I used these “five by five” matrix mixer combinations as a sort of guidance — readability + signal strength:

1.	perfectly readable + very good
2.	readable + good
3.	readable but with difficulty + fairly good 
4.	now and then + weak
5.	unreadable + scarcely perceptible
6.	unreadable + very good
7.	now and then + good
8.	readable but with difficulty + fairly good
9.	readable + weak
10.	perfectly readable + scarcely perceptible

Configured a sequence on my Moog Mother 32 and recorded it live while manipulating effects (my first foray into recording like this). Added delays, beat repeat, EQ, and compression in Ableton.

Needed some noise.

---

More on this 309th weekly Disquiet Junto project (Military Matrix Mixer: Mix music according to a military standard for relative message clarity) at:

https://disquiet.com/0309/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0309-military-matrix-mixer/

Advisors (disquiet0309 Military Matrix)

TRAMPELFÂD
Laboratory for Contemporary Electronic Experimental Music
 ( LCEEM ® )  
Experimental -Aleatoric-Improvisation-Sonification-Data Bending...
founded    by Max Elzholz
https://www.youtube.com/@trampelfad

 
https://trampelfad.bandcamp.com

and

https://maxelzholz.bandcamp.com

multi-instrumentalist & composer.
Genre fluid music for images / instrumental / contemporary post-fusion / experimental jazz / electro acoustic ambient / melodic noise / neoclassical / naive hard core / cosmopolitan world music.

bio here:
http://dedeland.com/daniel-diaz-bio/


In some words:
Composer, arranger, producer, multi-instrumentalist. Born in Argentina,
I studied music in Buenos Aires, New York, Boston, Los Angeles and Paris.

For 20 years, I developed an important career as a session and backing musician in Argentina and Europe, playing, among other instruments, the bass, touring and recording with many jazz, rock, fusion, world, Latin and tango bands.

At the same time, I worked as an arranger, producer and musical director with many projects and artists in the USA, Argentina and Europe.

From 1992 to 1997, I performed my compositions live with my own band in Buenos Aires and began a solo recording career with the worldwide release of my first album "The Years Alone" on the North American label Green Linnet/Xenophile. On this album I arranged and performed 11 of my songs written between 1986 and 1993. I played most of the instruments, but included guest appearances by some great South American players.

My recording career continued with "Segundo Ciclo" (1997), released worldwide by Timeless Records, and 12 more albums released between 2000 and 2016.

Currently, I work as an on-demand film/TV composer while continuing to play live and produce.

Freestyle and non-genre mostly. I am a composer and sound-designer, but in the first place a musician, mixing free improvisation and composition. I like collaborations; in case you feel inclined towards playing with me, feel free to contact me
Latest release: https://camembertelectrique.bandcamp.com/album/heyla

Sometimes true underground music comes in fits and starts, from across continents, crafted with questionable equipment, carved out in pockets of spare time, but always from the basement.  We do this primarily for ourselves, because we enjoy it.

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.

collaborations, shared projects, ideas ..

http://marcolucchi.bandcamp.com/

https://musichevirtuali.blogspot.com/

www.musichevirtuali.org

https://twitter.com/musichevirtuali

https://www.facebook.com/pages/orchestra-eclettica-e-sincretista/111790807863?fref=ts

“One can only arrive at the experience of the transcendental – if it is reached at all – when one is oneself in a position of un-knowing, that is, of humility; namely, while remaining in the world of technê he or she begins to venerate a certain kind of experience, acquires it, makes it one’s own, realizes it, sustains it, repeats it – without burdening its sense, its essence with its own great questions.” - László Krasznahorkai, “The Acropolis in Sunglasses”

Comme je Trouve... Take me as you find me. 
I stand at the edge of Europe. Ocean surrounds me. I catch the odd storm. 
There is no more.

Advisors (disquiet0309 Military Matrix)

lethatechnique