Name: The Wind Gets In The Wires Disquiet0216 - Thinlayers by JohnMagill in Disquiet Junto Project 0216: Thin Layers
Duration: 55 s
Description: The metallic industrial feel to Matthew McVickar's Tiny Rhythm track from last week's task (https://soundcloud.com/matthewmcvickar/disquiet0215-tinyrhythms) sounded like it would sit well with the pedal-affected drones that I like to scrape out of the viola. I also added a synth line to underpin the whole piece.

This is great; thank you! I love the effected viola.

oh, this is really good. you picked a really good source for these additions - they end up complementing the original rather than competing for space. great work.

Disquiet Junto Project 0216: Thin Layers
The Assignment: Add a thin foundational bed to beats of pin-prick audio.

Step 1: For this project you’ll be adding sounds to a pre-existing track of your choosing. Select one track from the previous Junto project, in which beats were made with five tiny, pin-prick sounds:

http://disquiet.com/0215

Step 2: Confirm the track you selected in Step 1 is available for creative reuse. If you’re not sure, correspond with the musician. If you’re short on time, select a different track.

Step 3: Create a new track by adding a thin layer, or several thin layers, of an ambient foundational bed to the pre-existing track. Don’t alter the pre-existing track significantly. Maintain its original length.

Step 4: Annotate your track with a brief explanation of your approach and process — identify the source track and include a link to its SoundCloud page.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted at noon, California time, on Thursday, February 18, 2016, with a deadline of 11:59pm wherever you are on Monday, February 22, 2016.

Length: The length of your track should be the same as that of the source track.

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 “disquiet0216-thinlayers.” Also use “disquiet0216-thinlayers” 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 216th weekly Disquiet Junto project (“The Assignment: Add a thin foundational bed to beats of pin-prick audio”) at:

http://disquiet.com/0216

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/

The image associated with this project is by Evelyn Flint, used thanks to a Creative Commons license:

https://flic.kr/p/rKoG1i

Disquiet Junto Project 0216: Thin Layers

**Production Notes**

I went for emi minami’s lovely „tinyrhythms“, a mixture of pins and insects, recorded with a contact mike. You find it here: [https://soundcloud.com/emiminami/tinyrhythms]

Picked some tonal parts of a newer drone piece, arranged them. I cheated a bit in the length, it’s not quite the same, but otherwise the loops would have sounded somewhat strange. 

Some EQ’s and sidechain compression… and that’s all.

* * * 

**Disquiet Junto Project 0216: Thin Layers**

The Assignment: Add a thin foundational bed to beats of pin-prick audio.

Step 1: For this project you’ll be adding sounds to a pre-existing track of your choosing. Select one track from the previous Junto project, in which beats were made with five tiny, pin-prick sounds:

http://disquiet.com/0215
Step 2: Confirm the track you selected in Step 1 is available for creative reuse. If you’re not sure, correspond with the musician. If you’re short on time, select a different track.

Step 3: Create a new track by adding a thin layer, or several thin layers, of an ambient foundational bed to the pre-existing track. Don’t alter the pre-existing track significantly. Maintain its original length.

Step 4: Annotate your track with a brief explanation of your approach and process — identify the source track and include a link to its SoundCloud page.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted at noon, California time, on Thursday, February 18, 2016, with a deadline of 11:59pm wherever you are on Monday, February 22, 2016

(…)

More on this 216th weekly Disquiet Junto project (“The Assignment: Add a thin foundational bed to beats of pin-prick audio”) at:

http://disquiet.com/0216
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/
The image associated with this project is by Evelyn Flint, used thanks to a Creative Commons license:

https://flic.kr/p/rKoG1i

Bed & Crackers [disquiet0216-thinlayers]

Disquiet Junto Project 0216: Thin Layers (Introduction)

i used my own track (Disquiet0215) as the source material 

in ableton live   
track 1 Helm played live
track 2 Disquiet0215
track 3 Disquiet0215 with delay 
track 4   armed  to record 

done in one take :) 

track 4 was exported  to audacity  where the .wav was trimmed 
a general compressor was applied 



ambient  synth 
Helm synth by Matt Tytel
http://tytel.org/helm/



Eps Sample Disk94SIDE B Disquiet0216- Thin Layers

I really like the collaborative aspect of this weeks assignment and strongly feel this could be the main strength of the whole junto idea. The main track I choose to work with was Emi Minami's gentle and understated piece "disquiet0215-tinyrhythms"https://soundcloud.com/emiminami/tinyrhythms?in=disquiet/sets/disquiet-junto-project-0215  I liked the outdoors vibe and thought it offered a lot of room to roam around in. I went to free sound looking for some nature sounds. I downloaded and used the following sound files.
1)62487__sagetyrtle__1103campfire1
2)13576__acclivity__batwalk
3)269570__vonora__cuckoo-the-nightingale-duet
4)190112__tran5ient__flail6
I added the files onto the Minami track. I then proceeded to do a lot of fx and proceesing and crossfading which got out of hand and I decided to stick to the simplicity of the original and left the files as is except for looping the very short flail sample to give it more of a rhythm. I still decided it needed more of a tempo so I added the beginning of Audio Obscura's excellent track https://soundcloud.com/audio-obscura-music/super-tiny-sound-disquiet-junto-project-0215-tiny-rhythms?in=disquiet/sets/disquiet-junto-project-0215 looping that in. The title "Night of the Cuckoo Batwalk" came from the free sound files.    More on this 216th weekly Disquiet Junto project (“The Assignment: Add a thin foundational bed to beats of pin-prick audio”) at:

http://disquiet.com/0216

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/

The image associated with this project is by Evelyn Flint, used thanks to a Creative Commons license:

https://flic.kr/p/rKoG1i

Night Of The Cuckoo Batwalk (disquiet0216-thinlayers)

The metallic industrial feel to Matthew McVickar's Tiny Rhythm track from last week's task (https://soundcloud.com/matthewmcvickar/disquiet0215-tinyrhythms) sounded like it would sit well with the pedal-affected drones that I like to scrape out of the viola. I also added a synth line to underpin the whole piece.

The Wind Gets In The Wires Disquiet0216 - Thinlayers

For this weeks task we had to create a piece using dice rolls to generate a composition. I have always enjoyed using such processes and had previously created several pieces using a similar method (see https://soundcloud.com/forelight/sets/dice-games-1). Below I have left the notes for the generation of this piece. The dice resulted in 10 sections consisting of up to 5 layers. For each layer I used a seperate voice within Ableton and notes were plotted semi-randomly (a mixture of "by ear" and a certain amount of logic applied).

Dice Rolls:
4: four minutes
6+4: 10 sections
Layers:	
1. 3
Notes:
	       3
	       2
	       2

2. 5	      
Notes:
               5
	       3
	       5
	       1
	       2

3. 5
Notes:
	       6
	       2
	       3
	       1
	       1


4. 1 
Notes:
               1

5. 2
Notes:
	       6
	       6

6. 2
Notes:
	       4
	       2

7. 2
Notes:
	      4
	       1

8. 4
Notes:
	       5
	       4
	       1
	       3

9. 5
Notes:
	       6
	       3
	       3
	       2
	       4

10.3
Notes:
	        1
	        5
	        6

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/

Disquiet Dice [disquiet0235]

The die cast a very spartan structure.

Half the layers are field recordings from nearby Shoreline Park: steam valve, pump, and birds.
Half are synthesized instruments: bass, strings, and bass drum.

I chose to only use randomness for the aspects dictated by the assignment. The other elements I picked as I liked... but as this *isn't* _Variations I_, I'm okay with that!  
——
image credit: "American Avocet - Shoreline Park, Mountain View, California." by Pavazamalli - https://www.youtube.com/watch?v=XJyk_1g_ghI


Shoreline Park (disquiet0235 - Dice Music)

This little piece extends the basic instructions (see below) out to most aspects of the composition in the following fashion:

Length: roll of one die (i.e., between 1-6 minutes)
Section Count: roll of two dice
Layers-per-section Count: roll of one die
Notes-per-layer: roll of one die
--- what I added ---
Fundamental pitch-per-section: (roll of die) * 24.49 (pitch of G-2)
Multiplier for that pitch (per-layer): roll of one die (so 1x, 2x, 3x, etc)
Pan per-layer: roll of one die (dividing pan into 6 possible positions)
Note envelope per-layer:  roll of one die chose one of 6 envelopes
Each note volume: ((roll of one die) - 1) * -3 decibels (0 to -15 dB)
Each note frequency: section pitch * ((roll of one die) + 1)
Each note start: Yes, this too, and note length.

Perhaps I went overboard.  But all of this was done in a single RTcmix script which thankfully includes tools for random choosing between a set of N possibilities.

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/


Pair 'o' Dice Found

Pair o' Dice Found [disquiet-0235]


https://troyallenschafer.bandcamp.com/album/untitled-no-5

___________

the object depicted in the photo above is the manifestation of the release's physical form as opposed to the digital version here

released July 1, 2016 

original sound and image by Troy Schafer 
Bret Hartl performed auxiliary synth on segments of track 1

Untitled No. 5 - track 1

taken from the 130701 compilation album, 'Eleven Into Fifteen', which is released on 15th July, 2016.

http://130701.com/release/eleven-fifteen-130701-compilation/

Set Fire To Flames - Barn Levitate

Appropriately for our first podcast edition of Magazine Stories, we travelled to Dundee (before the lockdown) to speak to one of the leading figures driving publishers' pivot to audio. DC Thomson's Chris Phin is a passionate advocate for the medium, as a means to get closer to your audience and to engage with younger demographics. 
He tells us how he's gone from geeky beginnings to a groundbreaking senior role within Scotland's biggest publisher, via editing roles at tech titles, freelance writing and consulting, and publishing the award-winning Scottish Wedding Directory. 
Along the way, he is generous with his advice for navigating a magazine media career - as well as his tips for would-be podcasters. They can be "quick, easy and deliverable", he insists.
We also caught up with Chris again last week to find out how the coronavirus crisis has affected his team, and our listening habits.


DC Thomson's Head of Podcasting: Chris Phin

G.D.T.S Live Session

G.D.T.S. Live Session (Nightmurscapes frumthi Caravan)

Currently the acclaimed Executive Director of Think, John Innes has been publishing magazines since primary school. His incredibly varied career runs the gamut from Sunday School publications to launching the controversial and risqué Bizarre magazine.
Along the way he learned from some of the greats of publishing - including John Brown, the founder of John Brown Media - and has discovered that film magazines aren't as glamorous as they seem.
John now leads Think's Glasgow team producing magazines and other content for the likes of Historic Scotland, and the National Trust for Scotland.&nbsp;In this episode of Magazine Stories, he talks us through the lessons he's learned along the way.&nbsp;


Think's Executive Director: John Innes

For this edition of Magazine Stories, we were very lucky to get some time with PPA’s Chief Executive, Barry McIlheney, in the last week of his ten-year stint in that role. He explains how the PPA has been supporting the magazine industry over the last decade, and particularly in the face of the coronavirus pandemic.
Barry has a truly enviable career. He edited Smash Hits; launched Empire, heat and the French edition of FHM; and he held a series of senior management posts at EMAP. In a reflection of Barry’s many-storied life, our interview features the Oscars red carpet, editing advice from Warren Beatty, and the time a design decision enraged David Bowie.
As he points out, Barry has come a long way from his origins in North Belfast.


PPA's outgoing Chief Executive: Barry McIlheney

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.

Violin scrapings with ambient rumblings. Viola drones with harsh noise. Harsh noise with ambient rumblings. Drones with viola scrapings. Violin scrapings. Drones. Viola rumblings.  You can also find me at Mhenwhar Huws...

The Wind Gets In The Wires Disquiet0216 - Thinlayers

JohnMagill

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