More on this 82nd Disquiet Junto project, in which a minimal techno track was created using elements of a Haydn string quartet, at:

http://disquiet.com/2013/07/25/disquiet0082-minimalhaydn/

The source Haydn audio is from:

http://goo.gl/7MMHRA

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto Project 0082: Minimal Haydn

Track number 9 from the upcoming album 'Seafields' available from Dronarivm 260321

'She & Him' - Seafields - [Dronarivm, 2021]

I wanted to be as true to the genre and to the assignment as possible. I went with out a beat for that reason, it was stipulated that we add no other element and I wanted to use this as a challenge. I think it worked pretty well. 
To be true to the genre set my beat to be at 125 bmp, and made great use of repetition, which is something I enjoy anyhow. 
I set out by opening the track in audacity and set it to play in reverse. I chose only three sections and safed each section separatly as ogg vorbis files. I then loaded these up in to the Audiofile Processor in LMMS and added reverb to all the sections. The first part I set to play at a much lower speed and set that as the base beat. The next part I added flanger to. I slowly increased the volume and did the same to the last section till I reached 100% volume. Then I cut the second part and ended the piece abruptly. 
I set out to create something that had enough of the original in to make it hint at Haydn without giving it all away. 

http://subversiveintentions.wordpress.com

More on this 82nd Disquiet Junto project, in which a minimal techno track was created using elements of a Haydn string quartet, at:


http://disquiet.com/2013/07/25/disquiet0082-minimalhaydn/


The source Haydn audio is from:


http://goo.gl/7MMHRA


More details on the Disquiet Junto at:


http://soundcloud.com/groups/disquiet-junto/

Haydn Seek (disquiet0082-minimalhaydn)

The goal of this project was to make a 'minimal techno' track using samples from Franz Haydn’s String Quartet in F Major. Note that I do not believe I achieved this, although the results are interesting.

More on this 82nd Disquiet Junto project, in which a minimal techno track was created using elements of a Haydn string quartet, at: http://disquiet.com/2013/07/25/disquiet0082-minimalhaydn/

The source Haydn audio is from: http://goo.gl/7MMHRA

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/

prolonged exposure [disquiet0082-minimalhaydn]

I was trying to extricate the basic components of the minimal genre, namely kick, snare, soundscapes and then work the silences around it. It came out denser/thicker than I initially intended. Thank you

More on this 82nd Disquiet Junto project, in which a minimal techno track was created using elements of a Haydn string quartet, at:


http://disquiet.com/2013/07/25/disquiet0082-minimalhaydn/


The source Haydn audio is from:


http://goo.gl/7MMHRA


More details on the Disquiet Junto at:


http://soundcloud.com/groups/disquiet-junto/

Haydn Tomato - [disquiet0082-minimalhaydn]


Disquiet Junto Project 0082: Minimal Haydn

disquiet0082-minimalhaydn

I deem this a failure. It’s becoming depressing that I don’t have any idea how to create “techno”. This certainly isn’t, and it probably isn’t minimal either. I spent ages hand-crafting a “beat”, and all I got was a lousy pulse.

The rest is me throwing bits of sound around and being careless with effects plugins.

Not that I don’t like it, but I wish I could work out how to use Ableton just once and create something with a beat. Back to the DAW…


-----------------------------------------------------------------------------

This week’s project is another in a series of explorations of the concept of genre as a constraint. (The “downtempo” exercise went well several weeks ago, project 79, and this is another in that mode.) The genre this time is “minimal techno.” The source material is from another genre entirely: “classical,” specifically chamber music in the form of a string quartet. The goal of this project is to derive elements from the source material in the service of a track that would fit in the prescribed genre.

More on this 82nd Disquiet Junto project, in which a minimal techno track was created using elements of a Haydn string quartet, at:

http://disquiet.com/2013/07/25/disquiet0082-minimalhaydn/ ;

The source Haydn audio is from:

http://goo.gl/7MMHRA ;

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info



Haydn Agenda [disquiet0082-minimalhaydn]

for disquiet junto 0082, "minimal haydn." (http://disquiet.com/2013/07/25/disquiet0082-minimalhaydn/)

the assignment: transform a public domain string quartet recording (http://archive.org/details/Haydn__Franz_-_String_Quartet_in_F_Major_mvmt_3_) into what i consider "minimal techno."

i don't have much experience with the genre, aside from listening to one or two recordings by artists on the bumpfoot netlabel several years ago. to me, techno is pretty repetitive, and since the assignment was to come up with something even more minimal, that meant leaving out the melodic elements that usually form the core of my songs. this worked out well, since the source material was rather challenging.

the strings are very densely layered, making it hard to separate single notes. i split the original stereo track into left & right mono versions, then zoomed in on little sections of the song, filtering, chopping, and repitching them with renoise. one melodic passage was run through paulstretch; this became the pads that fade in halfway through the song. a gainer attached to a signal follower provides the "flex" in the pads when the kick returns, allowing them to breathe a little. i created the percussion from a few sections of single notes; shortened, decayed, filtered, and pitched up a few octaves. i used only native renoise devices to process the audio; no additional plugins or hardware effects loops.

since i only had about an hour a day for 4 days, that was just as well--no time for anything complicated, which is always the challenge when working on a junto project. as always, remixing source material without the individual layers is complicated. all my time was spent on sample preparation and arrangement, with a bare minimum of on-the-fly mixing and adding a few delay/reverb effects as i neared the project deadline. i'm terrible at chopping samples; it takes forever. i spent maybe 1 hour arranging; the rest of the time was thrown into sample preparation and rendering. one quick conversion from .wav to .flac with audacity, then i uploaded the piece a few minutes before midnight.

the song's image is a snapshot of my working environment in renoise, with several of the middle sequences visible. the track end mirrors its beginning, this time with the gradual reduction of elements until there's just the beat and the dub stabs.

eleven pm (disquiet0082-minimalhaydn)

Paradox: Something that seems absurd, contradictory, or unreal, but is actually true. 

I believe in miracles, light in the darkness, the Savior, life after death...

I hope you enjoy this simple one <3

Paradox

Upset Hexadecimal

Collaboration with Mosaik
Original version released on Suunta (2007, Kahvi Collective)
Rework released on Approach (2022)

Approach

Planet Boelex & Mosaik - Sisumies Rework

"Galaxy Merger" is a one hour Ambient track, which was part of my "Ambient Night" live session.

https://phelios.bandcamp.com/album/ambient-nights-vol-1

Ambient Nights Vol. 1

Galaxy Merger

Sometime in 2016, I came upon the California-based electronic musician, releasing his organic, evolving and highly textural synthesized compositions as r beny. I followed and watched many of his YouTube videos, where he showcased his modular skiff and various digital synthesizers (I particularly enjoyed watching the Novation Peak ambient showcase, which inspired me to purchase that synth). Throughout the years, I've been enchanted (as I'm sure some of you also have) with his particular aesthetic in creating warm, lush, and melancholic pads that stretch out their fingers and brush the worry away. When, in 2018, he got noticed by Dauw imprint, I reached out to premiere a track from his Saudade album. Since then, Austin Cairns' creations have continued to sell out - you can still buy digital copies of eistla (2018), echo's verse (2019), and natural fiction (2020) via his Bandcamp. By now, he has established a solid following, so it isn't easy to be useful with my words on HC. I can also say the same about the UK-based quiet details imprint, which has amassed a gathering of my all-time favourite ambient artists and relentlessly releases an amazing album every single month. This is almost a community now of all like-minded musicians sharing the label's aesthetic in creating pieces as an interpretation of the platform's name. I cannot keep up and cover every single album on there, so you might as well follow along on your own, and I promise that you won't be disappointed [for example, I failed to give my buddy James Murray proper coverage of his latest album, Weeds, thinking that, yeah, okay, you must already know that it's amazing]. Today, I'm dipping my toe back into the myriad of sonic seas and atmospheres with a track premiere from Cairns' upcoming album, discerned in the fugue of streams, because I think that it is very special.

Read more on Headphone Commute:
https://headphonecommute.com/2024/10/16/r-beny-fir-sweet-and-mossed/

discerned in the fugue of streams

fir-sweet and mossed

TRACK PREMIERE : r-beny - fir-sweet and mossed

from a new album. out soon on cassette and digital.

mamiya

Bay Area, CA tape and modular artist r beny is today releasing his new track ‘northern breath’ ahead of the release of ‘Seafoam & Dust’ this Friday. ‘northern breath’ appears exclusively on ‘Seafoam & Dust’ as a bonus track, closing ‘Eistla’.

LISTEN/BUY: https://dauw.bandcamp.com/album/seafoam-dust

r beny - northern breath

State Azure - Edge of Forever

Nick Angeloni is a composer, audio engineer, pianist and synthesist who releases work under the name n-So.

One of the hallmarks of Nick's fantastic 2018 album 'A Stroke of Blue' is its careful balance of felted piano and electronics — it's an album that's full of accessible moments that twist in just the right way. Depending on the listener, the album's x-factor could be the unexpected textures, or it could be a chord that perfectly roots an ambient soundscape.

Speaking with Nick, I was reminded how tense the balance is between will + self-care. Nick is an incredibly talented and driven artist, and it was staggering to hear him talk openly about the challenges he faced while trying to finish this work. And to confirm that coming out of the valley isn't a momentous break of clarity — it's small moments of grace, of the universe wanting to heal what's hurting. I am grateful for Nick's honesty, artistry, and perseverance.

Episode 20 was lovingly assembled and edited by Matt Lowery (@mattlowerymusic). I'm so grateful for his willingness to give his energy and expertise toward this project and toward the lines community. sound and process is an exploration of lines, so, come join the conversation at https://llllllll.co

Out of the Valley: https://modernarecords.bandcamp.com/album/out-of-the-valley
A Stroke of Blue: http://n-so.bandcamp.com/album/a-stroke-of-blue
Nick's website: http://n-so.online

support Nick's work

Nick Angeloni (n-So): sound + process # 20

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.

experiments. moments. images. play. beautiful things to reflect the joy and peace of the Creator.

eleven pm (disquiet0082-minimalhaydn)

ioflow

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