sounds far away but paradoxically as if it's coming from my speakers too .. confusing. /also/ love the piece!

A really deep and beautiful track with an awesome writeup of your process. Thank you.

Great stuff. Best I've heard from this week so far

Thanks.  Interesting to read of the high res digital approach you planned out.  Also the moving mic take.

very beautiful in the tempo and the tone!

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.


Disquiet Junto Project 0229: Fourth Worldizing

naviarhaiku456 – The spring sea

The spring sea:
all day long
undulating, undulating.

One of the four great haiku masters, Yosa Buson studied both Japanese and Chinese poetry. He was also an accomplished painter, and most of his poems were accompanied by paintings, resulting in a more diverse and individual set of works than the one by his main historical influence, Basho.

All day long undulating (naviarhaiku456)

More on this 562nd weekly Disquiet Junto project – Sheep Music (The Assignment: Record something to help someone fall asleep) – at: disquiet.com/0562/

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

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

Project discussion takes place on llllllll.co: llllllll.co/t/disquiet-junto-pr…t-0562-sheep-music/

The project’s image was produced using DALL·E 2. “Three sheep floating over a suburban house at night, realistic photograph” was the prompt.

nawak

disquiet0562

A short (for me!) piece of layered improvisation using Novation BassStation, Summit, Nord Piano, and Viscount Legend and lots of echoes and reverbs to create a drifting bed to drift off to.  I fall asleep at the drop of a hat, so this is definitely long enough for me, but your mileage may vary ;-)

More on this 562nd weekly Disquiet Junto project — Sheep Music (The Assignment: Record something to help someone fall asleep) — at: https://disquiet.com/0562/

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-0562-sheep-music/

The project’s image was produced using DALL·E 2. “Three sheep floating over a suburban house at night, realistic photograph” was the prompt.

A Little Night Music (Disquet0562)

This composition was created for the Disquiet Junto Project 0562: Sheep Music.

Here’s a copy of my post on the Disquiet Junto 0562 discussion thread:
When I was younger, I used to listen to jazz at low volume when working on art or design projects late into the night and early morning. Something about that genre at that hour, was calming and meditative. Going to sleep after that was pretty effortless. These days, I rarely stay up too late working on art projects but when I do,  I might listen to some lofi hip hop before eventually heading off into slumberland. The unobtrusive soundtrack and slow BPM, has a similar relaxing effect on me as jazz.

I have very little experience producing lofi, but decided to experiment in that genre and see what happens. Ended up using mostly loops and samples processed and arranged in Ableton Live. Not sure how close I came within the definition of lofi, but I was sleepy after I finished, so at least it helped in successfully completing the assignment for me.

More on this 562nd weekly Disquiet Junto project – Sheep Music (The Assignment: Record something to help someone fall asleep) – at: https://disquiet.com/0562/
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-0562-sheep-music/

Moon Waves (disquiet0562)

Manipulated Guitar MAX, Modular

More on this 562nd weekly Disquiet Junto project – Sheep Music (The Assignment: Record something to help someone fall asleep) – at: https://disquiet.com/0562/

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-0562-sheep-music/

The project’s image was produced using DALL·E 2. “Three sheep floating over a suburban house at night, realistic photograph” was the prompt.

R.E.M Sheep [disquiet0562]

For Disquiet 0562 - The Assignment: Record something to help someone fall asleep.
I recorded the white noise from fans in my bedroom one night. I was working on another song that had a melody played ukelele and handpan sounds. Took those and used the chance setting in Ableton to lower the chance notes would play to very low. Wanted to have very subtle, sparse tones, nothing to think about too much as you try to fall asleep, but something melodic and mysterious for the background. Added a few tracks of drones, and some outdoor nature sounds from Freesound.org (Guz99 - https://freesound.org/people/Guz99/packs/30169/).  It may still be too busy and too much to fall asleep to, but it was fun experience to try. 'll have to try it out tonight. it's hard to create something to fall asleep to when you're awake. I wish I could make music while falling asleep.

Stargazing Sheep [Disquiet0562] [Weekly Beats 40]

More on this 562nd weekly Disquiet Junto project – Digital Magical Realism (The Assignment: What does this imaginary genre sound like?) – at: https://disquiet.com/0563/

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-0563-digital-magical-realism/

The cover image for this project is from DALL·E 2. The prompt: “sleeping person floating horizontally above suburban home, night, streetlight, highly realistic photograph.”

The Ever Churning Foam Envelops the Last of the Mermaids

Disquiet Junto | The Ever Churning Foam Envelops The Last Of The Mermaids - disquiet0563

More on this 563rd weekly Disquiet Junto project — Digital Magical Realism (The Assignment: What does this imaginary genre sound like?) — at: https://disquiet.com/0563/

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-0563-digital-magical-realism/

The Tragic Magician (disquiet0563)

Step 4: Record a piece of music that sounds like what you think “digital magical realism” sounds like.

More on this 562nd weekly Disquiet Junto project – Digital Magical Realism (The Assignment: What does this imaginary genre sound like?) – at: https://disquiet.com/0563/

More on the Disquiet Junto at: https://disquiet.com/junto/ 2

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0563-digital-magical-realism/

The cover image for this project is from DALL·E 2. The prompt: “sleeping person floating horizontally above suburban home, night, streetlight, highly realistic photograph.”

A Song Of [Disquiet 0563]

The one instruction for this week's Disquiet Junto assignment was to use an octave leap, which is something I quite often do anyway. 

So, I just set about writing a new track without thinking too hard about the brief. I actually started with the percussion that shows up later in the track.

The root on the opening part steps down an octave before introducing the next chord in the progression.

A two-note synth part is just the minor 7 on two octaves (with a major 6 once for colour - still fits the Dorian mode but is pretty HELLO when it shows up imo).

A second synth part doubles the guitar harmonic sounds, coming in via an opening low-pass filter. That synth part has its pitch modulated by a little step sequence, so it steps up one or two octaves, and the rate at which that's happening in shifting about. That part then runs into a delay (Valhalla Delay) which as a descending octave shift in the feedback patch.

A synth bass part arrives later that is just sustained notes following the root of each chord, but an arpeggiator steps up and down an octave. Kind of like with the pitch modulation on the other synth, the tempo of the arpeggiator is being modulated by an LFO, then quantised, to make it less synth disco / Girls & Boys.

More on this 564th weekly Disquiet Junto project — Octave Lept (The Assignment: Work an octave leap — or more than one — into a piece of music) — at: https://disquiet.com/0564/

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-0564-octave-lept/

The cover image for this project is from DALL·E 2. The prompt: “octave leap.”

[disquiet0565] Octave Leapt

Jet Jaguar - Sound 1 [disquiet0564] (Free download)

I used two impulse response reverbs in cascade and I slowed down the impulse response files by 15 times and by 8 times.

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.

You [disquiet0229]

More on this 229th weekly Disquiet Junto project (“Fourth Worldizing: Use a favorite trick of legendary sound designer Walter Murch”)      release date: 19 May 2016

Large Hadron Collider(Disquiet Junto Project 0229 Fourth Worldizing)

As is often the case, the Junto idea is something to leap off of in the direction of what I would generally do when doing a Junto.  Doing something simple/quick/trashy with something on hand that I don't otherwise use too much.  And then philosophize too much about the whys and wherefores.

I bent or broke the Murch fourthworlding by:

--recording the source sound (the raking of a metal box fan's grill face, open air feedback of recording set up) in pretty much the same room in which it was later rerecorded at 4x speed playback

--never playing the ambient sound in sync with the original recording (obviating the whole approach meant to shift/recreate/4th world the ambient space) 

--never playback any of the sounds (within the final recording) at any speed greater than .4 times original speed.  And generally much slower than that.

I like the Murch approach and admire his craft and resourcefulness.  But I really didn't want to emulate it.  I heard the speed change part, and never meeting a varispeed playback I didn't like, went with that in a very generalized way.  The ambient tracks were recorded of a 4x speed playback of the original sounds just as Murch would've done, but that's it.

Arguably, I otherworlded things.  Nothing came out as it went in, no elements combined in a march step manner to subtly expand a seemingly naturalistic space.  Nope.  

Kept things simple so it could function in a short, roughly one minute duration.  The sounds occur in a loose field that can more or less play out in the time.

Again quick & dirty:  Recorded two mono original tracks on PPC iMac laptop running Audacity.  Played them back at 4x speed running Gleetchlab out the headphone jack into a venerable boombox with line in jacks.  Recorded that in stereo via an Android phone running Titanium Recorder.  Combined tracks in loose non-sync/various slow non-reconstituting speeds via Gleetchlab on same laptop.  Edited the selected take in Audacity.

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/



4th Of Other - Disquiet0229

This week's prompt finds me experimenting with using very different tools that I normally do. It would seem that Mr. Murch had tape recorders with variable speed controls for both record and playback functions. My normal field recorder does not have this functionality (well, at least I couldn't figure it out if it does). I know this sort of manipulation can be done after the fact, but I wanted to experience what it is like using the precise method for creating a reverberant space which he describes in this video:

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

All sounds in this track are taken from his video and there was no post production other than a slight bit of EQ to keep my ears from totally bleeding. I recorded the playback of the video on my iMac using SmartRecord on my iPhone. This app has the ability to both slow and speed up both recording and playback, but it's max speed is 2X. So After I recorded the initial recording at 2X, I then bounced that over to my iPad recording with the same software also running at 2X. This got me into the realm of the 4x recording he mentions. All of these recordings were done over the air in my studio space which doesn't have much going on in the way of acoustic treatment. After these initial two recordings, I began bouncing faster and faster, and then slower and slower. I was greatly irritated by the exceptionally aliased recordings complete with stair stepping and  piercing artifacts. But, these were being played and recorded, repeatedly, with tinny consumer-level speakers on portable devices not known for their fidelity. I did eight takes on each device for a total of sixteen; half speeding up, and then half slowing down (.5X is the slowest it could go). After that I ended up with the screechy drone that runs in the middle channel of this. I captured it using my MKH20 pointed towards the iPad's speakers. I didn't care for it by itself and decided I'd bring two of the early iterations into play in the left and right channels panned hard each way. I really liked hearing my breath, which was frustrated as I did this, in the recordings. That and my clumsy efforts to press play and record on multiple devices concurrently led to some thumps and bumps that I also like in the final mix. I was surprised to find that once I'd sped things up that many times, and bounced the recordings that many times, there was no rescuing the human vocal data of the original recording. No matter how much I slowed things down on the drone, it droned on.

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/


Church Of Murch [disquiet0229]

Disquiet Junto Project 0229: Fourth Worldizing

Years ago, I used to have reel to reel tape recorders and would record various sounds at different speeds and play them back at different speeds and in different acoustic spaces, bouncing between recorders to create muti-layered noise-scapes.  Samplers at the time didn't provide adequate fidelity when transposing samples downward more than an octave, the sound became grainy and very un-analog. When 192Khz audio interfaces came on the market I was excited, not because of the promise of fantastic sound quality, but because I would be able to capture audio at 4 times the normal 44.1khz working rate and slow it down without significantly degrading the audio. The way I did this, and still do, is to record at 176.4khz and then hack the file header to change the apparent sample rate to 44.1khz. The wonderful SoundHack app allows you to do this easily. Loading the hacked audio file into into my DAW I could get a recording four times slower and two octaves lower and better quality than any hardware sampler.

For this weeks track I took the Hassell reference as a starting point and the recording technique as a means to create the acoustic spaces for the sounds. I set my slightly faulty (dodgy DAC) MOTU Traveler interface to 176.4khz and used a pair of Rode NT2's for recording the sounds used. I used my home studio (not acoustically treated), my hallway (very long, wooden floors) and a bucket. 

I did a similar track last month, using similar techniques, also Jon Hassell inspired. https://soundcloud.com/klaatuberada/lolololo-rain-for-a-fourth-girl

The main drone in the track is a single, heavily modulated note played on an analog synth, sound output via studio monitors and recorded with a hand held microphone. I moved around in the room, centre, corners, while holding the mic to vary the volume and sound quality. I did a second pass where I fed a little of the mic signal back through the monitors, I was able to get some nice gritty feedback which I layered with first recording of the drone. The resultant files were hacked and played back four times slower (2 octaves lower) with all the cable bumps and footsteps and extraneous noise adding to the texture. The percussion loop was recorded in a bucket at 88.2khz and played back twice as slow. A piano part was recorded at 88.2khz and 176.4khz and layered to create the chord stabs that appear periodically. The flute parts were made with "Passion Flute", recorded at 88.2khz from the hall, played back an octave lower. The melodic bit in the middle is a guitar sound played fast and slowed down 4 times, recorded from the hallway. Bass recorded as played. Other little sounds and treatments added. There was quite a bit of hiss in the recordings, which when modulated added a nice little shimmer on the top end.

Alvin Lucier's piece "I Am Sitting In A Room" (1969), is an interesting extrapolation of this process taken to the extreme.

Cover image is a Landsat false colour image (made falser) of Melbourne, AU.

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.


APOB - Unsettled Implements [disquiet0229]

track here https://hearthis.at/sevenism/discontorted-space-disquiet0229/

i've been doing alot of distorted ambient this week (https://sevenism.bandcamp.com/album/waves). this stumped me at first, nice to learn something new!

-recorded short piece thru zynfx -> podfarm -> ddly
-change speed 4x in audacity
-re-recorded with cardioid mic quite far from speakers (to capture lots of air!)
-slowed down in audacity

listened with headphones and if anything it's decreased the sense of space.. but i couldn't find anything to record sped up. heyho.

edit: digitally expanded version here: https://sevenism.bandcamp.com/track/dis-con-torted

Oo..oOOo..oOOo..oOOo..oOOo..oOOo..oOOo..oOOo..oOOo..

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/

waves

dis|con|torted space (disquiet0229)

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.

New album out now - www.apob.bandcamp.com
New videos here: https://www.youtube.com/channel/UCFg1b4E_CL0M-x6CYKYpusg
Streaming details here: www.apob.com.au

APOB - Unsettled Implements [disquiet0229]

APOB

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