Occasional moments of early Pink Floyd ::))

That's a strong work! Really like these synths!

More on this 426th weekly Disquiet Junto project — Cellular Chorale / The Assignment: Make music with the source audio from (and inspired by) a Patricia Wolf project — at:

https://disquiet.com/0426/

Thanks to Patricia Wolf for collaborating on this project.

More on the Disquiet Junto at:

https://disquiet.com/junto/

More on Wolf’s Cellular Chorus at:

https://www.cellularchorus.com/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0426-cellular-chorale/

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

The image associated with this project is a still from a video, provided by Patricia Wolf, of a Cellular Chorus event.

Disquiet Junto Project 0426: Cellular Chorale

Premiered at Rocky Ridge - Estes Park, Colorado (Summer 2013.
Recording from Luther College, Spring 2014.

Madeline Davidson - Oboe
Hannah Josephson - Bassoon
Sarah Guhl - Violin
Aaron Mertzenich - Viola
Dr. Du Huang - Piano

Mountain Dances - II. Bearceuse

Sound demo of Metallitronic, the modulated metallic texture sound library from Nathan Moody, available exclusively at ASoundEffect.com.

www.asoundeffect.com/sound-library/metallitronic/

Metallitronic was made by sending complex synthesizer patches through various transducers to vibrate all manner of metallic objects, from steel plates to ball bearings to cymbals and gongs. The entire library was recorded in 24 bit, 192 kHz stereo with extended-frequency microphones for audio content that reaches well beyond human hearing. From rattles and stresses to howls and clicks, these sounds are perfect for creating horror and tension elements, adding layers of detail and grit to ambiences, rattling vehicle interiors or engine rooms, and even vocal sweeteners for creature design.

NJSD02 - Metallitronic: Sound Library Demo

SOMA Lyra-8 in three single-live-take layers with guitar pedals and spectral processing.

Shallow Graves

Boson Spin - Observations [part 9]

More on this 425th weekly Disquiet Junto project — Cellular Chorale / The Assignment: Make music with the source audio from (and inspired by) a Patricia Wolf project — at:

https://disquiet.com/0426/

Thanks to Patricia Wolf for collaborating on this project.

More on the Disquiet Junto at:

https://disquiet.com/junto/

More on Wolf’s Cellular Chorus at:

https://www.cellularchorus.com/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0426-cellular-chorale/

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

The image associated with this project is a still from a video, provided by Patricia Wolf, of a Cellular Chorus event.

Cellular Chorale - disquiet0426

More on this 426th weekly Disquiet Junto project — Cellular Chorale / The Assignment: Make music with the source audio from (and inspired by) a Patricia Wolf project — at:

https://disquiet.com/0426/

Thanks to Patricia Wolf for collaborating on this project.

More on the Disquiet Junto at:

https://disquiet.com/junto/

More on Wolf’s Cellular Chorus at:

https://www.cellularchorus.com/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0426-cellular-chorale/

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

disquiet0426

I didn’t expect the first experiment to sound any good, so I just laid all bar one of the samples out in sequence (in name order), adjusted its length to 21 minutes and cut it into 3 equal 7-minute tracks. These were laid over each other to play simultaneously. These were duplicated with slight reverb.

I took one short section, which sound a bit like part of a synth arpeggio, and made two longer sequences out of it. The second, towards the end, is downpitched and equalised to sound like an older synth.

The long Montezuma Oropendola clip was stretched to 7 minutes, then ruthlessly reverbed and put through Abstract Chamber to create a dreamy ambient background. This is the only track that sounds different to the source material.

Finally the last 30 seconds of the mix was duplicated, reversed, reverbed and appended to the mix, creating the quirky faded ending.

What amazed me was how logical, structured and ‘composed’ the result sounds. A tribute, I think, to Patricia’s choice and range of sounds.

All done in Audacity using basic effects and plugins.

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

The Assignment: Make music with the source audio from (and inspired by) a Patricia Wolf project.

Step 1: This is a collaboration with Patricia Wolf, based on her Cellular Chorus. Check it out at:

http://cellularchorus.com 

Step 2: Download the 64 source tracks of the Cellular Chorus at:

https://www.dropbox.com/sh/v0w2kl69ys9bzvx/AAC4Ydqg7KeGCuICxO6gIipEa?dl=0 

Step 3: Create a new piece of music using only the source audio. Use as many of the samples as you’d like, but don’t add other sounds, or process the samples to any extent more than slightly altering the individual material.

Background. Patricia Wolf has said of her original piece: “Cellular Chorus is a work of spatialized aleatoric music using smartphones to bring people physically closer to have an interactive and collective experience with light and sound. The piece is played by each user visiting Cellular Chorus on their smartphones. … The sounds I made are meant to harmonize. There is no right or wrong way to play them. The intention of this piece is to repurpose your smartphone for deep listening, creative experimentation, and to immerse groups of people in a sound and light environment with face to face interactions.”

More on this 426th weekly Disquiet Junto project — Cellular Chorale / The Assignment: Make music with the source audio from (and inspired by) a Patricia Wolf project — at:

https://disquiet.com/0426/

Join the Disquiet Junto at:

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

Cellular assembly [disquiet0426]

Disquiet0426 - Cellular Chorus

Patricia Wolf  3 samples 
release date : 28_02_2020
More on this 425th weekly Disquiet Junto project — Cellular Chorale / The Assignment: Make music with the source audio from (and inspired by) a Patricia Wolf project — at:

https://disquiet.com/0426/

Thanks to Patricia Wolf for collaborating on this project.

More on the Disquiet Junto at:

https://disquiet.com/junto/

More on Wolf’s Cellular Chorus at:

https://www.cellularchorus.com/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0426-cellular-chorale/

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

Little Song (disquiet0426)

A remix of tracks from Patricia Wolf's "Cellular Chorus", an interactive piece for cell phones and audience.

More information here: https://disquiet.com/2020/02/27/disquiet-junto-project-0426-cellular-chorale/

As I was privileged to attend the first two public performances, I have a sense of how it sounds live. I built a generative control system in Ableton Live Lite to recreate some of that feeling.

First Chorus (disquiet0426)

A piece in the tuning of 33ED4 for the Disquiet Junto weekly project. Created with a homebrew Reaktor Blocks synth.

Tall Kites in Slim Breezes (disquiet0440)

Marco Lucchi : piano and fx

5 agosto 2020

Dobrada à Moda do Porto

Um dia, num restaurante, fora do espaço e do tempo,
Serviram-me o amor como dobrada fria.
Disse delicadamente ao missionário da cozinha
Que a preferia quente,
Que a dobrada (e era à moda do Porto) nunca se come fria.

Impacientaram-se comigo.
Nunca se pode ter razão, nem num restaurante.
Não comi, não pedi outra coisa, paguei a conta,
E vim passear para toda a rua.

Quem sabe o que isto quer dizer?
Eu não sei, e foi comigo …

(Sei muito bem que na infância de toda a gente houve um jardim,
Particular ou público, ou do vizinho.
Sei muito bem que brincarmos era o dono dele.
E que a tristeza é de hoje).

Sei isso muitas vezes,
Mas, se eu pedi amor, porque é que me trouxeram
Dobrada à moda do Porto fria?
Não é prato que se possa comer frio,
Mas trouxeram-mo frio.
Não me queixei, mas estava frio,
Nunca se pode comer frio, mas veio frio.

Poesias de Álvaro de Campos. Fernando Pessoa, Lisboa: Ática, 1944

piano patterns no 1

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.

#Collab and #remix are always welcome. All material is downloadable and covered by a Creative Commons license. 

Glenn Sogge recently retired to his childhood home on 6+ acres in the Pacific Northwest after decades of school, work, family, pets, and soccer refereeing in the Chicago area. Early in his career, he studied with Luciano Berio, Tom Willis, Jack Burnham, Frederic Rzewski, and Sonia Landy Sheridan. He also collaborated on performances with Robert Moran. The sounds of birds, wind, streams, squirrels, chickens, and the occasional coyote define the soundscape he is now immersed in. The woods and nearby mountains both obscure and highlight the horizons every day. Glenn has done collaborations with Cousin Silas, Candy L, Marco Lucchi, Lutz Thuns, Boson Spin, Jaime Munárriz, Tuonela, grum-pe, and many others in addition to extensive solo work. A recent activity has been creating the artwork for album covers for himself and others.

http://auralfilms.com
http://soundcloud.com/glenn-sogge
http://breathecompilations.org
http://studio4632.bandcamp.com
http://weareallghosts.co.uk
http://petroglyphmusic.com
http://rKaicmoderne.bandcamp.com
(July 2017)

First Chorus (disquiet0426)

Glenn Sogge

Recent comments

LoudLout

Tuonela

Related tracks