Keeping to the 99 seconds for bonus points means that o u r s [& others to come?] sound quite good played at the same time. ^_^

Yeah, the confusion of the guy is here :-) Nice drone 

This track has great atmosphere. Never stop doing what you do!!!

Love the simple structure with layers of subtle complexity beneath it. Superb approach as well, using audiopaint to create the initial sounds!

Is that a sample of an actual refrigerator door opening?  Very cool!  You've really captured the sequence of illustrations--the music unlocks the memory of the graphics and I can see (hear!) the light from the opened fridge spilling out into the late-night kitchen, illuminating the character both visually & symbolically...great title, too!

works inspired by 99 Ways to Tell a Story: Exercises in Style

This was a final project for my sound design course... six separate renditions of the same minute's worth of dialogue. 

My project was inspired by my dear friend Matt Madden's 2005 comic "99 Ways to Tell a Story: Exercises In Style" and before that Raymond Queneau's 1947 book "Exercices de Style". Check them out!!!

The dialogue is a mash-up of multiple, random eavesdropped conversation fragments overheard while making my way around NYC. So no... it is NOT necessarily a linear narrative!!! (Disclaimer: I am still editing several sections, so this is a work-in-progress)

Thanks to everyone for all the help!!!!!

So you can follow the bouncing ball:

- Oh. You.
- Yeah.
- I’ll take it that you’re not real hot on this.
- It’s just sand and a coral seahorse sticker.
- I was like “I’ve got nothing to lose, so…”
- It’s too loud. It’s too colorful.
- But it means so much to me.
- Wait, did you see that?
- See what?
- Oh my god, oh my god. I can prove it. It's really happening.
- You’re lying, right?
- You know, can you please just be quiet?
- Why can't I....why. Why? Why can't I bring it up?
- Because you would lose that argument.
- Apparently, I cannot share my opinion without being looked down upon.
- I just pull the trigger when they tell me to.
- I’m outta here.
- Well, this isn’t about you. I make the toys man! 

Exercises in Style (as a radio drama)

This week's assignment was to make gentle music using one sound source, a 90-minute recording of someone playing clay bowls.

As a bit of a reaction to the massive length of the recording, I decided to drill into tiny sections and make something pretty tightly rhythmic and dry sounding. 

Mostly I then just layered up those bits that I found looped nicely and faded them in and out. There's some high crackly sounds which were the result of EQing some background noises from the recording to bring out the high bits, then feeding that stuff through a delay.

As a last step, I dragged down the tempo of the final piece by about 15 bpm and found it worked better like that. :)

More on this 284th weekly Disquiet Junto project — “Creative Commonfield: Make ambient music from the sound of clay bowls. — at:

https://disquiet.com/0284/

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-0284-creative-commonfield/

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

Image courtesy of fraenkelgallery.com and the artist Chris Kallmyer, who created the bowls and the source audio. More from Kallmyer at:

http://www.chriskallmyer.com/

[junto 0284] Creative Commonfield

Jet Jaguar - Hokusai in a Paperweight [disquiet0284] (free download)

3 log (disquiet0285)

The first barcode was a graphical extension of Morse code. That's how Norman Joseph Woodland arrived at his barcode prototype in the 1940's while living in his father's beachfront apartment. One imagines Woodland drawing with a wooden stick in the soft Florida sands, extending a series of dots and dashes into the cryptic patterns we all recognize today.

Morse code is commonly thought to be a mechanism of distress. Everyone knows the code signifying "SOS," for example. The lyrics of "Dot Dash," a song by punk legends Wire, appear to reference a more neutral approach to crisis. The narrator's indifference to an upcoming automobile accident is oddly casual, almost clinically observant: "Progressive acceleration / Skidding, but the expression / Remains pan."

It's interesting how, decades after Woodland revolutionized the transactional landscape, our emotional response to barcodes is one of lax familiarity. We get bored with innovation when we're constantly exposed to it. Using a self-checkout scanner at the local grocer has all the excitement of waiting for a traffic light to change. We simply go through the motions: beep, navel oranges, two for a dollar. Beep, bag of crisps for one seventy-nine. Whatever.

For this piece, Suss Müsik created a nine-part sequence based on three barcodes. Each "hit" was played using pieces of wood and overlapped according to variances in line thickness. As the rotation became more dense, a bit of reverb and panning was used to separate the layers and compress the more piercing frequencies.

Noting that one of the barcodes resembled an elongated set of piano keys, Suss Müsik identified individual notes and arrived at a somewhat accidental chord sequence that deadens the senses after two measures. Perhaps that's what Wire was getting at with "Dot Dash" and the lesson of Woodland's invention: random discoveries and events are unavoidably circumstantial, and the emotional responses they elicit can be surprisingly mundane.

The piece is titled Philco, named after the company who purchased Woodland's patent in 1962 after IBM declined to pay his asking price. 

Postscript: the wood percussion by itself is actually quite interesting, if a bit dry. If there is interest among Junto participants in hearing this part as an isolated track, let Suss Müsik know via comment and we'll post it.

More on this 285th weekly Disquiet Junto project — Live Barcoding: Make rhythms from your packaged goods. — at:

https://disquiet.com/0285/

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-0285-live-barcoding/

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

Philco [Disquiet0285]

Synths and treatments  by DD, Paris 2017

Disquiet Junto Project 0285: Live Barcoding
 
I used different constant delays and skidder FX but changing the setting time/pattern from one measure to the next, so every chord has it’s own repetitive tail. 
In a way  the full track could be read as a barcode interpretation. 
Cheers
DD


More on this 285th weekly Disquiet Junto project — Live Barcoding: Make rhythms from your packaged goods. — at:

https://disquiet.com/0285/3

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:

llllllll.co/t/disquiet-junto-project-0285-live-barcoding

when barcoded bipedal mammals are finally extinct (disquiet0285)

Objective: Re-telling a very short and simple story -- an anecdote really, an everyday slice of life -- utilizing sound. This track is to be constructed in any manner: with field recordings, music, effects, dialog, or a mix thereof. The story for re-telling is this single-page comic strip by Matt Madden:

http://goo.gl/6P7eL

Method: I didn't want to stray too far from the tangible nature of the strip itself, so I took some time converting each strip of panels to sound files using Audiopaint (http://www.nicolasfournel.com/audiopaint.htm). Each of these sound files were further manipulated in order to create a series of overlapping drones within Ableton Live. The tracks were themselves heavily effected and various field recordings were added. I was looking for the narrative to represent a journey towards confusion.

More on Matt Madden and his book 99 Ways to Tell a Story at: 

http://mattmadden.com/
http://exercisesinstyle.com/

More on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto

Mute Voices, Panels of Sound [disquiet0014-oumupo]

My track submission for disquiet #14.

More on Matt Madden and his book 99 Ways to Tell a Story at:

http://mattmadden.com/
http://exercisesinstyle.com/

More on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto

"Timelapse" - [disquiet0014-oumupo]

My interpretation of Matt's work is one of the juxtoposition of the sense of time being both escaped and in escapement. 

By not using my own field recordings, I feel like a bit of a cheat with this week's Junto. Using Freesound.org was the only way I was going to be able to participate.
My trusty ZoomH4n was not to hand :(

More on Matt Madden and his book 99 Ways to Tell a Story at:

http://mattmadden.com/
http://exercisesinstyle.com/

More on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto

Samples used...

http://www.freesound.org/people/WIM/sounds/18037/
http://www.freesound.org/people/digifishmusic/sounds/32937/
http://www.freesound.org/people/acclivity/sounds/30608/
http://www.freesound.org/people/andriala/sounds/16651/
http://www.freesound.org/people/fabe/sounds/3128/
http://www.freesound.org/people/Tomlija/sounds/75372/
http://www.freesound.org/people/avventura2046/sounds/147387/
http://www.freesound.org/people/alp1254/sounds/52622/

Thanks to the providers of the above recordings and snippets.


escapement-disquiet0014-oumupo

My first contribution to the Disquiet project, all done in one single day (busy Bank Holiday weekend).

Maybe a bit too repetetive. Should have given myself more time, but there we go.

Lazy Day (disquiet0014-oumupo)

This is something I created for the latest Disquiet Junto project. The assignment involves creating a sonic narrative for a comic created by Matt Madden. We had a lot of freedom to do whatever we wanted – straight narrative or abstract rendition.
 
The piece 1:15 am is constructed of a coil recording of my laptop, drones and tones, and a field recording of my refridgerator at the end. I also used the mac speech feature to record the dialog, but ended up granulating and delaying the sound, which you will hear midway through. My goal was to express the strange feeling of 1:15 am, especially when you’ve lost track of time.
 
More on Matt Madden and his book 99 Ways to Tell a Story at:
http://mattmadden.com
http://exercisesinstyle.com
 
More on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto

1:15 am [disquiet0014-oumupo]

date released 13.04.2018

made with ensoniq

- work of street artist  -RUN-

check paint  (disquiet0328)

Suss Müsik admits that the words “pentimento” and “pimiento” are similar in appearance, and there was great temptation to do a piece on red peppers. Thankfully, you’re spared such shenanigans.

Suss Müsik also admits that although the work of Jon Hassell is admirable and important, his name isn’t what comes to mind when considering audio pentimeni. Rather, it is the dub stylings of Lee Scratch Perry, Adrian Sherwood/African Head Charge and others who best represent the concept of layering upon previous work to reveal new sonic landscapes – much the same way a billboard advertisement is scrubbed away by weather and wear & tear.

For this weird, almost dubby piece, Suss Müsik started with four submissions from previous Disquiet Junto Projects. (We’ll leave it to you to identify which ones were used). One segments was “scrubbed” using a Red Panda Tensor pedal.  Another was stretched and run through a Moog MF-102 ring modulator, and another was played straight through a low-pass filter at various frequencies. The drum patterns were split and given a nice dollop of reverb.

The piece is titled after the artist and educator Merle Spandorfer, who passed away this week at the age of 83. Among Spandorfer’s contributions to painting was her advocacy for using non-toxic materials; her mixed-media works consisted of items from nature overlaid onto handmade paper.

The image is a fading sign on the side of a building somewhere in Louisville, Kentucky.

More on this 328th weekly Disquiet Junto project (Sonic Pentimento: Record a piece of music inspired by a term from painting) at:

https://disquiet.com/0328/

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-0328-sonic-pentimento/

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

Spandorfer [Disquiet0328]

Hidden Intention (disquiet0328)

What is there left to do?
Can't we do something new?
I found my old guitar,
I'll tune it up and play for you.

Join my mailing list for occasional news and updates: http://eepurl.com/dhWgP1

One half of Venona Pers (www.venonapers.com / SC link: http://soundcloud.com/venona-pers), echosonic is my long-standing solo music project. These days it tends to the more extreme end of the scale and as an on/off project. An mini-album (Gauze) was released in 2009 through the Fwonk net label (http://fwonk.com/releases/fw023/) which included material from a number of sessions pieced together into a series of tracks incorporating drifting washes of noise and haunting melodies. A single, Droplets (http://fwonk.co.uk/154/), was released in late 2014 through Fwonk, while I am a long-standing contributor to both the Disquiet Junto and Fwonk compilation series.

Mute Voices, Panels of Sound [disquiet0014-oumupo]

echosonic

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