Disquiet Junto Project 0216: Thin Layers
The Assignment: Add a thin foundational bed to beats of pin-prick audio.

Step 1: For this project you’ll be adding sounds to a pre-existing track of your choosing. Select one track from the previous Junto project, in which beats were made with five tiny, pin-prick sounds:

http://disquiet.com/0215

Step 2: Confirm the track you selected in Step 1 is available for creative reuse. If you’re not sure, correspond with the musician. If you’re short on time, select a different track.

Step 3: Create a new track by adding a thin layer, or several thin layers, of an ambient foundational bed to the pre-existing track. Don’t alter the pre-existing track significantly. Maintain its original length.

Step 4: Annotate your track with a brief explanation of your approach and process — identify the source track and include a link to its SoundCloud page.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted at noon, California time, on Thursday, February 18, 2016, with a deadline of 11:59pm wherever you are on Monday, February 22, 2016.

Length: The length of your track should be the same as that of the source track.

Upload: Please when posting your track on SoundCloud, only upload one track for this project, and be sure to 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. Photos, video, and lists of equipment are always appreciated.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please in the title to your track include the term “disquiet0216-thinlayers.” Also use “disquiet0216-thinlayers” as a tag for your track.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

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

More on this 216th weekly Disquiet Junto project (“The Assignment: Add a thin foundational bed to beats of pin-prick audio”) at:

http://disquiet.com/0216

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

The image associated with this project is by Evelyn Flint, used thanks to a Creative Commons license:

https://flic.kr/p/rKoG1i

Disquiet Junto Project 0216: Thin Layers

Finalist piece in the competition announced by the Collegium Musicum of Bolzano, Un “divertimento” per la convivenza.
Recording of the Duo Z, Johanna Zetterqvist - flute
Joakim Zetterqvist - violin

Based on the poem by U. Saba "Quasi una moralità".

Espressivo [II mov. of "Quasi un divertimento"] for flute and violin

This is the 2021 home studio production of my main composition, Forever Long, and is the 8/28/21 mix.  It's designed like modern music, but is intended to be more orchestral, I refer to it as "hybrid-orchestral".  I made this because I thought that this composition deserved a brand new production, better than the original, this was performed without metronome, unlike the original.  This performance is mostly synthesizer (made with a 2001 Korg Karma which is a specialized Triton), but also prominently features me playing the large 4-manual, 80-rank Austin pipe organ at Christ Church of Oak Brook in Illinois, starting at the end of the Interlude.  The pipe organ was mainly added for multiple harmonic elevations, and an alternative to the effect of distorted electric guitars, the harmonic effect of reeds is very similar to guitars.  That instrument has a number of digital stops, for this performance I'm only using real acoustic pipework, the section with reeds prominently features the loud and bright 8' Bombarde on the Great.
Specifications and photos of the instrument used:
https://ryan.thoryk.com/organs/ccob_spec.html

This version is the "organ rendition" performed on synth and organ.  If you want to hear the original, a remix of it is available as the "Foundation Piano Remix", and sounds very different from this:
https://soundcloud.com/eventhorizon5/forever-long-foundation-piano-remix-3-synthesizer

This piece was originally written as a partial chorus around 1994/1995, the body of it was written in 2000/2001, the Interlude section in 2003, and the Organ Rendition in 2013.  The Overture section was originally a separate piece written in early 2015, but was added to this that year.  This performance is also the first time I've played with multiple harps playing primarily harmonics, the recording contains a harp ensemble.  The Interlude section, which is right after the Main Chorus, was very heavily influenced by music of the label Windham Hill.  The main parts of the production were intended to sound somewhat similar to the Israeli group Zemer Levav.

Multitrack audio recording and production was done with the software Ardour running on Debian Linux.  Mastering was done using Audacity.  Recording was done in late May/early June 2021.

The short "Premonition" section at the beginning plays the Main Theme from the chorus, this theme is also called Rebecca's Theme.  Rebecca is a friend of mine who I've done music production with, the music is intended to be for her.  The section is a tribute to a young flutist named Katrina, who was the primary inspiration for the original chorus in 1995.

This composition doesn't have lyrics, but it was intended to have them eventually, the melodies (especially chorus melodies) were carefully designed  for a female voice.

Section list:

Suspended
Premonition (of Main Theme), key of D
Introduction (start of suite)
Overture, key change to G
Forever Long Intro, key change back to D
Intro Chorus
Transition
Verse
Bridge
Main Chorus
Interlude (3-stanza polymorphic)
Interlude Resolve (from organ rendition)
Chorus Bridge (ends in Modulation to key of E)
Grand Chorus, key of E
Grand Chorus - Scream/Climax
Finale (Modulation back to key of D)
Glimpse

Here's the pipe organ solo version:
https://soundcloud.com/eventhorizon5/forever-long-pipe-organ-st-johns-choir-loft-6-1-15
and also grand piano:
https://soundcloud.com/eventhorizon5/forever-long-grand-piano

Forever Long 2021

as something real

Artist: Björn Torwellen
Title: 10.000 Black Seeds Remixes
Remix Artists: d_func. / Denise Rabe / Kølpøs / Lakej / Oxygeno / PWCCA / LXbeat / Kike Pravda / Orbe / Oliver Rosemann / Marc Faenger / Michel Lauriola / Krystian Libke
Format: 3x12"-Vinyl & Digital Format
Label: Nachtstrom Schallplatten
Cat.-No.: NST197
Releasedate: 22.11.2024
Shop-Link: nachtstromschallplatten.bandcamp.com

[NST197] Björn Torwellen - 10.000 Black Seeds Remixes (3x12")

Raw Techno DJ SET

**Production Notes**

I went for emi minami’s lovely „tinyrhythms“, a mixture of pins and insects, recorded with a contact mike. You find it here: [https://soundcloud.com/emiminami/tinyrhythms]

Picked some tonal parts of a newer drone piece, arranged them. I cheated a bit in the length, it’s not quite the same, but otherwise the loops would have sounded somewhat strange. 

Some EQ’s and sidechain compression… and that’s all.

* * * 

**Disquiet Junto Project 0216: Thin Layers**

The Assignment: Add a thin foundational bed to beats of pin-prick audio.

Step 1: For this project you’ll be adding sounds to a pre-existing track of your choosing. Select one track from the previous Junto project, in which beats were made with five tiny, pin-prick sounds:

http://disquiet.com/0215
Step 2: Confirm the track you selected in Step 1 is available for creative reuse. If you’re not sure, correspond with the musician. If you’re short on time, select a different track.

Step 3: Create a new track by adding a thin layer, or several thin layers, of an ambient foundational bed to the pre-existing track. Don’t alter the pre-existing track significantly. Maintain its original length.

Step 4: Annotate your track with a brief explanation of your approach and process — identify the source track and include a link to its SoundCloud page.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted at noon, California time, on Thursday, February 18, 2016, with a deadline of 11:59pm wherever you are on Monday, February 22, 2016

(…)

More on this 216th weekly Disquiet Junto project (“The Assignment: Add a thin foundational bed to beats of pin-prick audio”) at:

http://disquiet.com/0216
More on the Disquiet Junto at:

http://disquiet.com/junto/
Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/
Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/
Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/
The image associated with this project is by Evelyn Flint, used thanks to a Creative Commons license:

https://flic.kr/p/rKoG1i

Bed & Crackers [disquiet0216-thinlayers]

Disquiet Junto Project 0216: Thin Layers (Introduction)

i used my own track (Disquiet0215) as the source material 

in ableton live   
track 1 Helm played live
track 2 Disquiet0215
track 3 Disquiet0215 with delay 
track 4   armed  to record 

done in one take :) 

track 4 was exported  to audacity  where the .wav was trimmed 
a general compressor was applied 



ambient  synth 
Helm synth by Matt Tytel
http://tytel.org/helm/



Eps Sample Disk94SIDE B Disquiet0216- Thin Layers

I really like the collaborative aspect of this weeks assignment and strongly feel this could be the main strength of the whole junto idea. The main track I choose to work with was Emi Minami's gentle and understated piece "disquiet0215-tinyrhythms"https://soundcloud.com/emiminami/tinyrhythms?in=disquiet/sets/disquiet-junto-project-0215  I liked the outdoors vibe and thought it offered a lot of room to roam around in. I went to free sound looking for some nature sounds. I downloaded and used the following sound files.
1)62487__sagetyrtle__1103campfire1
2)13576__acclivity__batwalk
3)269570__vonora__cuckoo-the-nightingale-duet
4)190112__tran5ient__flail6
I added the files onto the Minami track. I then proceeded to do a lot of fx and proceesing and crossfading which got out of hand and I decided to stick to the simplicity of the original and left the files as is except for looping the very short flail sample to give it more of a rhythm. I still decided it needed more of a tempo so I added the beginning of Audio Obscura's excellent track https://soundcloud.com/audio-obscura-music/super-tiny-sound-disquiet-junto-project-0215-tiny-rhythms?in=disquiet/sets/disquiet-junto-project-0215 looping that in. The title "Night of the Cuckoo Batwalk" came from the free sound files.    More on this 216th weekly Disquiet Junto project (“The Assignment: Add a thin foundational bed to beats of pin-prick audio”) at:

http://disquiet.com/0216

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

The image associated with this project is by Evelyn Flint, used thanks to a Creative Commons license:

https://flic.kr/p/rKoG1i

Night Of The Cuckoo Batwalk (disquiet0216-thinlayers)

This composition is based on the track "On tiny sounds and irregular rhythm patterns", which can be found at:

https://soundcloud.com/finitud/disquiet0215-tinyrhythms

To the original track, two thin layers were added, as follows:

* The first layer was created by applying strong reverb on the original track, extracting the wet component, and reversing it.
* Some light effect return tracks were created, and the second layer was improvised on a MIDI keyboard to the existing layers.
* The tracks were mixed, some effects added (reverb, delay, ping pong delay, some light amount of compression), and the MIDI layer was fine edited to produce the final rendering.

The track was composed using Ableton Live 9.5 Suite edition, aided by a Launch Control XL and an Akai LPK25 MIDI keyboard.

More on this 216th weekly Disquiet Junto project (“The Assignment: Add a thin foundational bed to beats of pin-prick audio”) at:

http://disquiet.com/0216

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

The image associated with this project is by Evelyn Flint, used thanks to a Creative Commons license:

https://flic.kr/p/rKoG1i


Thin layering (disquiet0216-tinylayers)

from the second book of Pièces de Viole. (1701)

Les voix humaines- Marin Marais

A recording I made in a few spare hours on Monday 4th November 2019. It's by no means perfect, but I don't believe there are any other recordings of this piece around, so someone may find it useful.
  
*Not having a string quartet to hand the string parts are realised as generated tones.

Alvin Lucier - Serenade for Oboe and Strings* (1995)

echo "g(i,x,t,o){return((3&x&(i*((3&i>>16?\"BY}6YB6%\":\"Qj}6jQ6%\")[t%8]+51)>>o))&lt;&lt;4);};main(i,n,s){for(i=0;;i++)putchar(g(i,1,n=i>>14,12)+g(i,s=i>>17,n^i>>13,10)+g(i,s/3,n+((i>>11)%3),10)+g(i,s/5,8+n-((i>>10)%3),9));}"|gcc -xc -&&./a.out|aplay

Bitshift Variations in C Minor

A dark bleepy, bloopy, cut up, glitchy Chip Hop track made with an original Gameboy and a PO-33 K.O.

Scheme Dream in Bleepsville

Lidia Riego López (voz y letra)
Pilar Cañas Martínez (producción y coros)
Nacho Felipe Rode (guitarra)

Esta canción la hicimos de calentada una mañana de diciembre, pensando en cómo nos sentíamos respecto a esta locura que nos ha tocado vivir. Unos días después la volvimos a hacer un poco mejor y ahora la tenéis aquí.

para nuestras amigas y para las vuestras ♥

Por Favor Que Vengan Mis Amigas Por Navidad

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.

Thin layering (disquiet0216-tinylayers)

Alice Wyan

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