Name: Etude For Small Combo And Dishwasher by Lee Rosevere in Marc Weidenbaum
Duration: 1 min 14 s
Description: @disquiet posted https://soundcloud.com/disquiet/2016-09-02_14-19-14-wav so I made this.

Marc Weidenbaum

SOOSKI - Dash Radio Set

I've wanted to get a white-noise module for awhile, and finally added one to my setup. This module has 7 different noise sources, including white, red, grey, and blue. Each is being triggered by a different sequence. They're all in sync, though one is slightly delayed, which lends a tiny bit of character to the cadence, I think. The only reason I skipped pink is because I don't have any pink cables right now, and the color-coded cables helped me keep track of things.

You can blame this on someone who's listened to too many Chain Reaction releases, too much Consolidated, and too many scores to Michael Mann films.

Slightly more technical information: The sequences are all in CV Toolkit (a piece of software running on my laptop), and they're getting to my modular synthesizer via an Expert Sleepers ES-3 module. The noise-source module is the Quantum Rainbow 2. The white, red, and grey sources are all receiving sequences directly from the software. The blue source is getting a slight trigger delay (and a slightly extended length to the trigger), thanks to the Doepfer A-162. The whole thing is being mixed in an ADDAC 802 VCA Quintet, and out through a Pittsburgh Outs, through a Focusrite Scarlett 2i4. It was recorded in Audacity. 

White Noise Beat

I was asked by the Dutch musician Michel Banabila to contribute a remix to Marilli Remixed, a collection of reworkings of tracks from his very first album, Marilli, released in 1983. I selected the fourth track on the first side of the LP.

The original was elegant, but had percussion throughout. I wanted the ambient quality more formalized, and the percussion a little more muted and arhythmic.

. . .  

Here are some notes on my remix. I’ll note in advance, they’re fairly technical, as a notebook entry on what went into this, and what I learned in the process.

I used the my modular synthesizer (mostly filters, and a little triggered live sampler), the software Audacity (to sequence it, and also for some effects), and my Monome (running the mlr patch in the software Max). 

First I stretched a relatively percussion-less segment of the original track to get an ambient bed, yielding in the end something about 30 seconds long. I set it to run eight times in a row, overlapping to varying degrees at each repeat. 

Then I extracted a small percussion loop from the original. I did a "live performance" of that percussion loop with the Monome (four simultaneous tracks: one straight through, two running tighter sub-loops against each other a little quieter, and one in reverse even quieter still, though it's also the last bit to fade out of that sequence, so it has a little moment in the sun). The loop ran a little slower than the original, and I used a small Novation Launch Control to manage the relative volume of the four tracks within mlr.

And then I used my modular synthesizer to create variations on the ambient bed, which I layered in at various stages. 

In the end I had eight tracks in Audacity:

The 1st and 3rd tracks are the eight sequential repeats of the ambient sound bed, each intersection overlapping to varying degrees.

The 2nd track is a filtered version of the ambient bed, which has a slow LFO on it (giving it a light Laurie Anderson–ish "ha ha ha" feel) and some echo. This was done on the modular using a filter (either the A-121 or the A-136 or the Z2040 — my notes are unclear — influenced by a digital LFO, the Hikari Sine, and then run through an Eko module).

The 4th is the "live performance" on the Monome of the percussion loop, running mlr. It has four tracks of the loop doing different things. I used a Novation Launch Control to balance the volume of those four tracks.

The 5th is a copy of the ambient sound bed, pitched lower for the full length of the loop. This gives it that deep vibe for the penultimate repeat of the ambient bed. In track 1 at that same stage the volume of the original ambient bed is a little quieter, to let the deep version sound even louder than it is, in relative terms. 

The 6th track is a copy of the ambient bed but pitched higher, and I just use it for a very short moment, a final peak before the track fades out. 

And the 7th and 8th are two different instances of the same tweak of the ambient bed, which I did in the modular using a Harvestman Polivoks. It's a tingling, slightly irritating sound, a momentary breach in the ambience.

The whole idea is it opens with this expanse, and then goes to something a little tribal, and then returns to the expanse. I'll be honest about my influences here. The ambient bed is striving toward Brian Eno's Thursday Afternoon, and the rhythmic part has Peter Gabriel's soundtrack to The Last Temptation of Christ in mind. The first appearance of the Polivoks "irritant" is then repeated toward the end to provide a sense of reflection on where the piece started, but in between is that percussion performance. The deep vibe in track 5 gives an orchestral sense of closure, and the peak in track 6 is little filigree, like the clouds breaking, before it all ends.

At least that's where I ended up. It wasn't where I started. When I started, it was all gonna be about this firecracker/rattle sound in the original, but in the end I went a totally different direction.

Free Album Download

"A4. Marilli Rmxd 14"

And I know it...when I face it in the dark
I can feel it when the fever lights the spark
This ain't about love, this ain't about me
I'm as close as I'll ever be

It ain't easy, it ain't easy when you fall
And I get crazy when my back's against the wall
This ain't about love, this ain't about you
Now I know what we've got to do

Pick me up, shake me out
Turn it up, let's make it loud
Can't stop, stop me now, oh no
Pick me up, shake me out
No it ain't over now
Can't stop, stop me now, oh no

When it's heavy, and my knees are gettin' weak
I get nervous, makes it hard to speak
But this ain't about you, this ain't about me
Now I know what I got to be

Pick me up, shake me out
Turn it up, let's make it loud
Can't stop, stop me now
Pick me out, shake me out
Ya know it ain't over now
Can't stop, stop me now, oh no

When you call my name
I'm gonna be ready, ready, ready, ready
When you call my name
I'm gonna be ready

Can't Stop Me Now

"Lucky You" - from the cabaret act 'Parvenu,' featuring Krista Detor & Amanda Biggs. 

Lucky You Mix 6

Mitch Murder - Prime Operator

Out of time
This is my last call home

It’s a dream 
to fall back to
safe spaces
where you never change.

Where soft delusions
tell you you
never have to 
feel any pain.

Don’t lose yourself
in distant seclusion.
Keepers of the truth 
never walk alone.
Out of time,
I’m done with confusion.
This is my
last call home. 

It’s a dream
to find easy
answers on either
end of a gun.

Never forget what
made you you
and how we lived
in defense of love.

Last Call Home

On the heels of his On Vacation mini-LP that surfaced a few months back, leftfield Montreal producer CFCF returns to the International Feel label on July 15 with an EP of remixes, including his own soothing rework of "Fleurs Laissés Dans Un Taxi," which debuted on on RBMA Radio's First Floor, our weekly look at what's new in electronic music with host Shawn Reynaldo.

@cfcf
rbmaradio.com/shows/first-floor-shawn-reynaldo
http://redbullmusicacademy.com

CFCF - Fleurs Laissés Dans Un Taxi (CFCF Re-Version)[First Floor Premiere]

Written early July 2016 on the way home from a final visit to my wife's family farm in Orrtanna, Pennsylvania, outside Gettysburg. RIP, Aunt Suzanne… 

This track also grieves not for an America that was - but for an America that could have been.

LYRICS
A few hours west of the City line
About 200 miles as the crow flies
Your family farm up on that hill
A place that made time stand still

Where Saturday nights on the outskirts of town
and ways of life were hand-me-downs
Every sunrise let you know just where you stand

There was love in this land
But time made other plans
In time you’ll understand
How much love was in this land

Now we’re taking one last drive tonight
To say one long last goodbye
To the land that held your family name
Thru an America getting auctioned away

By a world designed with no stop just go
That knows you never miss what you never know
That’s countin’ on you to forget where you stand

And all the love in this land

When the radio starts playing favorite songs
You can’t help (but) wonder, 'where did we go wrong?'

The moms and dads pass’d away
The kids flew away on the interstate
The farm is now in other hands
It’s up to you to still give a damn

Love In This Land (2016a)

The task to create a friendly "Hi" to the Juno probe based on the Morse Code for "Hi" (…. ..) became the perfect excuse to duet with my Teenage Engineering PO-16. I've owned it for a while and though I am fascinated by it and screw around with it at times, it hadn't yet found its way into the studio. Part of that is because it's one of those pieces of equipment I don't fully understand and really can't do much with, but its mystery deepens my affection. Kind of like astrophysics. 

In any case, the PO-16 generated all the Morse Code beeping in various notes around the key of D. The rest of the piece fell into place around the syncopated and stacked tones. Diving into my effect library, I found a sample of a countdown and liftoff of a Saturn I rocket, and the track crescendos around that. Built basic basic drum and bass tracks to keep it moving (one of these days I have to try to loose myself from rhythms) and dropped in a few sweeping pads from the archives. Ended up a bit longer than expected but there's not much difference between 1 minute and 2.75 minutes in light years, you know?

RIG
Teenage Engineering PO-16 factory, Peekamoose Guitars Custom M2, SmallSound/BigSound Sparkle Motion, tc electronic flashback delay, Earthquaker Devices Afterneath, Strymon blueSky reverb, Line6 POD-XT, MOTU 828-mk2, DAW: Sony Acid Pro (Win 8.1), Mastering: Harrison MixBus (OSX)

PROJECT
The Assignment: Say hi to the Juno Spacecraft by embedding Morse code in an original composition.

In this project we’re going to send a friendly signal to the NASA probe, the Juno spacecraft, that just entered orbit around Jupiter. Well, we’re going to compose such signals. Sending them is a separate endeavor. We’re going to build on the “Say ‘Hi’ to Juno” endeavor, which had thousands of ham operators sending a message to Juno during its five-year voyage. The “Say ‘Hi’ to Juno” message was Morse code for “Hi” — that is, four dots followed by two dots (…. ..).

Step 1: Listen to the Morse code for “hi” (four dots followed by two dots) on repeat for a short time.

Step 2: Create an original musical composition that in one or more ways interpolates that Morse code.

--------------------------------------------
More on this 236th weekly Disquiet Junto project — “Say hi to the Juno Spacecraft by embedding Morse code in an original composition” — at:
http://disquiet.com/0236/

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 on a Slack (send your email address to twitter.com/disquiet for inclusion) and at this URL:
http://disquiet.com/forums/

More on the Juno Spacecraft technology at:
http://spaceflight101.com/juno/spacecraft-information/

More on the “Say ‘Hi’ to Juno” ham operator project here:
http://www.jpl.nasa.gov/video/details.php?id=1263

europa sunrise [disquiet0236]

@disquiet posted https://soundcloud.com/disquiet/2016-09-02_14-19-14-wav so I made this.



Etude For Small Combo And Dishwasher

disquiet 0245
Disquiet Junto Project 0245: Practical Music
Write a piece of music for getting things done, suitable for playing on repeat.

Clean up, routine, tiding up....that leads me to repetitive stuff.
I played a simple riff on my “diaz custom5”  drake bass guitar, very repetitive and yet variations going from A to D to D/E with no real structure.
Added a synth bass drone, and a Wurlitzer A200 electric piano improvising a bit.
Then some repetitive voices (tah-tah-tah-tah...) in four part harmony/
My usual rhythmic delays played a big role, here in 1/8th and 1/4th notes.
You can loop this, there’s no lead in or lead off.
Love
DD
Recorded in Paris, France September 9th  2016.

More on this 245th weekly Disquiet Junto project — “Write a piece of music for getting things done, suitable for playing on repeat” — at:

http://disquiet.com/0245/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

http://llllllll.co/t/disquiet-junto-project-0243-synth-trial/4288

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

Image associated with this project is by jurek d. and is used thanks to Flicker and a Creative Commons license:

http://flic.kr/p/npLwcU

clean it and loop it - disquiet0245

This is based on a Pure Data patch I made called "Oval Noise" because it reminded me of Markus Popp's ovalcommers-era sound. 

The patch is a mess since I just kind of threw it together with 3 oscillators playing one of four pitches randomly, with 2 of them summed up and the other being sent to another effect along with being summed with the other 2. 

Pure Data measures tempo by millisecond, so I started at 500 (i beat every half second), then divided it by 2, 4 and 6. The last little bit is divided by 8. 

Recorded into Audacity where I cropped it and fixed some clipping issues. 

||||

More on this 246th weekly Disquiet Junto project — “Compose a piece of music that increases speed in stages as it proceeds.” — at:

http://disquiet.com/0246/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

http://llllllll.co/t/double-quadruple-sextuple-music-disquiet-junto-project-0246/4549

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

Image associated with this project is by Oliver Gouldthorpe and is used thanks to Flicker and a Creative Commons license:

flic.kr/p/sMDxq

https://creativecommons.org/licenses/by-nc/2.0/

Latticeworks (disquiet0246)

Although Suss Müsik proudly cites Steve Reich as an inspirational pioneer, we admit to a bit of frustration at the way audiences overlook the conceptual depth of Reich's more emotive works. Different Trains, written in 1988 for string quartet and tape, uses recorded interviews with family members and Holocaust survivors as its melodic framework. Reich creates a parallel between trips he took as a youth and the shuttling of six million Jews to German concentration camps. Taken as a totality, inflections of speech form a beautiful and sometimes uncomfortable coupling, a musical documentary captured as personal snapshot. The effect transcends minimalism into something haunting and didactic (in a good way); even three decades later, hearing the swell of strings behind "But today, they're all gone" sends shivers up the spine.

In homage to Mr. Reich, this piece uses four marimba patterns played in unison, alternating pauses between bars at random moments. A gently plucked guitar creates the harmonic structure, not unlike the motif in Reich's Music for 18 Musicians signaling that a transition is about to take place. The guitar is played with a jar of rocks on the fretboard and run through a Boss Terra Echo TE-3. The marimbas eventually reveal a phased loop of birds chirping, which were recorded just outside Suss Müsik studios (the weather today was gorgeous). The piece ends with a single marimba phased at the same rate as the birds' pattern, everything fading into a metallic sheen of acoustic percussion recorded with plenty of reverb.

This excerpt is part of a longer piece still in development entitled Misophonia. The piece is named after a clinical term describing the negative reaction some people have to repetitive noises like dripping water, chewing gum, the tapping of a pencil, etc. The image is an egg.

More on this 249th weekly Disquiet Junto project — “Wish the minimalist composer Steve Reich a happy birthday” — at:

http://disquiet.com/0249/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

http://llllllll.co/t/happy-birthday-steve-reich-disquiet-junto-project-0249/

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

https://creativecommons.org/licenses/by/2.0/

Misophonia [Disquiet0249]

Carry Me

A Canadian netlabel specializing in creative commons releases. All the stuff at http://happypuppyrecords.ca

Etude For Small Combo And Dishwasher

Lee Rosevere

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