Disquiet Junto Submissions

My first go at the Disquiet Junto challenge.   
The first thing I did was create a shifting 'cloudlike' top level. I did this using three detuned oscillators,  fed different sequences and put through a long cloud reverb in the Strymon BigSky.  For the 'firm bottom' I used the Dark Energy synth, feeding it a slower sequence of notes, but giving it more frequent rhythmic / percussive changes to filters and amplifier.  This had no reverb applied, just echo, to keep it firm and to avoid muddying the reverb cloud. As this is a piece for a possible dance performance, I included a rhythm pattern, which is purely white noise put through a filter that is rapidly opened and closed to varying degrees. This was put through a panner that sends it to different echos to make it more interesting than just a straight rhythmic pattern. This was a single live take, no overdubs. 

Disquiet Junto Project 0222: Bounded Foundation
The Assignment: Compose a piece for contemporary dance — with a “soft top” and a “shifting bottom.”

This is the second project we’re doing with artist and engineer Paolo Salvagione for an extended piece of choreography he’s working on. The result of the project is intended for potential use as a sonic backdrop for the dance performance, and also as a form of research into the materials and ideas being explored by Salvagione and the dancers. (Audio produced for this Junto project will not be used by Salvagione without its composer’s permission.)

Step 1: You will be creating a short, roughly four-minute piece of music. First, take into consideration the setting. Visualize that the piece would be performed by a young solo female dancer. She is dancing in a large space. The sounds of this Junto are the only sounds accompanying her movement.

Step 2: Your piece should have two perceived “levels.” The “top” level should be soft and cloud-like. The “bottom” level should be firm but ever-shifting.

Step 3: Make a piece of sound/music roughly four minutes long that meets the criteria of Step 2.

Step 4: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

http://disquiet.com/2016/03/31/disquiet0222-boundedfoundation/

Bounded Foundation (disquiet0222-boundedfoundation)

My attempt at this week's Disquiet Junto - I stuck with a Steve Reich feel. First I came up with a five-beat phrase that I felt was interesting and was not too difficult to play steadily at a reasonable speed. I then created a basic sound on my modular, using ring two ring-modulated oscillators tuned an octave and a fifth apart.  I varied the settings with each take, adding a bit of modulated reverb on some and leaving others dry.  I then faded some of the takes in and out, leaving others to start / finish abruptly.  There are six layers here, any more was just getting muddy. The title is because the effect reminded me of my honeymoon in Salzburg, my wife and I were sat at a restaurant on Mönchsberg, overlooking the town, and the church bells starting ringing out from the various churches. There was an amazing phased sound as they drifted in and out of time with each other, it lasted a good few minutes.  

http://disquiet.com/2016/04/07/disquiet0223-layeredsameness/

Honeymoon Bells Surrounding Mönchsberg (disquietjunto0223-layeredsameness)

I played around a bit more with the Disquiet Junto 223 file - layering pitched-up and reversed copies over and over, and then bringing in and out the different pitched versions as the track plays. I also slowed it all down to half speed, and smothered it in reverbs to smooth out the ringing.

Layered Sameness 2 (disquietjunto0223-layeredsameness)

(A newer more 'radiophonic' version , with added 'Arctic' melody originally written by Delia Derbyshire and tons of reverb is here: https://soundcloud.com/ikjoyce/arctic-disquiet0224-coldembrace) 

This week's Disquiet Junto project is to make a track using a field recording of the fridge... http://disquiet.com/2016/04/14/disquiet0224-coldembrace/

I took two recordings - one from down the back of the fridge, and the other from inside the fridge.  I then layered multiple copies of both recordings in ACID pro, and changed the speeds of each so that the pitch of the  hums created nice harmonic textures. Finally, I added a little EQ to each to highlight certain tones, and then used volume curves to fade the notes in and out.  There is NO reverb on this  (in reference to this: http://disquiet.com/2016/03/11/rimbaud-scores-ryman/#comments) - I used only the dry recordings! EQ was the only effect, and that was used sparingly just to highlight specific tones.

To me it sounds a little like an impatient Eliane Radigue piece!
 

Cold Embrace (disquiet0224-coldembrace)

I played a melody called 'Arctic' written by Delia Derbyshire (found in the archives at the fabulous WikiDelia.net -  just a scrap of manuscript - http://wikidelia.net/images/a/a4/DD115523.jpg )  on the BassStation2 using a sound I made specifically for this melody, over the top of my Disquiet Junto 'Cold embrace' track which is made entirely from two recordings of my fridge. I then added an enormous amount of multiple reverbs to it.  I hope Delia would have enjoyed the use of a fridge to add a soundbed to her Arctic melody :-) 

The soundbed of fridge hum with no reverb is here: https://soundcloud.com/ikjoyce/cold-embrace-disquiet0224-coldembrace

Arctic (disquiet0224-coldembrace)

This week's Disquiet Junto project: Sight Read a painting as a graphical score. 

I examined the painting, noting the different types of symbol. I interpreted them thus:  
Black = Octaves and fifths
Red = Minor chord
White = Major chord
Horizontal line = broken chord (i.e linear) 
Vertical line = chord stab
Square = Held chord with broken chord underneath.
Where there were two lines above each other, I played two lines together. 

Examining the score closely, and you will notice that the third vertical line on the fourth row is actually more to the left than the other vertical lines - in that way I realised that each black line is three units long (hence the broken chords being three notes long). Each stab occurs at the third unit of a block of three , except that one on the fourth line that is on the first position. That is what gives rise to the unusual little syncopation just before the two major chords. 

This recording is of me literally sight reading the score at the piano.
I have tried a different one without the gaps as well, but I made a mistake so I need to re-record it when I have time. 

More on this 225th weekly Disquiet Junto project (“Sight read a late-1940s painting by Argentine artist Lidy Prati as a graphically notated score”) at:

http://disquiet.com/0225/

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/

Image originally posted (and viewable in larger scale) at

http://blakegopnik.com/post/142806762364

Serial Killer (disquiet0225-serialcomposition)

This week's Disquiet Junto project: Sight Read a painting as a graphical score. 

(A stretched and pipe-organesque version of this is here: https://soundcloud.com/ikjoyce/reinterpretation-reinterpreted)

This is my second reinterpretation, and is a more reflective piece. 
I examined the painting, noting the different types of symbol. 
For ths version, I interpreted them thus:  
Black = Octaves and fifths (A and E)
Red = D minor 7th chord with A bass.
White = A Major
Horizontal line = broken chord (i.e linear) 
Vertical line = chord stab
Square = Held chord with broken chord underneath.
I played an almost continuous three note broken chord in the left hand throughout, adjusting slightly towards the end.

Examining the score closely, and you will notice that the third vertical line on the fourth row is actually more to the left than the other vertical lines - in that way I realised that each black line is three units long (hence the broken chords being three notes long). Each stab occurs at the third unit of a block of three , except that one on the fourth line that is on the first position. That is what gives rise to the unusual little syncopation just before the two major chords. 

This recording is of me literally sight reading the score at the piano.

More on this 225th weekly Disquiet Junto project (“Sight read a late-1940s painting by Argentine artist Lidy Prati as a graphically notated score”) at:

http://disquiet.com/0225/

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/

Image originally posted (and viewable in larger scale) at

http://blakegopnik.com/post/142806762364

Reflective Reinterpretation (disquiet0225-serialcomposition)

I just ran my little piano piece from this week's Disquiet Junto through the PaulStretch program - lengthening it from 1 minute to 4 minutes, and in the process smearing the audio with some additional octaves added too. It made my piano sound like a pipe organ! I overlaid two different versions, added some volume swells and a cathedral reverb to add to the pipe-organ experience.   

Reinterpretation Reinterpreted

This week's Disquiet Junto project, to create music for an imagined second volume of electronic music composed by R. Buckminster Fuller. I am already familiar with his work, but read around to reacquaint myself with the man and his ideas. One of the key concepts he introduced was Synergetics - the interactions of multiple simple systems that produce complex outputs that were not expected given the simple inputs.  Another word for Synergetic is Negentropic (i.e. the opposite of entropy) - which made me think of "Entropical Paradise" by Douglas Leedy, hence the title even though the music is not similar.   

I created two systems on my modular synth - one comprised of three LFOs that are interacting (A controls the speed of B, B controls C, and C controls A) to create a complex output, and a second comprising of two sequencers clocked by prime number divisions of the clock, with one sequencer feeding into the other, and vice versa (only with an inverted signal).  I had them set up so that they are 'self limiting' - as the output rises, more and more negative feedback is added. Each system is also linked to the other, so that the output of the sequencers controls the speed of the LFOs, and the output of the LFOs is mixed in with the sequencers.  

These two interacting systems were used to generate pitch information in various ways for three oscillators which are used as three different voices.  I used quantisers to impose limits on the system that represent the elements of human control. A third sequencer is then used to transpose the quantisers, to give a more pleasing melodic shape to the piece.  

R. Buckminster Fuller died in 1983, so I felt that any music would have to be appropriate for his time - As this is 'Volume 2',  I wanted the music to be something 'late' in his career, maybe a 'lost tape' - so I deliberately gave it the feel of a late 1970s interlude for Schools programming - the type of music that was played between programmes on the BBC while a clock counted down the next show (those from the UK and of a suitable age will know exactly what I mean!). To further add to that feel, I recorded to Tascam 4 track to give some warmth and saturation. 

More on this 226th weekly Disquiet Junto project (“Compose music for a fictional greatest-hits collection of the electronic music of R. Buckminster Fuller”) at:

http://disquiet.com/0226/

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/

Project inspired by a dream that C. Reider of Vuzh Music had:

http://vuzhmusic.com/

Image of album cover created for this project is by Brian Scott of Boon Design:

http://boondesign.com/

Negentropical Paradise (Disquiet0226)

(Video of a different performance of this piece is here: https://youtu.be/BcV8IIXp9RY) 

My attempt at this week's Disquiet Junto project - to choose a chord, and record & manipulate the individual notes separately.

For this project, I chose the "Tristan" chord - a sort of 'non-chord' famously used in Wagner's Tristan & Isolde,   but actually used by other composers before him (including Beethoven).   
The notes of the chord are F, B, D#, G# - and it has a lovely mysterious longing quality about it.   Rather than recording each note separately and then manipulating as they played back, I sort of cheated - I tuned 4 oscillators in my modular synth to the appropriate notes, and output each through it's own filter and/or some other effects in the modular (such as a waveshaper, or a spring reverb). I then output each as a separate track to my mixer, where I manipulated the volumes and levels of reverb (Strymon BigSky) and echo (EHX # 1 and Hardwire DL-8). So the overall effect is exactly the same as it would have been had I recorded the voices separately first and then manipulated the levels at playback.

Incidentally, this is close to how I work with the modular much of the time. I prefer the "single take" approach,  the recording is essentially a live performance and cannot be exactly replicated.  It ties in well with the 'ephemeral' nature of using a modular synth. 

Further details: 
Disquiet Junto Project 0227: Treated Chord
Record a piece of music in which what changes is the treatment of the notes that comprise a single chord.

Step 1: Choose a chord, any chord.

Step 2: Make a list of the notes that the chord is comprised of.

Step 3: Record each of the notes of the chord as a separate track.

Step 4: Create a piece of music in which each of those tracks plays from start to finish, and that as they play those tracks are manipulated individually (echo, texture, effects, relative volume, etc.).

Background: This project is inspired by the tape-cassette music of Amulets, aka Randall Taylor of Austin, Texas.

Deadline: This project was posted in the afternoon, California time, on Thursday, May 5, 2016, with a deadline of 11:59pm wherever you are on Monday, May 9, 2016.

Length: The length is up to you, though between one and three minutes feels about right.

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 “disquiet0227.” Also use “disquiet0227” 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 227th weekly Disquiet Junto project (“Record a piece of music in which what changes is the treatment of the notes that comprise a single chord”) at:

http://disquiet.com/0227/

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/

Image associated with this project adopted from a photo by Dan Barbus, used thanks to a Creative Commons license:

https://flic.kr/p/4mcFS8

Tristan (Disquiet0227)

This week's Disquiet Junto challenge was to record the same sound source with three microphones and make a track from it. Initially, I tried recording the sound of my Tascam 4 track as it recorded itself - adding some reverb into the room for some interest - but that really didn't work   (trust me, it was dull!) so I went back to the drawing board. I decided in the end to take a field recording of my back garden, as the weather was nice and there was lots going on out there.  I set up three recorders - one is my mobile phone, one is a PCM-M10 with a wind cover, and the other is a set of battered old Bose headphones, running into the mic input of my spare PCM-M10 (great recorders - I only have two because I dropped one in the sea, and just after I bought a new one the old one came back to life!).

I took the three recordings, and chopped up interesting pieces from each, trying to get some parts that were recorded at the same time. I had clicked my fingers at the start, so I could easily line up the three recordings - and those clicks actually formed the basis of the rhythmic pattern, along with a pigeon flapping its wings... 

More on this 228th weekly Disquiet Junto project (“Make a piece of music with one sound source recorded three different ways”) at:

http://disquiet.com/0228/

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/

Image associated with this project adopted from a photo by John Schneider, used thanks to a Creative Commons license:

https://flic.kr/p/2PWeLZ

Garden Rhythms(Disquiet0228)

This week's Disquiet Junto involves using a favorite trick of legendary sound designer Walter Murch to make a reverb sound massive. Sadly I don't posess a recorder that can play back or record at 4 times normal speed, so I have emulated this in software. I used Sony elastique timestretch to speed up the samples 4x and simultaneously pitch them up two octaves, added reverbs, and then used the elastique timestretch to slow the sample down again 4x and reduce the pitch by two octaves. It seems to emulate it fairly well. 

I did this for a few different samples ,trying a few different reverbs to get different effects, and then created a piece of musique concrete from them.  The poem at the beginning is a recording I took of an old friend  reciting a poem by Ernest Hemmingway, back in 2000! Always knew I'd find a use for it sometime. 

Disquiet Junto Project 0229: Fourth Worldizing
Use a favorite trick of legendary sound designer Walter Murch.

Background: At 2:14 in the following YouTube clip of an interview about the concept of “worldizing” with sound-design legend Walter Murch he plays a bit of a movie, THX-1138, and then describes the process of recording something to get an exaggerated sense of the space in which it was recorded: “If you are in an ordinary sized room and play the voice at four times speed … and you record it on the other tape recorder, also running at this very fast speed, then when you play the other recorder back at normal speed you get the original sound but you get the space of the room as if it was four times larger than it really is.” (Just to expand the idea a bit, the project’s title, “Fourth Worldizing,” is a nod to musician Jon Hassell.)

https://www.youtube.com/watch?v=_py6jVyOqUY

These are the steps for the project:

Step 1: Using the trick Murch has provided, make something of it.

Step 2: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 3: Annotate your track with a brief explanation of your approach and process.

Step 4: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in shortly after noon, California time, on Thursday, May 19, 2016, with a deadline of 11:59pm wherever you are on Monday, May 23, 2016

Length: The length is up to you, though between one and three minutes feels about right.

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 “disquiet0229.” Also use “disquiet0229” 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 229th weekly Disquiet Junto project (“Fourth Worldizing: Use a favorite trick of legendary sound designer Walter Murch”) at:

http://disquiet.com/0229/

Thanks to Steve Ashby (ashbysounds.com) and Jakob Thiesen (jakobthiesen.flavors.me) for beta testing it.

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/

Image associated with this project from the film THX-1138.

The Sea Otter (Disquiet0229)

This week's Disquiet Junto challenge was to interpret a graphic score  (never before performed or realized) from the mid-1970s.

I took the image, adjusted it in photoshop to make it linear so that it could be used by Photosounder to create the notes directly from the image. I created two images - one which is just the line drawing, and a second with the shapes filled in. These two files were used to create different versions in Photosounder - including reversed and upside-down version. I then imported the files into Acid Pro, and created a sort of 'fugue' by overlaying the versions at strategic points.  I then imported that version into Paulstretch, which smeared out the notes and only used the frequencies that are harmonics of A. I also added different octaves to the mix to give a 'pipe organ' sound. I then imported this back into Acid Pro, and added a cathedral reverb, and then pitched it up to C, which also shortened it slightly. 

More on this 230th weekly Disquiet Junto project — “Design I: Interpret a graphic score (never before performed or realized) from the mid-1970s” — at:

http://disquiet.com/0230/

The graphic score is by Glenn Sogge, more from whom at:

https://soundcloud.com/glenn-sogge/

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/

Design 1 (Disquiet0230)

This week's Disquiet Junto involves creating a track using the 'zero-input mixer' method - which means that no overt sound sources are allowed - the noises are created using feedback loops form the mixer and any effects that are applied to the loops. 

I have done some ZIM work  before (https://soundcloud.com/ikjoyce/zero-input-mixer), so know just how important it is to be careful with levels! You have to really be ready with the kill switch / faders when feedback ramps up! It is usually advised to add a hard limiter to the end of the chain to prevent massive volume spikes. 

I did mine in my modular - using an A-138-m matrix mixer - this allows me to route four inputs into four outputs in various levels. It also allows me to send the signals either right-way up or inverted, which can help tame the feedback a little by letting me add in the inverted signal to the chain. I ran the loops through a few filters, a BBD delay module, and a Springray reverb unit (on large tank). The output went via a filter to the mixer, and had a large reverb added courtesy of the Strymon BigSky.  I then recorded as I played around with the various mixer knobs, filter cut-offs , tone controls on the springray, and delay length on the BBD.   The resonance controls on the filters was was turned down to avoid putting the filters in self-oscillation, which would have been contrary to the idea of a ZIM I feel!

A related idea is to use no patch cables between modules- just to play with the self-oscillations that can be created in individual modules:  -  and also a similar concept of using no patch cables: https://soundcloud.com/ikjoyce/self-oscilation 

Zero Input Mixer - (Disquiet0232)

This week's Disquiet Junto was a remix - we had to use the first 30 seconds of three songs, available on creative commons licenses that allow derivative works, and create a new work.  These were:  
1) “HNY” off the album Wormbole by ʞık (Karl & Karlik) on the Bump Foot netlabel: http://www.bumpfoot.net/bump207.html
2) “Pepper Jelly” off the album Recombinations by Andre Darius and Riley Theodore on the Haze netlabel: https://hazenetlabel.bandcamp.com/album/recombinations
3) “Autista 3” off the album Autista by Pablo Reche on the Impulsive Habitat netlabel: http://www.impulsivehabitat.com/releases/ihab113.htm

I am not a big fan of remixes generally, so I set out to make a sort of 'anti-remix'  - something where the original materials are totally unidentifiable. Remixes are usually rhythm-led, so this piece is very arrhymthic. 

I took the 30 second samples and treated each of them in Photosounder - using the various tools to flip or rotate the sonograms, force them into unnatural frequency ranges, force them to the nearest semitones, then rotate / flip them again, and readjust the frequency ranges, slowing them down in the process to approxmately 4 minutes.  In that way I got three very different files from the source materials.  I then imported these into Acid Pro, and adjuted the EQ to give each file it's own space. I then applied a large reverb to smooth out the sharp edges. 

The 'waves  / breathing' sound is NHY - forced into a set of semitones a few times and then rotated 90 degrees. 
The 'organ' sound is Autista 3, with every maximum horizontal value carried on to the left, then forced to semitones. 
The 'shimmering / glistening' sound is Pepper Jelly - forced to semitones, rotated, shrunk to different frequency ranges, re-forced to semitones, expanded again... etc... 

More on this 233rd weekly Disquiet Junto project — “Make one track from three different netlabels, courtesy of a Creative Commons license” — at:

http://disquiet.com/0233/

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/

Image associated with this project is by Jet Lee and it is used thanks to a Creative Commons license:

https://flic.kr/p/o9vg


The AntiRemix (Disquiet0233)

This week's Junto was to make a new song from samples of the first 30 seconds of three of last week's Junto entries - courtesy of the Creative Commons licences. I chose to use: 
Kinethik by TheAtlasRoom:
https://soundcloud.com/theatlasroom/kinethik-disquiet0233
Hexhead by Telechir
https://soundcloud.com/telechir/hexhead-disquiet0233 
N@ND R3M1x by 337is:
https://soundcloud.com/337is/nnd-r3m1x-disquiet0233

I took snippets from each, and then used the settings for the looper in AcidPro to create versions that had different lengths (by setting the number of beats present in the sample, and by changing the type of stretch used). I then overlaid these and added a bit of reverb, EQ, panning, volume and envelope controls to them. I also added some samples from my own collection - in this case some clicks, also processed in the same way.   

More details here: 
​*Disquiet Junto Project 0234: Remix Ximer*​
The Assignment: Make one track from three different netlabels, courtesy of a Creative Commons license.

This week’s Junto project builds directly on last week’s, though you needn’t have participated in last week’s to join in this one. This week we’re remixing remixes. The remixes we’re remixing are the pieces that resulted from last week’s project, which involved taking three tracks from different netlabels and making one new track from them. Last week’s Junto project celebrated derivatives, as licensed by the Creative Commons. This week’s celebrates derivatives of derivatives. (Thanks to Audio Obscura, aka Neil Stringfellow, for proposing this week’s project.)

These are the steps:

Step 1: Select and download three tracks from last week’s project, Disquiet Junto 0233:

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0233

All the tracks in last week’s project were made from the first 30 seconds of three pre-existing recordings: “HNY” off the album Wormbole by ʞık (Karl & Karlik) on the Bump Foot netlabel, “Pepper Jelly” off the album Recombinations by Andre Darius and Riley Theodore on the Haze netlabel, and “Autista 3” off the album Autista by Pablo Reche on the Impulsive Habitat netlabel.

Step 2: Extract the first 30 seconds from each of the three remix tracks that you selected in Step 1.

Step 3: Create an original piece of work including that source material from Step 2.

Step 4: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in the late afternoon, California time, on Thursday, June 23, 2016, with a deadline of 11:59pm wherever you are on Monday, June 27, 2016.

Length: Length is up to you, though between two and three minutes seems about right.

More on this 234th weekly Disquiet Junto project — “Make a remix of three tracks of a remix of three tracks, courtesy of a Creative Commons license” — at:

http://disquiet.com/0234/

Be sure to credit all the tracks (first and second generation) employed in your piece.

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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


Downbeat (Disquiet0234)

This week's Disquiet Junto involved using the roll of a die to determine the structure of the piece of music. 

The rules I used were:  
Length: 5 minutes
Number of sections (2 dice): 5  (2 and 3)
Number of layers in each section:  3,1,5,3,1
Also determined the same way were the number of notes in each layer, the actual notes used (I used a blues minor pentatonic scale, with a six meaning 'change octave and roll again'), the start position of each note(dividing each section into 6 equal chunks), and the type of notes to be used (1= staccatissimo, 6 = legatissimo). 

I thought it would be fun to challenge myself to use a single instrument for this - so each layer in each section uses a different patch made on the BassStation 2.  The die decreed 13 patches in total.  However - the way the 5th section turned out, there was a 20 second gap in the music between section 4 and 5. So using artistic license, I chose to ditch section 5. 

More on this 235th weekly Disquiet Junto project — “Create a piece of music based on a structure determined by the roll of a single die” — at:

http://disquiet.com/0235/

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/

Image associated with this project by Chris Gladis, used thanks to a Creative Commons license:

https://flic.kr/p/f24Vc/ 

Image: Dice by Ernie https://flic.kr/p/5N5dLd - but mangled by me.

 

Please Die (dis)Quietly! (Disquiet0235)

This week's Junto is inspired by the Morse code messages sent to the Juno probe when it flew past Earth on it's way to Jupiter. It involves using the Morse code for 'Hi' (four dots, then two dots) to create a piece of music. 

I created a rhythm track in my Beatstep Pro where each component uses the four / two pattern of beats, in some way. I also created two sequences, also using the four/two pattern. The drums were provided by the MFB522 - with the snare drum also going through an envelope follower to trigger some patterns in the modular, as well as to give it some ring modulation, The hi-hats are also processed via the modular.  Some of the Beatstep triggers also went to the modular to give some morse code patterns there. I used a combination of white and pink noise through spring reverb and a BBD to create the 'static / bowshock' noise, and the sounds were routed via the mixer sends through a combination of two echo pedals (one being set to 'reverse' echo) and the Strymon BlueSky on a tape delay setting.   

I then played this in real time fading in and out parts and adjusting the settings.  

Single take recording, no overdubs or post processing. 

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

Image associated with this project courtesy of NASA.

Hi Juno! (Disquiet0236)

A half-tempo version of my Disquiet entry for this week, with added Streichfett and a few tweaks.  


Hi Juno! (Slow Mix) (Disquiet0236)

Another play, this time at double tempo, but still in a relaxed style.

Hi Juno! Double-tempo Downbeat mix (Disquiet0236)

This will be my place for Naviar Haiku and Disquiet Junto entries.
-Experiments may appear on YouTube from time to time: 
https://www.youtube.com/user/ikjoyce
-Albums will be released on Bandcamp: 
https://ikjoyce.bandcamp.com/

New album "The Endless Solitude Of A Skylark's Song" now available:
https://ikjoyce.bandcamp.com/album/the-endless-solitude-of-a-skylarks-song

Album 'Selene' now available on Cassette / Download from Naviar Records: 
https://naviarrecords.bandcamp.com/album/selene 

**Albums now available on iTunes, Amazon, Deezer, Spotify, and Google Play**  

I make electronic ambient and drone music using modular synthesis to explore themes of nature, space, isolation, man/machine interaction, and the borders of the sleep/wake cycle.