really cool dual use of the rainfall sounds

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

To mark World Oceans Day 2021, we partnered with Concentric Records, TBA-21-Academy and Ocean Archive for a full day of broadcasts based on and inspired by sounds from the oceans.

 The incredible Ocean Archive is a sound library of the seas and harbours of the world, from Galapagos to the North Atlantic. It includes many types of whale, fish, earthquake, seismic explosions, methane seeps, tectonic plates and deep water drilling.

 The artists invited to make broadcasts based on this archive are Jake Muir, Izabel, Beluga, Carl Michael von Hausswolff / Dark Morph, Baby Vulture, Terrence Dixon, Jana Winderen reporting live from the seas, and finally Refuge Worldwide programmer Richard Akingbehin.

World Oceans Day - Jana Winderen

for organ and electronics (Sequential Circuits Pro One, Korg PS3300, Buchla 100 and Serge modular synthesizers, Mellotron M400, processed harmonium)


Recorded 9 March 2012
Mills College Chapel
Oakland, CA, USA


welkin utilizes the mutual acoustic identities of the organ and analog synthesizer to direct the experience of coalescence.  These instruments of common timbre are made to circle about an enclosed and reverberant space, which is darkened to encourage constructed spatial projections.  As the discrepancies in frequency of the merged sound gradually swell and wane, resultant psychoacoustic effects emerge, seeming to pull the sounds apart and push them outwards.  The product is that of an atmosphere; a sensorial coating that encompasses, yet remains invariably out of reach.

welkin: Middle English, 12th century; refers to the vault of the sky, the upper air, the firmament, or the celestial sphere, i.e. the Empyrean.  In archaic cosmology, it was thought to be a set of crystal spheres that enclosed the Earth, to which the planets and stars were attached, so it would have been capable of ringing like a bell if one made enough noise.

welkin

Taking samples from 'The String Sisters' track Hjaltland and mangling them with some live bass and beats. Just because.

Hjaltland [DMix]

A recording of 'Return from Helsinki', from a live solo performance at Sage Gateshead, 23rd April 2018.  All sounds were recorded and performed live, nothing pre-recorded.  Using ALK 2 Looping software.
Find out about Ian www.ianstephenson.me

Return from Helsinki - Live loop performance from Sage Gateshead

With Alasdair Paul (guitar).

Recorded, mixed and mastered by David de la Haye, Newcastle University Music Studios in December 2017.

This track is a traditional tune, arranged by Grace Smith and Alasdair Paul, developed from research into traditional music and dance in North Yorkshire.

Boyne Water

Varazze Whistles Under RX

Old spruce forest wakes up in summer. Distant cuckoos first and song thrushes right after.

Old Forest Dawn

from 'ink botanic'

https://jezrileyfrench.co.uk/ink-botanic.php

the inner sounds of a cherry birch tree - recorded with adapted JrF microphones

photo by Pheobe riley Law, from her 'desire lines' project / book

ink botanic - cherry birch

Amazing to capture such a powerful and immense sound!!

Lightning Bolt - High Shincliffe, Durham

The sounds of the Northumbrian landscape at Cheeseburn Grange, near Stamfordham, recorded from inside of one of Yafeng Qi's huge steel scelptures that were shown in the grounds of Cheeseburn in 2018. The low frequencies are the sound of the wind blowing the sculpture like a giant (5m long!) flute. Into this resonant soundworld drifts the sound of a Northumbrian folk tune, "Bonny at Morn", played on fiddle. The fiddle and field recordings have also been convolution filtered onto one another. This is the soundtrack to a video by Merrie Snell, using footage of the landscape reflected in the distorting surfaces of the sculpture, and so together sound and image evoke the presence of these pieces which are no longer there, having returned to China earlier in 2019. The image is of the sculpture "In Each Phase No. 1", the piece that acts as a giant flute in the soundtrack, and through which pine cones can be heard tumbling at strategic points in the music.

reflected absence

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)

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

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.

Bassist, Field Recordist, Engineer, Sound Artist, Improvisor, Glitch. Full albums over at Bandcamp: https://daviddelahaye.bandcamp.com/
https://soundcloud.com/monsterceilidhband

Rauschen - disquiet0401

DJCdelaHaye

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