ambient/electronic/miscellaneous

stick to it

forget your tinnitus

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto Project 0073: Faulty Notation

Ocean

Recorded by Sagami river park Kanagawa.
February 2011

Melting snow

sound for Alexis Mailles installation: plastic wheel , electric fan & alarm captor

out of the shelter :  the Playground

An excerpt of Hiroki Sasajima. A new release from Ahora Eterno.


Bells

your face supplants the landscape

A sketch for some piece to be completed in the future. Featuring prominently the sounds of ice in a glass.
For the first Disquiet Junto [disquiet0001-ice]

Winter Sliver (Sketch) [disquiet0001-ice]

With the exception of the guitar, every sound in this piece was created from the two samples below:

Fog horn sample by Schaarsen: http://www.freesound.org/people/schaarsen/sounds/69663/

Train whistle sample by Ecodios: http://www.freesound.org/people/ecodios/sounds/119963/

Disquiet Junto Project #2: "Duet for Fog Horn & Train Whistle"


Night Travelers [disquiet0002-duet]

Recorded with 2 wine glasses, a spoon, one mic, Max/MSP, and no edits. This is the first take - hope to expand this and make more formally coherent for live performance.

Decanter [disquiet0003-glass]

fieldrecordings:
voralpenregion - winter 2011/12
storm wien-brigittenau

processed through monotron delay/reverb/



chra - snow turns black

This piece is a remix-collage of David McIntire's piece "This B is for Brian." (http://recordings.irritablehedgehog.com/track/this-b-is-for-brian-a-drone-for-brian-padavic) He originally posted the bass track by itself on his soundcloud page (http://soundcloud.com/irritable-hedgehog-music) and I enjoyed the resonant sounds of the bass so much that I took the track, chopped it up, processed, and relayered the components into a new piece. All props to him for recording the source material and to Brian Padavic for his beautiful bass playing!

Lowbow

Short track for Daniel Brech's movie introduction aiming at an experience-based shift of attention to sound in cinema on 15/02/2013 

Miniature #1

CHRA
Autark aa04
05.10.2008
Verstreichen EP
written + produced by Christina Nemec
additional processing by Mika Vainio
cover artwork by Susi Klocker

Aa04 01 chra-gorenje

Disquiet Junto 73: Faulty Notation

My segment of the fault map is here: http://imgur.com/RCcKJVk

I interpreted the fault lines on the left part of the image very literally, paying close attention to their shapes.

Each of the three faults travels north-south on the map, represented by a synthesizer chord with a high-pass filter that opens up as the chord expands.

The "flickering" of the chords represents the dotted lines, though the perforated chord is not as regular as its analog on the map. On the first phrase (4 chords), the chords end in a flickering, like the southerly dotted fault line. In contrast, the second phrase begins with flickering. 

The east-west interruption of the middle fault is marked by silence. Then, my interpretation of the "forking" fault line: bass vs. high chords.

The final phrase brightens the high chords to represent the four triangles in the right branch of the fork. An entry of a very low bass tone between the first two peaks represents the new, solid fault line that continues south towards the terminus of the map slice.

Created entirely in Logic with the Sculpture instrument.

---

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/


Flickering Faultlines [disquiet0073-faultynotation]

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:
http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:
http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

Cell04 [disquiet0073-faultynotation]

SPOILER ALERT : I DONT THINK THIS TRACK IS SUCCESFUL BUT I AM GLAD THAT I TRIED TO ACTUALLY STRUCTURE SOMETHING IN A MORE DISCIPLINED MANNER I GUESS

The main body of these sounds are two i've been playing with this week - a dull field recording & a sort of synth bit - which i sincerely tried to edit in a manner that was indicated by the map fragment [ http://25.media.tumblr.com/4f5d12f081caad8bf49257d003973708/tumblr_mngknweftA1r3krcco1_1280.png ] additional audio was generate just for this particular project - i recorded myself reading all the text on the map & recorded some running water, 'cause, y'know, *flow* &c &c

I divided the image up into smaller sections - working on a scale of 8.3 pxl [approx] = 1 second - which i didn't stick to rigorously but was key in choosing when events occured - the [heavily processed, practically muted] words for example, or certain panning decisions.

I got particularly stuck trying to include the synclines & anticlines in such away that was approprite & interesting; it was a good though experiment if nothing else - how do you fold a sound? But then i was stuck 'cause perhaps i didn't need to, right? Like, that's a category error i'm working from the map not its meaning [or the territory, even] anyhow, that's how the three minute duration i started with was reduced to 2:54, as a sort of gesture of overlapping & enfolding which, annoyingly, isn't even very sonically distinctive...

&! i really should've worked out something to do with those colours on the far right there.

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Fm cell13-hvt [disquiet0073-faultynotation]

I started with an old field recording of mine, of a humming transformer station. The transformer station is big and solid, and within it are huge powers. I slowed it down and it lies as a big heavy foundation throughout the piece, encompassing the whole map, the mountain, the earth. Ambient sounds with occasional erratic ripples illustrate both the mountain, the winds, the dust, the shapes and colours of the mountain and of the man made map. Meanwhile there is a mumble and a creaking going on underground. Along the lines we travel, lines come with us for a while and disappear, other lines come and follow for a while and then fade off. The piece is in constant motion, not linear, more like the cyclic movement of wind, waves, earth, time.

I used a field recording, digital, analogue and modular synthesisers, all recorded and transformed in Logic Pro.

More reading:
http://undensounds.blogspot.com.au/2013/06/transformation.html

-

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Transformation [disquiet0073-faultynotation]

Contributed to the Disquiet Junto, details below.

This week's Junto exercise was to take a segment of a map, which shows some land along the San Andreas Fault in California, and to use this map as a graphic notation score.

For the following to make sense, have a look at my segment of the fault line map, which I uploaded to my website here: http://www.crumblereshape.com/disquiet73map/

In my interpretation of the map, I read 'time' going left-to-right, up-and-down is a bit harder to explain. There are three distinct regions, a hilly area to the west, a flat area in the middle, interrupted by a hidden fault line, and some lower hills to the east.

1) Westmost hills: 
You'll notice from the map that the hills form colored bands from northwest to southeast. I interpreted each band as a simple 6 note melody, which descends an octave. Because the hills are irregular, I took my melody, programmed it into a sequencer on my modular, and used a random generator to create disturbances in the timing of the sequence, to break it out of strict timing. Altitude is roughly how I modulated envelope delay and volume. The melody is a simple chord from the modular, with Absynth used to generate the pads. 

2) Middle flat area with fault:
I used a dual stereo analog filter, a random source, and another oscillator to FM the filter, with both stereo channels almost in self-oscillation, to create a low rumbling. I used Absynth to create a subtle drone over the top. I wanted to create a drone, which would then be interrupted when the fault was hit. To signify the fault, I stopped the modulating the filter to create a hit, plus suddenly changed the pitch of the Absynth drone. I hope the bass works well on your speakers or headphones!

3) Eastern hills:
These hills are lower and gentler than those to the west, so I played another, more restricted melody via a keyboard, and looped it. 

--- background ---

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

 


Hills -> field - > syncline [disquiet0073-faultynotation]

2, 5, 7, 5.
Numbers on my bit of map, lead me to create a rhythm in 26 or 13/8.
I kept following those numbers in patterns and tones, and broke away from them as inspired. I kept the map on the screen next to me to keep the connection, feeling the building of underground pressure, the holding on. Added some Contrabass, French Horn, Cello, Trumpet and Violin.


More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Flickering Faultlines [disquiet0073-faultynotation]

Jason Charney