This is great!  Love that freaking organ!

Uses modifications of Supercollider code: (the 1st, 3rd, 4th, 14th, and 15th code chunks from https://archive.org/details/sc140 and http://sccode.org/1-5eT).

More on this 542nd weekly Disquiet Junto project — 2600 Club (The Assignment: Make some phreaking music) — at: https://disquiet.com/0542/

Thanks to Alan Bland for proposing this concept for a project.

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0542-2600-club/

Image by arbyreed. And it is used (cropped, with text added) thanks to a Creative Commons Attribution-license: https://creativecommons.org/licenses/by-nc/2.0/. Original at https://flic.kr/p/56Efud.

Phreaky Colliders [ disquiet0542 ]

I'm uploading this for Disquiet Junto Project 0543: Technique Check. My technique that I'm sharing is I use sound memory instead of actual samples for my composition. Even when it's "incorrect," I find how I remembered the sound to be more interesting than using a direct quote. 

I think this comes from the fact that I was a classical pianist who refused to learn how to read for years. I memorized everything until I finally was forced by my teachers to learn to read. This was my first rebellion against the schooling of music. In honor of my youthful protest, I wrote this all in my head.

As I composed the main theme,  it kept blending in my head with the song, "You Are My Sunshine," probably because of C-D-E-F-A ("you ne-ver no-tice [how much I love you]"). So I put the song in my transition sections.

The Bach-like counterpoint isn't a real counterpoint. I just thought of the sound in my head and didn't carefully count intervals, chase fugues, or anything "formal." Everything in this piece is from sound memory. In the end, it seems like the materials will weave into some magical counterpoint, but shimmer away. It's a total sham! Or is it?

Hearing Things (disquiet0543)

Absolute zero: the locust sings:
summer’s caught in eternity’s rings:
the rock explodes, the planet dies,
we shovel up our verities.

The razor rasps across the face
and in the glass our fleeting race
lit by infinity’s lightning wink
under the thunder tries to think.

In this frail gourd the granite pours
the timeless howls like all outdoors
the sensuous moment builds a wall
open as wind, no wall at all:

while still obedient to valves and knobs
the vascular jukebox throbs and sobs
expounding hope propounding yearning
proposing love, but never learning

or only learning at zero’s gate
like summer’s locust the final hate
formless ice on a formless plain
that was and is and comes again.More on this 543rd weekly Disquiet Junto project — Technique Check (The Assignment: Share a tip from your method toolbox) — at: https://disquiet.com/0543/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0543-technique-check/

Summer BY CONRAD AIKEN (disquiet0543)

Disquiet Junto Project 0543: Technique Check
The Assignment: Share a tip from your method toolbox.

A way of playing/improvising that I enjoy a lot is playing acoustic instruments into long delays with feedback. The delay creates a sort of loop, but audio processing in the signal chain changes the characteristics of the sound in a cumulative way: with each round through the delay line, the sound is further transformed. It feels a bit like you’re ‘sculpting’ the sound.
The basic technique is quite old, first implemented with tape loops over 50 years ago by artists like Terry Riley, Pauline Oliveiros; and later by Brian Eno & Robert Fripp (it’s often called Frippertronics). Modern digital equipment and software allow for more intuitive, instrument-like control of the audio processing and for on-the-fly routing and re-routing of audio signals. One of the setups I use a lot is a Max-controlled Ableton set where return tracks are set op as audio processing chains with the delays, and are then fed into themselves and each other using sends. 

Things can quickly get cluttered though: if you keep playing notes into the thing and everything gets fed back into itself, things are likely to get crowded. One technique that mitigates this issue is to have a pitch shifter in the signal chain that shifts everything down an octave: with each round through the delay line, everything is pitched down, until after a couple of rounds it dies in a highpass filter. I’ve found this to be a nice setup to explore harmonies and modes. As you play, you’re accompanied by the delayed, pitched down stuff you played before.
This little piece I made is an exploration of the phrygian mode. It’s a bit rough: I just did a couple of takes and this seemed the nicest.

More on this 543rd weekly Disquiet Junto project – Technique Check (The Assignment: Share a tip from your method toolbox) – at: https://disquiet.com/0543/

Laying Low (disquiet0543)

Since contributors use a wide variety of methods & equipment, which can be fairly incomprehensible to those using totally different ones, I thought I would keep to something simple that can be performed with any sound editor. 
Step 1: open a track then duplicate it.
Step 2 : add fx of choice to one or both
Step 3:  swap stereo channels of one 
Step 4: play both simultaneously & export as one track
The track I use here is an unaltered live electronic sequence created in Pure Data together with a heavily modified duplicate.

More on this 543rd weekly Disquiet Junto project – Technique Check (The Assignment: Share a tip from your method toolbox) – at: https://disquiet.com/0543/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0543-technique-check/

Double Up (disquiet0543)

More on this 543rd weekly Disquiet Junto project — Technique Check (The Assignment: Share a tip from your method toolbox) — at: https://disquiet.com/0543/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0543-technique-check/

444(disquiet0543)

Rejected production music demo/
Composed and recorded may 2022 in Paris.

I played guitars (using last week's rhythmic delays thing) and keyboards.

Another evrsion:
https://soundcloud.com/daniel-diaz/time-lapse-vers-motorik-disquiet0545


Photo by DD

For this weekly junto joint:
https://llllllll.co/t/disquiet-junto-project-0544-feedback-loop

Time Lapse (disquiet0544)

More on this 544th weekly Disquiet Junto project – Feedback Loop (The Assignment: Share music-in-progress for input from others) – at: https://disquiet.com/0544/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0544-feedback-loop/

No Hook ? (disquiet0544)

Sensen - DC

This track was created for the Naviar Haiku group.
463 week haiku
https://www.naviarrecords.com/2022/11/16/naviarhaiku463-the-fall/

2022-11-17

The Fall  ( Naviarhaiku 463 )

An electronic sequence, sounds created in Pure Data.

Summer BY CONRAD AIKEN (disquiet0543)

Hugh G Twatt

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