Ambient Drones

Disquiet Junto

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

This is a collection of tracks and songs using Nanoloop for iOS/Android, Nanoloop 3, developed by Oliver Wittchow. Some tracks are only made with only the software and mixed in it, but some authors use post-processing or other software and instruments. A few vocal tracks are included in the anthology as well.
The period, 2014-2016, is correspond to 'after' (the latest) major update of Nanoloop 3 in the end of 2013. The update enabled some important new functions: http://the-palm-sound.blogspot.jp/2013/12/nanoloop-gets-major-update-on-ios.html Additionally, before and after it, the sounds of Nanoloop 3 changed significantly due to the new sound engine/.

このプレイリストはOliver Wittchowによって開発されたiOS/Android用Nanoloop、Nanoloop3を用いて制作されたトラック・楽曲をまとめたものです。一部のトラックはこのソフトウェアのみを使用して制作され、またソフトウェア内でミックスされていますが、ポストプロセッシングあるいは他のソフトウェアや楽器を用いている作者もいます。さらにこのアンソロジーにはボーカルトラックが数曲、含まれています。
表題にある「2014-2016」という期間は、2013年の終わりに行われたNanoloop 3の（今のところ最新の）大型アップデート「以降」に該当します。このアップデートによっていくつかの重要な新機能が可能になりました。http://the-palm-sound.blogspot.jp/2013/12/nanoloop-gets-major-update-on-ios.html 加えて、サウンドエンジンも刷新されたため、この前後でNanoloop 3のサウンドとミキサーは大幅に変わることとなりました。

Related playlist: https://soundcloud.com/akaobi/sets/nanoloop-3-tracks-vol1

Nanoloop iOS/Android Tracks Anthology 2014-2016

The new album 'Spaces' out now on CD/2xLP/Digital via Erased Tapes.

EU order link: http://www.erasedtapes.com/store/index/ERATP055
US order link: http://www.midheaven.com/item/spaces-by-frahm-nils-cd

9/10 Drowned In Sound · 9/10 Clash · 4.5/5 Fact · 4.5/5 Resident Advisor · 9/10 Popmatters · 9/10 The Line Of Best Fit · 8.5/10 Under The Radar · 8/10 Exclaim! ★★★★1/2 Music Omh · ★★★★ The Irish Times · ★★★★ Arts Desk

‘Frahm truly excels’ 9/10 Uncut 
‘Frahm works his magic’ ★★★★ Mojo
‘The infinite elasticity of sound’ 7.8 Pitchfork 
‘Improvisatory, wild, heartfelt’ Interview Magazine
‘A fantastic record’ The Guardian Album of the Week 
‘Frahm creates something mesmerising’ ★★★★ The Observer
‘My favourite new piece of music this year’ Mary Anne Hobbs, BBC 6 Music

erasedtapes.com · nilsfrahm.com

Spaces

Says

Buy 2xLP/CD/DL

Nils Frahm - Says

music: 
@frank-sebastian

photo: 
@frank-sebastian

youtube:
available soon

download & playlist:
www.subspiele.de/subpod109_frank-sebastian

notes:
"breath" is a special ambient, drone and atmospheric oriented series within our podcast series. enjoy the airiness, easiness and lightness.

interview:
subspiele: what are you doing exactly at this moment ?
frank sebastian: i’m preparing to upload my new and fresh breath set to our website. :)

subspiele: where did you record the mix ?
frank sebastian: 3 days ago in my studio here in NYC.

subspiele: which is the song that you recently liked the most ?
frank sebastian: hard to tell. but i think i’m in a kind of „Rafael Anton Irisarri“ mood right now. 

subspiele: how do you feel now ?
frank sebastian: Very happy. I’m in the middle of the production of my new Album and it feels good. I’m very excited.

subspiele: how should it go on ?
frank sebastian: we will see. just stay at the moment. thats all i want from me.

Get the latest from Subspiele Records:
confirmsubscription.com/h/i/8D0CCDF2129F8A9D

free download

sub.pod.109 - breath.3 - Frank Sebastian

The D.D.E featuring Pink John (2014 Nanoloop Mix)

通行止め

Slivers

nanoloopで作った曲をPCのDAWでリバーブやらEQやら色々いじりました。

Scrolling

I recorded large and small pieces of ice spinning, rattling, and dropping into two different sized glasses with my Sony PCM-D50. Microphones turned to 90º, held within an inch of the lip of the glass.

First I brought the samples into Ableton Live and cut out interesting percussive and rhythmic sections. I arbitrarily decided do the track in 6/4 time, and then spent some time warping and rearranging the rhythmic bits to fit in time (or not). I used these as background rhythmic and textural elements, which you can hear at the beginning and end.

I dropped the percussive bits into drum racks and built two beat layers: one rather simple, with the samples re-pitched and EQ'd and filtered to create a kick and snare and shaker, and one with far fewer effects that's more intricate. You can hear the more intricate beat in isolation at the very end of the track.

For the pitched-percussion synth sound, I isolated a good 'ping' sound from the recordings, dropped it into a Sampler instrument, put some reverb and EQ on it. I noodled around on a keyboard (AKAI MPK Mini) and kept the good stuff.

I then looped one of the synth tracks through a Simple Delay effect in Ableton with the 'Repitch' setting turned on to approximate a real delay pedal and played with the knobs. You can hear fragments of that recording throughout the track as embellishment.

I made the recordings on Friday night, started the track shortly thereafter, and finished on Saturday morning.

This is my first-ever contribution to Disquiet Junto and the first time I've ‘finished’ music  in a long while. I'm pretty happy with how it turned out and can't wait to work on more!

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More on this 210th weekly Disquiet Junto project (“The Assignment: Record the sound of ice in a glass and make something of it”) at:

http://disquiet.com/2016/01/07/disquiet0210-icecoda/

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Photo associated with this project by Michael Scott used via Creative Commons license:

https://flic.kr/p/5vyz3G

Ice Jump [disquiet0210-icecoda]

At midnight on Sunday, January 17th, I recorded myself walking a loop through all of the doors out of and into my apartment building: the apartment door, the side door, the gate, the front door, the inside door, and the apartment door again. I then made one five-minute recording from outside my bedroom window, and another in my living room.

Recordings were made with my Sony PCM-D50, microphones turned to 120º.

I brought the recordings into Ableton Live. First I isolated the door sounds, touching them up a bit to exclude air-rushing-past-microphone noise and other unpleasant artifacts. I put these aside.

Next, I isolated three one-minute-long sections of the indoor and outdoor recordings. I layered the three indoor recordings directly on top of each other, EQ-ing one to emphasize the lows, one the mids, and one the highs. I did the same for the outdoor recordings, and then set up a slow fade from indoor to outdoor over the course of a minute. I also added some panning automation to give the recordings some extra movement.

Right in the middle of the minute, I arranged the eight door-opening-and-closing samples on top of each other.

The effect is a slow transition from inside recordings to outside recordings, punctuated in the middle by an impossible passing through many doors.

Due to circumstances I was unable to work on this track, after making the initial recordings on Sunday, until Thursday evening. I'm trying to keep up, though, so better late than never.

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More on this 211th weekly Disquiet Junto project (“The Assignment: Shift between the midnight sounds both within and beyond a physical structure, preferably your home”) at:

http://disquiet.com/2016/01/14/disquiet0211-midnightinsideout/

More on the Disquiet Junto at:

http://disquiet.com/junto/

More on the One Minute Past Midnight series at:

http://oneminutepastmidnight.com/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Photo associated with this project by Michel Banabila, a Junto member, used via Creative Commons license:

https://flic.kr/p/79ZyGT

In-, Out-, Through Doors [disquiet0211-midnightinsideout]

I started with an Operator instrument in Ableton generating a sine wave at precisely 484 Hz, then put some panning on it and rode the knobs to get the buzzing that opens the track. The same 484 Hz tone pans circularly throughout the duration of the track.

I got my first piece of music hardware that isn't a MIDI controller at Portland's Control Voltage synthesizer shop on Friday: a Critter & Guitarri Pocket Piano. I haven't been able to stop playing with it since.

Some quick Googling equated 484 Hz to approximately a B, so I looped the sine tone in my headphones, held a B note on the Pocket Piano, and fiddled with the tune knob until it sounded in tune. Then I mashed the Mode knob repeatedly, generating a sort of rhythm from the different synthesizer modes of the Pocket Piano. You can hear this Dan Deacon-y loop in its original form about 26 seconds into the track. It is present in the left speaker, low in the mix, pitched down two octaves and with lots of reverb.

After that, I improvised until I came up with the romantic little melody in the middle of the track.

To get the rhythmic pinging element, I recorded my glockenspiel high B key being hit with a plastic mallet. (I used a Shure SM-57.) I mic'd it really close to catch the buzz of the key against the case, and you can hear the metal in the loop.

At the very end, you can hear me approximating a 484 Hz tone with my voice.

This is the first Junto project I've completed in a single evening (January 23, 2016). I spent about four hours, all told.

Photo by me, Matthew McVickar: https://www.flickr.com/photos/matthewmcvickar/4745952496/

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More on this 212th weekly Disquiet Junto project (“The Assignment: Make music intended to attract male mosquitoes”) at:

http://disquiet.com/2016/01/21/disquiet0212-484hzlovesongs/

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Photo courtesy of Jason Richardson, who recommended this news story as a Junto prompt:

http://www.abc.net.au/news/2016-01-19/scientists-discover-frequency-traps-male-yellow-fever-mosquitoes/7084434

Longiareolata’s Lament [disquiet0212-484hzlovesongs]

I brought the three field recordings into Ableton Live and started processing them in bits and pieces.

There are seven different motifs that appear in the track. I've included their made-up names and a time where they are noticeably audible in the track.

• Combodrone Pulse (06:07): A looped fragment of each of the three field recordings all playing at once, with EQ emphasizing the very low frequencies and a small band near the top. Some reverb. An auto-filter effect with LFO emphasizing the low end, which ends up sounding like a heartbeat.

• Combodrone Hits (02:12): I triggered and then immediately stopped the above ‘Combodrone’ track, changing the position of an EQ peak each time to get a different ‘note.’ Long reverb tail.

• Gatechain (05:42): I set a gate on the Bunsby Islands field recording so that only the clicks would be audible. I then set a sidechained gate on the D-WAVE2 field recording so it would be only be audible when the Bunsby Islands field recording triggered its gate. I then did the same thing for the Osa Peninsula field recording. The result is a call-response-response where you can hear the hydrophone click, the D-WAVE pulse, and the Osa birdcalls in a row. This is probably my favorite of the sounds in the piece.

• Tick Loops (03:27, 04:13): I isolated individual clicks and sounds from the three field recordings and set them to very tiny loops. To these I applied a variety of automated granular delay and reverb effects. These appear as momentary embellishments throughout the track.

• Tick Sequence (01:22): I took about twelve different slices of clicks and sounds from the three field recordings and arranged them in a row. I added a granular delay effect along with some noise from Ableton’s Erosion effect near the end of the sequence.

• Low Ticks (00:50, 01:45): This is the aforementioned tick sequence, stretched to eight times its length using Ableton’s warp with the warp mode set to ‘Beats’ to retain the sequence's separate sounds and rhythmic contours. I bring it in before and after the tick sequence as textural foreshadowing.

• Birdloops (00:30, throughout): This is three loops of the Osa Peninsula birdcalls: the first stretched out to 800% its original length and pitched down 36 steps, the second stretched out 400% and pitched down 29 steps, and the third stretched 800% and pitched down 43 steps. They fade in and out on top of each other and form the moaning drone that underlies most of the track.

---

Seven minutes is a long time, and I was anxious about being able to fill the space, but it ended up working out. I'm very happy with the result.

I completed this track over the course of two nights: January 31–February 1, 2016.

Photo by me, Matthew McVickar: https://www.flickr.com/photos/matthewmcvickar/133771743/

---

More on this 213th weekly Disquiet Junto project (“The Assignment: Combine three field recordings from artist Charles Lindsay to explore and express notions of perceived techno-organic intelligence”) at:

http://disquiet.com/2016/01/28/disquiet0213-complexsignatures/
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
Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/
The photo associated with this project is the cover of Charles Lindsay’s forthcoming book, Carbon, more on which here:

http://minormattersbooks.com/collections/books/products/charles-lindsay-carbon
And here are details on a MASS MoCA exhibit he will be participating in. It begins May 28, 2016:

http://www.massmoca.org/event_details.php?id=1045

The Marsh [disquiet0213-complexsignatures]

Layers of A# and two very close microtones in phasing rhythms.

Once I figured out how to determine the microtones for my chosen pitch, I had Audacity generate eight seconds of each in a sine tone.

Base pitch: 233 Hz (A#3)
Incorrect microtone: 258.029 Hz
Correct microtone: 258.939 Hz

I brought the recording into Ableton Live and separated each frequency.

I panned the incorrect microtone hard left, the correct microtone hard right, and kept the base frequency centered. I applied an autopan effect to each channel with a different rate so that they would pulse rhythimically against each other. These three layers play throughout the track except for fading out in the middle to accentuate the other three elements.

I imported three samples I recorded myself into sampler instruments: one of a windchime bell, one of a music box, and the ice clinking sound from the first project of this year (which I reversed). For each of these, I made a recording of the samples playing at the base, incorrect, and correct frequencies, and then set them on loops of random inconsistent length.

Each of the four instruments—sine wave, bell, music box, reversed ice hit—enters with the base frequency and is joined by the correct and incorrect frequencies (panned left and right). In the middle of the track, around the 00:50 mark, the correct and incorrect microtones are left to play against one another in isolation from the other layers. At the end of the track (around 01:10 ), everything comes back at once. The sine tones close out with a bit of added reverb to soften the ending.

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More on this 214th weekly Disquiet Junto project (“The Assignment: Bring to the fore the distinction between two specific microtones”) at:

http://disquiet.com/0214

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 from Alain Danielou’s 1958 book Tableau Comparatif des Intervalles Musicaux, found via Kyle Gann. Major thanks to Ethan Hein (ethanhein.com) for helping word the project assignment.

Chime [disquiet0214-microtonalerrata]

**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)

For this week’s Junto I chose to add thin layers to Insula Dulcamara’s ‘Tiny Phases’ track: https://soundcloud.com/insuladulcamara-726539207/tiny-phase-disquiet0215-tinyrhythms?in=disquiet/sets/disquiet-junto-project-0215

I have been playing with homemade tape loops (https://www.instagram.com/p/BBfzyFMND3b/) and the Nanoloop app (http://nanoloop.com) a lot lately, and thought the very thin layer of tape would be a perfect fit for this week’s project.

I put Insula Dulcamara’s track on repeat and played around in Nanoloop until I had two loops: one a series of bleeps and bloops, and another a slower, layered drone.

One by one I recorded these into my cassette tape recorder (a Sony TCM-200DV) onto the tape loop, and then captured the tape loop audio into Ableton at three different speeds using the recorder’s built-in speed control wheel.

After these three I captured what was on the flip-side of the tape: a recording of me plucking a few guitar strings. I pitched this to be in tune with the other loops.

I arranged the bleeping nano-tape-loop to rhythmically juxtapose the original track, and then brought in the other drone-y tape loops one at a time.

Photo for this track by me. It’s the tape loop I used for this track laid on top of my iPhone open to the Nanoloop app.

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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

Overcast [disquiet0216-thinlayers]

This is a Glacial Ambient Drone I made in Sylenth1.

Enjoy and leave a comment!

Glacial Ambient Drone

Urbaani Digital (ambient mix)

Please take few Minutes and Like Ten Suns on Facebook! :
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