More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto Project 0073: Faulty Notation

Disquiet Junto Project 0073: Faulty Notation

This week’s Disquiet Junto project is about earthquakes. Each participant receives a distinct section of a map of the San Andreas Fault. The section will be interpreted as a graphic notation score. The resulting music will, in the words of Geoff Manaugh of BLDG BLOG, “explore the sonic properties of the San Andreas Fault.”

Full instructions at http://soundcloud.com/groups/disquiet-junto/info

Implementation

I'm never a particularly big fan of graphic notation projects … either there should be a structure or there shouldn't. Nevertheless, I love maps so my take was on a piece inspired by the particular map. I was influenced by some of the contours and marks, but ultimately I wanted a cohesive piece first. The full map I was provided with is at the following link: http://echosonic.files.wordpress.com/2013/05/fm_cell05-wdt.png

I was inspired to use a couple of Soniccouture sound libraries (Abstrakt Bass and Bowed Piano), but the main melodic line came from Boscomac's superb Air Piano Reaktor ensemble. I played some lines that I felt encapsulated the map in front of me. Just one take (clearly!) as I didn't want to get too bogged down on going back in and effectively re-scoring (and my keyboard skills are limited).

Some chaotic loops were added to represent some of the fault lines and to stop the track simply being another wash of noise.

Credits:

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:
http://disquiet.com/2013/05/23/disquiet0073-faultynotation

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:   http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html  

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info 

Pyramid Hills [disquiet0073-faultynotation]

This week’s project is about earthquakes. I received a distinct section of a map of the San Andreas Fault to be used as a graphic notation score...I decided to use the numbers and letters on my map section for key and harmony/melody - ended up being in F Lydian...used Waldorf Largo for a pad sound and an electric piano from Ableton to form the melodic and harmonic structure for the piece. I've been working on a piece for an art show that opens this coming Thursday - the show is titled Kartofler - Danish for potatoes and my installation reflects that in sound...so I had a lot of left over field recordings of earthy sounds (some manipulated some not) found a few I felt would suit the map and purpose, lined them up with the other sounds and the map section.... and there you have it, enjoy....

Waiting *Disquiet Junto Project 0073: Faulty Notation*

A link to a segment of an OS map of the San Andreas Fault was provided by the Disquiet Junto. This was interpreted as a musical score. Particular attention was given to distinguishing dark areas from light; the map was converted to black and white in order to perceive this more closely. All instrumentation was recorded by myself with no external sources other than the map used. Two of the sounds were created by converting the map to audio.

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

where time becomes sand and is swept away [disquiet0073-faultynotation]

This track is a bit different from what I normally do - but it was wonderful to write and record.
It is a musical interpretation of a segment of a map of the San Andreas Fault.

I used the map segment for the composition in the following way.

Every color of the map represents an instrument as below (in introduced order).

Teal and dark teal: Oscillator 1 and 2 of the Vermona monolancet
Pink: Pocket piano
Brown and orange: Alto saxophone 1 and 2
Beige: Akai EWI
White: Electric guitar

The fault lines of the map are indicated by glitch effects, which I created with my new Hexe Revolver II pedal.

The Y axis of the segment represents pitch, and the X axis time (from left to right).
The size of the different fields determine the amount of the corresponding instrument in the mix.

Enjoy!

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

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

Röde - Sprickindikationer [disquiet0073-faultynotation]

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at: http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at: http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/
________________________________________________

Composition Text:
00 Qua
01 Juan
02 Horizontal 2
03 Horizontal 3
04 Horizontal 3
05 Inclined 1 10x
06 Qua
07 Inclined 1 20x
08 Approximately located fault
09 Inclined 2 30x
10 Inclined 3 25x
11 Inclined 4 25x
12 Inclined 3 35x
13 Inclined 1 20x
14 Inclined 3 30x
15 Tc
16 Inclined 2 20x
17 Inclined 4
18 Inclined 3 20x
19 Horizontal 1
20 Inclined 3 2x
21 Horizontal 2
22 Inclined 3

Sample Key:
Qua = Synth0 + RR2Synth 
Juan = Synth0 + hum 
Horizontal = High
Inclined = glock
Fault = c1
Tc = Synth0 + Pisstake2

Fault [disquiet0073-faultynotation]

Disquiet Junto 73: Faulty Notation

My segment of the fault map is here: http://imgur.com/RCcKJVk

I interpreted the fault lines on the left part of the image very literally, paying close attention to their shapes.

Each of the three faults travels north-south on the map, represented by a synthesizer chord with a high-pass filter that opens up as the chord expands.

The "flickering" of the chords represents the dotted lines, though the perforated chord is not as regular as its analog on the map. On the first phrase (4 chords), the chords end in a flickering, like the southerly dotted fault line. In contrast, the second phrase begins with flickering. 

The east-west interruption of the middle fault is marked by silence. Then, my interpretation of the "forking" fault line: bass vs. high chords.

The final phrase brightens the high chords to represent the four triangles in the right branch of the fork. An entry of a very low bass tone between the first two peaks represents the new, solid fault line that continues south towards the terminus of the map slice.

Created entirely in Logic with the Sculpture instrument.

---

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/


Flickering Faultlines [disquiet0073-faultynotation]

**Production Notes**

I’m currently on holidays. Internet access is very limited here, so I had no chance to do proper research on my piece of the map. Sometimes blindness this is a nice, liberating thing - I had to think of my own.

The map provided (fm_cell24-hck.png) showed two fault clusters near the left bottom and two fault lines the upper middle area. There were some wiggly contact lines, which ended somewhere halfway down. Pretty much everything interesting was crammed in the beginning of the map. Only a street / straight grid line led to „Blackwells Corner“, which was segmented by another street. There was not much going on throughout the rest. 

Here‘s my approach: 
- I focussed on the „Street / Grid“ (Absynth plus some samples I mangled with Argeiphones Lyre), which come around 0:45.  
- Added the „Lower Faults“: Alpha Synth Pads right at the beginning
- „Upper Faults“: Two Gongs (Reaktor Prism) in at 0:25
- „Contacts“: Melody Lines (Abletons Tension Synth) all around the piece.

Hope you enjoy it! 

. . .

**Disquiet Junto Project 0073: Faulty Notation**

This week’s project is about earthquakes. Each participant will receive a distinct section of a map of the San Andreas Fault. The section will be interpreted as a graphic notation score. The resulting music will, in the words of Geoff Manaugh of BLDG BLOG, “explore the sonic properties of the San Andreas Fault.” 

(…)

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:
http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:
http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/


The Road to Blackwells Corner [disquiet0073-faultynotation]

This week's assignment is right up my street!  I draw lots of inspiration for my music from natural sciences, palaeontology, natural disasters and I couldn't let this one go!

I was emailed the portion of map that was actually the one used as the example on the Disquiet page. (http://disquiet.com/2013/05/23/disquiet0073-faultynotation/) I was hoping for something a little more minimal but nevermind! 

I recorded a different guitar loop on cassette for each colour of rock in my segment - around 12 different types of rock. I then set about arranging the sounds as I read from left to right.  For each syncline / anticline I either slowed or sped up the tape to reflect the peaks and troughs in the rock.  For each fault / approximate fault line I dropped a bass note.
I tried to keep the sound as clean as possible to represent the clinical approach needed to cartography whilst at the same time trying to sound rough, gritty and earthy... possibly waiting for the next earthquake!!!

-------------------------------------

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Cartography One [disquiet0073-faultynotation]

Got the map and identified a sound for each colour, and used a notation by which each number represented a key from my keyboard. Recorded the chord progression and found a neat stepper to go with it. A few effects later and here we are... 
More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Faulty Bowels [disquiet0073-faultynotation]

My interpretation of part of the map of the San Andreas Fault.  I mapped all the numbers to midi notes and tried to capture the overall downward movement of the map / graphical notation. Recorded with my meta-trombone:http://no-insects.blogspot.ca/search/label/meta-trombone

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

North Antelope Hills [disquiet0073-faultynotation]

Assigned map excerpt "fm_cell-qxi.png" from kenzak's site. (full PNG is posted at http://thebellmechanical.com/2013/05/26/disquiet-junto-0073-faulty-notation/).

Interpreted map color as 'instrument/sound', left-to-right distance as 'time', thickness of the area the volume/gain, and the vertical position to be pitch.  Mapped six midi instruments and two looped/processed samples (both lifted from older works of mine).

The midi instruments were played 'by hand' (Korg nanoKontroller).  The two loops were drawn into place.

Done in Ableton Live.


-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

Disquiet Junto Project 0073: Faulty Notation

This week’s project is about earthquakes. Each participant will receive a distinct section of a map of the San Andreas Fault. The section will be interpreted as a graphic notation score. The resulting music will, in the words of Geoff Manaugh of BLDG BLOG, “explore the sonic properties of the San Andreas Fault.”

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:
http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:
http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/



impassible fractures [disquiet0073-faultynotation]

A gentle texture of a guitar brings  me through an imaginary desert valley, when suddenly everything is covered by interferences of incomprehensible radio-signals that reminds of a dangerous area, full of unraveled secrets.
Just pass over!

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

You are here [disquiet0073-faultynotation]

This piece was done entirely in Particularity.  It was dubbed out of the computer into a Zoom H4 and moved back to the same computer to be trimmed in Audacity, but that's the extent of it.

Particularity was not intended for scored music, but then neither was I (I'm just a sucker for maps).  I used a roughly 2 minute long "sequence", really more like an envelope, to render the contour in the section of geological map I was given.  That is to render, best I could, the contour as I saw it.  

I did five previous pieces this way, the first three or four were layered drones where the contour was read as volume.  They were fine.  But I tried the more obvious approach of mapping pitch to the contour.

There were few hard fault lines in my map, so I looked at the boundaries between large sections of different geological compositions.  And within those bounds were many layered grey lines.  So five of the upper frequency oscillators tracked the same pitch contour.  The lower pitches were drones.  Other sequences more or less to do with timbre, loudness, panning had no strict guidance from/adherence to the map as graphical score.  I tried to take clues from the many lines wavering within lines, from the geological designations of the rock [the big green area, Kps, is Sandstone, Panoche Formation (Upper Cretaceous), the white might be Qs or Alluvial fan complex (Holocene and upper Pleistocene), hard to say from the map].  What I know and don't know about the possibilities and idiomatic quirks of Particularity also factored into the unscored parts.

Map segment used as score:

http://audiokayness.tumblr.com/image/51477218045

About Particularity:

http://chrisjeffs.com/blog/?page_id=191

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/


Panoche Fandown [disquiet0073-faultynotation]

I used a Processing(.org) sketch to divide the map up into a grid and wrote a function to calculate the average hue in each grid box.  I used the Processing sketch to traverse the grid and send the hue values to SuperCollider (via OSC).  This value was used to non-linearly trigger grains from my junto piece "The Melt 2" (http://soundcloud.com/inlet/melt-2).  I chose to remix this piece because the cracking/fissuring sounds of the melting ice conjure up images (for me) of a geological fault.

Project details below:

This week’s project is about earthquakes. Each participant will receive a distinct section of a map of the San Andreas Fault. The section will be interpreted as a graphic notation score. The resulting music will, in the words of Geoff Manaugh of BLDG BLOG, “explore the sonic properties of the San Andreas Fault.” 

There are 4 steps to this project:

Step 1: To be assigned a segment of the map, go to the following URL. You will be asked to enter your SoundCloud user name, and then to enter your email address. You will receive via that email address a file, approximately 1MB in size, containing your map segment:

http://kenzak.com/disquiet/disquiet0073.html

Step 2: Study the map segment closely. Develop an approach by which you interpret the map segment as a graphic notation score. The goal is for you to “read” the image as if it were presented as a piece of notated music. Read the image from left to right. Pay particular attention to solid black lines, which represent fault lines. For additional guidance and inspiration, you may refer to the map legend at the following URL. The extent to which you take the legend into consideration is entirely up to you: 

http://disquiet.com/2013/05/24/disquiet0073-faultynotation/

Step 3: Record an original piece of music based on Step 2. It should be between two and six minutes in length. You can use any instrumentation you choose, except the human voice. (Note: Do not use any source material to which you do not yourself outright possess the copyright. This is highly important, because we may look into developing a free iOS app of the resulting recordings.)
 
Step 4: When posting your track, 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.

Deadline: Monday, May 27, 2013, at 11:59pm wherever you are.

Length: Your track should have a duration of between two and six minutes.

Title/Tag: Include the term “disquiet0073-faultynotation” in the title of your track, and as a tag for your track.

Download: Please consider employing a license that allows for attributed, commerce-free remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

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

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

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

 - end -

The Melt 3 [disquiet0073-faultynotation]

I felt that I need to play something as I followed the map. Adding the recored of the wire I was able to add an element which represents the land shown on the map and the mobile phone represents the fault lines and the movement the cause.

The wire recording was made in my garden one (for once) sunny Sunday afternoon with a stretched piece of wire with a contact mic attached to it. It was the first time I tried this idea and was surprised that it record more than just the sound of the wind blowing on the wire. Effects then applied in Ableton.

The mobile phone was recored using a coil mic to pick up the internal sound of it "talking" to the network. I set up to delay effects in Ableton and mapped there controls to my nano Kontrol, which I "played" live as I recored.

///////////////


More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/


073 Duet for Wire and Mobile Phone [disquiet0073-faultynotation]

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:
http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:
http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

Cell04 [disquiet0073-faultynotation]

SPOILER ALERT : I DONT THINK THIS TRACK IS SUCCESFUL BUT I AM GLAD THAT I TRIED TO ACTUALLY STRUCTURE SOMETHING IN A MORE DISCIPLINED MANNER I GUESS

The main body of these sounds are two i've been playing with this week - a dull field recording & a sort of synth bit - which i sincerely tried to edit in a manner that was indicated by the map fragment [ http://25.media.tumblr.com/4f5d12f081caad8bf49257d003973708/tumblr_mngknweftA1r3krcco1_1280.png ] additional audio was generate just for this particular project - i recorded myself reading all the text on the map & recorded some running water, 'cause, y'know, *flow* &c &c

I divided the image up into smaller sections - working on a scale of 8.3 pxl [approx] = 1 second - which i didn't stick to rigorously but was key in choosing when events occured - the [heavily processed, practically muted] words for example, or certain panning decisions.

I got particularly stuck trying to include the synclines & anticlines in such away that was approprite & interesting; it was a good though experiment if nothing else - how do you fold a sound? But then i was stuck 'cause perhaps i didn't need to, right? Like, that's a category error i'm working from the map not its meaning [or the territory, even] anyhow, that's how the three minute duration i started with was reduced to 2:54, as a sort of gesture of overlapping & enfolding which, annoyingly, isn't even very sonically distinctive...

&! i really should've worked out something to do with those colours on the far right there.

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Fm cell13-hvt [disquiet0073-faultynotation]

I started with an old field recording of mine, of a humming transformer station. The transformer station is big and solid, and within it are huge powers. I slowed it down and it lies as a big heavy foundation throughout the piece, encompassing the whole map, the mountain, the earth. Ambient sounds with occasional erratic ripples illustrate both the mountain, the winds, the dust, the shapes and colours of the mountain and of the man made map. Meanwhile there is a mumble and a creaking going on underground. Along the lines we travel, lines come with us for a while and disappear, other lines come and follow for a while and then fade off. The piece is in constant motion, not linear, more like the cyclic movement of wind, waves, earth, time.

I used a field recording, digital, analogue and modular synthesisers, all recorded and transformed in Logic Pro.

More reading:
http://undensounds.blogspot.com.au/2013/06/transformation.html

-

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Transformation [disquiet0073-faultynotation]

Contributed to the Disquiet Junto, details below.

This week's Junto exercise was to take a segment of a map, which shows some land along the San Andreas Fault in California, and to use this map as a graphic notation score.

For the following to make sense, have a look at my segment of the fault line map, which I uploaded to my website here: http://www.crumblereshape.com/disquiet73map/

In my interpretation of the map, I read 'time' going left-to-right, up-and-down is a bit harder to explain. There are three distinct regions, a hilly area to the west, a flat area in the middle, interrupted by a hidden fault line, and some lower hills to the east.

1) Westmost hills: 
You'll notice from the map that the hills form colored bands from northwest to southeast. I interpreted each band as a simple 6 note melody, which descends an octave. Because the hills are irregular, I took my melody, programmed it into a sequencer on my modular, and used a random generator to create disturbances in the timing of the sequence, to break it out of strict timing. Altitude is roughly how I modulated envelope delay and volume. The melody is a simple chord from the modular, with Absynth used to generate the pads. 

2) Middle flat area with fault:
I used a dual stereo analog filter, a random source, and another oscillator to FM the filter, with both stereo channels almost in self-oscillation, to create a low rumbling. I used Absynth to create a subtle drone over the top. I wanted to create a drone, which would then be interrupted when the fault was hit. To signify the fault, I stopped the modulating the filter to create a hit, plus suddenly changed the pitch of the Absynth drone. I hope the bass works well on your speakers or headphones!

3) Eastern hills:
These hills are lower and gentler than those to the west, so I played another, more restricted melody via a keyboard, and looped it. 

--- background ---

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

 


Hills -> field - > syncline [disquiet0073-faultynotation]

2, 5, 7, 5.
Numbers on my bit of map, lead me to create a rhythm in 26 or 13/8.
I kept following those numbers in patterns and tones, and broke away from them as inspired. I kept the map on the screen next to me to keep the connection, feeling the building of underground pressure, the holding on. Added some Contrabass, French Horn, Cello, Trumpet and Violin.


More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Fault Pressure 73 (disquiet0073-faultynotation)

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.