologies to William Gibson for deliberately misinterpreting his work and being so morbid ;-)



This week's project is inspired by an aside that occurs at the opening of chapter 17 of William Gibson's classic cyberpunk novel Count Zero, originally published in 1986. The chapter is titled "The Squirrel Wood." It opens as follows:

"The plane had gone to ground near the sound of running water. Turner could hear it, turning in the g-web in his fever or sleep, water down stone, one of the oldest songs."

This idea of water running down stone, of a gentle but insistent natural stream, being one of the "oldest songs" is explored further in the chapter in various subtle ways. The Disquiet Junto project this week is to explore that idea: that there is music in the natural environment. We'll makes songs from running water.

The instructions are as follows:

Step 1: Locate and make a field recording of source material that involves running water. It can be a stream, as in the Gibson book, but it needn't be natural. The sink, a toilet, a hose in the backyard — any such source material would be fine.

Step 2: Extract a segment of the recording. That segment will serve as the basis for your composition, as its foundation. It will provide both rhythmic and melodic material. You can either use one long piece of the recording, or you can create the foundation of the track by combining and looping one or more brief segments of your original field recording.

Step 3: Add elements and treatments to the foundation recording of running water. Do so with the intention of highlighting the water's internal sense of rhythm and melody. Do not embellish so much that the foundation recording becomes unrecognizable. 

Potamophobia [disquiet0029-countzero]

Disquiet Junto Project 0029: Count Zero

This week's project is inspired by an aside that occurs at the opening of chapter 17 of William Gibson's classic cyberpunk novel Count Zero, originally published in 1986. The chapter is titled "The Squirrel Wood." It opens as follows: 

"The plane had gone to ground near the sound of running water. Turner could hear it, turning in the g-web in his fever or sleep, water down stone, one of the oldest songs." 

This idea of water running down stone, of a gentle but insistent natural stream, being one of the "oldest songs" is explored further in the chapter in various subtle ways. The Disquiet Junto project this week is to explore that idea: that there is music in the natural environment. We'll makes songs from running water. 

The instructions are as follows: 

Step 1: Locate and make a field recording of source material that involves running water. It can be a stream, as in the Gibson book, but it needn't be natural. The sink, a toilet, a hose in the backyard — any such source material would be fine. 

Step 2: Extract a segment of the recording. That segment will serve as the basis for your composition, as its foundation. It will provide both rhythmic and melodic material. You can either use one long piece of the recording, or you can create the foundation of the track by combining and looping one or more brief segments of your original field recording. 

Step 3: Add elements and treatments to the foundation recording of running water. Do so with the intention of highlighting the water's internal sense of rhythm and melody. Do not embellish so much that the foundation recording becomes unrecognizable.

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

The inspiration for this track came from the opening of chapter 17 of William Gibson's 1986 novel Count Zero. 

More on the 29th Disquiet Junto project at: 

http://disquiet.com/2012/07/19/disquiet0029-countzero/ ; 

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto

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

There is a large-bore easement drain running through my property, which runs briefly through an open cistern. After heavy rain, it runs for days and sounds like a creek. I recorded it in full flow some time ago; this is the base recording for the track.

The main track here is a modified version of the base recording, a reduced and reverbed drone that runs full length and retains the main watery sound, though with a larger, more spacious ambience. 

At 15 secs, a selected section of the base track, put through granular synthesis, is faded in at muted volume. This contains filter tweakings which attempt to mimic the different sounds water makes when forced through faucets, sprays and nozzles.

At 35 secs the base recording is added, fading at 3:10

At 40 secs another short section culled from a second granular session, intrudes for about 1 minute, imitating the ‘spraying’ fanning sounds of water on display. This repeats, reversed, towards the end.

All up, five tracks, all using only the original recording as a sound source.

Not sure how successful this drone is, but it sure has a “wet” sound :)

Artwork: 'Water Levels', computer generated by Tuonela

Water levels [disquiet0029-countzero]

A response to the 29th disquiet junto project where the sounds of running water collected near the coast of wollongong, Australia, were processed in reaktor.

The inspiration for this track came from the opening of chapter 17 of William Gibson's 1986 novel Count Zero.
 


Wateronstone [Disquiet0029-countzero]

Recorded on the last truly rainy day of the rainy season in Kyushu. Rain on a parking lot cover, on a ziploc bag, and the sound of the drain in the driveway.

I tried to keep the edits to a minimum, hoping that by looping interest sections of the sound and highlighting existing resonances I could pull something rhythmic and melodic out of the recordings. In the end, the filters are pretty peaky and the rhythm..  hmm, well, I just don't know what to do without a kick. Am a bit disappointed with the results, given how lucky I felt to be able to record the last day of tsuyu, but it was an interesting task.

The inspiration for this track came from the opening of chapter 17 of William Gibson's 1986 novel Count Zero.

More on the 29th Disquiet Junto project at:

http://disquiet.com/2012/07/19/disquiet0029-countzero/

draining season [disquiet0029-countzero]

"The plane had gone to ground near the sound of running water. Turner could hear it, turning in the g-web in his fever or sleep, water down stone, one of the oldest songs." 
 -- William Gibson, Count Zero. 1986.

using http://soundcloud.com/gluid-1/bathwater-field for water down man-made stone -- bedaankt!
and the water pack by plagasul http://www.freesound.org/people/plagasul/packs/8/ -- gracias!

. . . . .

Disquiet Junto Project 0029: Count Zero

This week's project is inspired by an aside that occurs at the opening of chapter 17 of William Gibson's classic cyberpunk novel Count Zero, originally published in 1986. The chapter is titled "The Squirrel Wood." It opens as follows:

"The plane had gone to ground near the sound of running water. Turner could hear it, turning in the g-web in his fever or sleep, water down stone, one of the oldest songs."

This idea of water running down stone, of a gentle but insistent natural stream, being one of the "oldest songs" is explored further in the chapter in various subtle ways. The Disquiet Junto project this week is to explore that idea: that there is music in the natural environment. We'll makes songs from running water.

The instructions are as follows:

Step 1: Locate and make a field recording of source material that involves running water. It can be a stream, as in the Gibson book, but it needn't be natural. The sink, a toilet, a hose in the backyard — any such source material would be fine.

Step 2: Extract a segment of the recording. That segment will serve as the basis for your composition, as its foundation. It will provide both rhythmic and melodic material. You can either use one long piece of the recording, or you can create the foundation of the track by combining and looping one or more brief segments of your original field recording.
 
Step 3: Add elements and treatments to the foundation recording of running water. Do so with the intention of highlighting the water's internal sense of rhythm and melody. Do not embellish so much that the foundation recording becomes unrecognizable.
 
Deadline: Monday, July 23, at 11:59pm wherever you are.

The inspiration for this track came from the opening of chapter 17 of William Gibson's 1986 novel Count Zero.
 
More on the 29th Disquiet Junto project at: http://disquiet.com/2012/07/19/disquiet0029-countzero/

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info


_______________________________________________________________
pic: http://www.flickr.com/photos/dionnehartnett/7324180278/

The plane had gone to ground near the sound of running water [disquiet0029-countzero]

Created for the <a href="http://soundcloud.com/groups/disquiet-junto">Disquiet Junto</a>.

Assignment:

"This week's project is inspired by an aside that occurs at the opening of chapter 17 of William Gibson's classic cyberpunk novel Count Zero, originally published in 1986. The chapter is titled "The Squirrel Wood." It opens as follows:

"The plane had gone to ground near the sound of running water. Turner could hear it, turning in the g-web in his fever or sleep, water down stone, one of the oldest songs."

"This idea of water running down stone, of a gentle but insistent natural stream, being one of the "oldest songs" is explored further in the chapter in various subtle ways. The Disquiet Junto project this week is to explore that idea: that there is music in the natural environment. We'll makes songs from running water.

"The instructions are as follows: 

"Step 1: Locate and make a field recording of source material that involves running water. It can be a stream, as in the Gibson book, but it needn't be natural. The sink, a toilet, a hose in the backyard — any such source material would be fine.

"Step 2: Extract a segment of the recording. That segment will serve as the basis for your composition, as its foundation. It will provide both rhythmic and melodic material. You can either use one long piece of the recording, or you can create the foundation of the track by combining and looping one or more brief segments of your original field recording.

"Step 3: Add elements and treatments to the foundation recording of running water. Do so with the intention of highlighting the water's internal sense of rhythm and melody. Do not embellish so much that the foundation recording becomes unrecognizable."


Method:

Been away from the Junto for a few weeks due to moving house and all the associated problems and adventures that entails... only just beat the deadline this week (by 15 minutes!)

Due to lack of time, I used a field recording from 2009/2010 of a river in Culloden Forest, Scotland. There were two recordings of the same river - one with the onboard mic of a Zoom h4N, and one with a pair of hydrophones (bought from Jez Riley French [http://soundcloud.com/jezrileyfrench] - he makes excellent hydrophones and contact mics [see here: <a href="http://hydrophones.blogspot.co.uk/"> http://hydrophones.blogspot.co.uk/ </a>).

My idea was to make it futuristic (in a 'Gibsonish' way if at all possible), while retaining as much of the watery quality as possible.

I edited, looped and mixed the recordings in Audacity, using one small portion of the hydrophone recording as the looped rhythm. I played the resulting mix through a Sansa Clip, fed into an Artcessories 4 channel splitter/mixer. The four outputs of the splitter were sent to a KP3 Kaoss pad, a Roland SP555, and two mini KP Kaoss pads. The outputs from the three effects units and the sampler were fed into a Behringer 5 channel mixer, and recorded by the Zoom h4N.

I played the effects live ('tape' delay, talk filter, LFO and reverb), and played 3 'hits' on the sampler in and out of time with the rhythm of the recording (the 'hits' being fragments of sound - almost granular samples - from the hydrophone recording). 

I mixed the resulting effects track with the original mix in Audacity, and that was it. It took longer to set up the equipment than to play, edit, record and upload...

Not sure I managed to keep enough of the water sound in there, but I enjoyed the process and the feel... will spend a bit more time on the next assignment, hopefully!

--

Track image adapted from this image:

<a href="http://commons.wikimedia.org/wiki/File:Rocks_and_water_%28nude%29.jpg">http://commons.wikimedia.org/wiki/File:Rocks_and_water_%28nude%29.jpg</a>

[I couldn't resist this when I searched for "water and rocks" on Wikimedia Commons and this came up - I think it looks like she's listening to the water].

--

More details on the Disquiet Junto at: 
<a href="http://soundcloud.com/groups/disquiet-junto/info">Disquiet Junto</a>

Hits from the G-Web [disquiet0029-countzero]

This week's challenge was to make a recording using water (full details here: http://disquiet.com/2012/07/19/disquiet0029-countzero/)

For this project I froze a homemade contact mic in a container of water and then placed the container into a bowl of hot water and recorded the water melting. I've wanted to try this for a while after reading about other people who have experimented with a similar process ( e.g., http://uprlip.com/archives/1418, http://leafcutterjohn.com/?tag=contact-mic).

I also improvised some rhodes overtop of the recording to add a melodic component.

Image (CC licensed) from: http://www.flickr.com/photos/stefanvds/3200106072/sizes/n/in/photostream/

More details on the Disquiet Junto at: 
http://soundcloud.com/groups/disquiet-junto/info 

Melt 2 [disquiet0029-countzero]

For this week's Junto project, we were asked to build a composition around the natural rhythms of water.

Rather than turning to nature for my foundational samples, I captured the sounds of the aquarium pump in my studio; taking advantage of its mechanical flow to infuse this piece with a subtle pulse. I then fed the raw field recordings through a selection of pedals to create a synthetic texture; over which I improvised a passage of looped guitar figures, mirroring the ebb and flow of the processed layers with interwoven lines of resonant feedback and harmonics. Through it all, the intricacies of the water's quiet gurgling push forward, anchoring the mix to a central element.

The inspiration for this track came from the opening of chapter 17 of William Gibson’s 1986 novel Count Zero.

More on the 29th Disquiet Junto project at: http://disquiet.com/2012/07/19/disquiet0029-countzero/

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info

Feeding Time [disquiet0029-countzero]

condition: (as determined by the twenty-ninth <a href="http://soundcloud.com/groups/disquiet-junto/">junto project</a>) make a field recording of source material that involves running water to act as a foundation for a sound work providing both rhythmic and melodic material. add elements and treatments to the foundation recording, with the intention of highlighting the water's internal sense of rhythm and melody, while keeping the original recording recognizable. duration should be between 2 and 4 minutes.

process: melodic content was produced from a field recording of a river as the only source material using a resonant filter and reel to reel tape loops. the recording documents the gradual removal of elements allowing different elements to surface.

http://www.davidandree.com/blog/?p=1626

the river makes its own refrain (disquiet0029-countzero)

My 33 1/3 series book about the Aphex Twin album Selected Ambient Works Volume II 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.