More on this 70th Disquiet Junto project, which involves creating a single piece of music from two tones and three beats, at:

http://disquiet.com/2013/05/02/disquiet0070-2tones3beats/

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto Project 0070: 2 Tones, 3 Beats

Instalation

Real-Time Improvisation by David K. Barton, Boyd Nutting & Jeff Campbell, recorded April 24, 2014, PLATO’s Studio, Michiana. Includes material from PLATO, No. 1097, “Laboratorium XII: Fixation, or the Blood of the Red Lion” (David & Boyd, February 4, 2001, Buchanan, MI).


PLATO No. 2966 The Running Dog Lackies of Biofascism

Some experimental hardcore/drum and bass/dubstep/electro with Chinese drums

Atychiphobia (Prelude)

LAWBEAT TEASER

So Friday morning came and with that the weekly email from Marc...after reading the description I knew what to do (almost) right of the bat...wanted to use two homemade instruments and my crazy noiseswasch pedal. So I started out with the first tone - created it using a soundbox build by me under the supervision of the inventor Derek Holzer aka Macumbista (https://www.facebook.com/macumbistanet?fref=ts) ...it's a feedback box with a half watt amp driving a small speaker using a piezo as mic... the second tone came from the noiseswasch. I dialed in one that I liked in harmony with the first one produced...then it was time to get down to the beat making...I just finished building an acoustic laptop the other day, so I couldn't help but use that as the only instrument for the 3 beats - everything is handplayed no looping or other manipulations (I mastered it slightly with comp and eq after mixing)...the image for the track is the laptop...My friend Tore Honoré Boe (https://www.facebook.com/origamiboe?fref=ts) is the inventor and master musician of these wunder boxes... 
More on this 70th Disquiet Junto project, which involves creating a single piece of
music from two tones and three beats, at:
http://disquiet.com/2013/05/02/disquiet0070-2tones3beats/
More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/


“disquiet0070-2tones3beats”and thats just that

It was decided that this piece should juxtapose both analogue and digital elements. A random number generator was used to choose two tones from A to G#. The base note was rolled to be a C [3], which was played on a piano, the attack removed, and the tail looped. Sound Forge's FM synthesis was used to create the second note, which was an Eb [6]. 

The beat is comprised of unconventional pan hits. Three sounds were used. The first was placed alongside the C piano tone and coincided with the trough of each loop. The second was placed at equal intervals along the pulse of the second digital tone, but at a different time signature to the first. Everything was played together, and a third, digital 'beep' accented the resulting beat. Simple tap delays were added to the second and third beats.

More on this 70th Disquiet Junto project, which involves creating a single piece of music from two tones and three beats, at: 

disquiet.com/2013/05/02/disquiet0070-2tones3beats/ 

More details on the Disquiet Junto at: 

soundcloud.com/groups/disquiet-junto/

opposites attract and form shades of grey [disquiet0070-2tones3beats]

Contributed to the Disquiet Junto, link to details below.

My notes, derived from my first and last name, are A# and F.

I don't have multiple instruments, but because I use a modular synth, I can make sub-patches which are in themselves separate instruments. For each note, I recorded a track using the following procedure:

I generated complex waveforms using 2 or 3 different hardware oscillator modules, by stacking waveforms centered around the same note. Of course, you get slower pulses resulting from the beating of multiple oscillators at almost the same frequency. I mixed each of the different oscillators together, then split a copy of the resulting waveform through another module which allows me to subdivide the frequency of the waveform. I used this to trigger an envelope on a filter, which was filtering another copy of the complex waveform, and then mixed these two waveforms together, and hit record. Basically, both the source sounds and the rhythm of the beats are derived from the complex waveform itself.

The third beat results from use audio gates in Ableton Live to filter both tracks and to emphasize certain frequencies. I was very tempted to add some effects, but decided to leave it dry.


More on this 70th Disquiet Junto project, which involves creating a single piece of music from two tones and three beats, at:

http://disquiet.com/2013/05/02/disquiet0070-2tones3beats/

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/


A# F [disquiet0070-2tones3beats]

This track was assembled in Ableton Live 8.
First note key of G in the synth patch Bass Fat Tube
Second note key of F in the synth patch Cold Ambience.
Each was assigned an appropriate beat.
The third beat is an inappropriate sample beat by John Bonham from studio outtakes from the "In Through The Out Door" sessions. (I just had to do it!)

Thank you for listening.

More on this 70th Disquiet Junto project, which involves creating a single piece of music from two tones and three beats, at:

disquiet.com/2013/05/02/disquiet0070-2tones3beats/

More details on the Disquiet Junto at:

Groups – Disquiet-junto



[disquiet0070-2tones3beats]

(Sharbaugh)
Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: prepared piano, synthesizer, and electronic percussion
Composed and Recorded ca. May 3, 2013.
DJ 2013MAY02 sm2 [16bit][LANDRlo].

In picking my two notes, I sat in my studio chair and blindly reached over to the keyboard of my synthesizer twice. The first time I reached I touched a G key; the second time, I struck two keys—an A and an A#|B. I had three notes. Thus, I kept the G [392 Hz], and then summed the frequencies in Hertz of the A and the A#|B and divided the result by two, which gave me 453.08 Hz for my second note. Since 453.08 Hz is not part of the usual Western tempered scale, I tuned my synthesizer to the frequency using a signal generator.

I recorded the first note—a G on a prepared piano—and butted it right up to the beginning of my ‘sequence.’ I then wanted to fill the minute, so I time-expanded it by over 600 percent—to exactly the end of the minute. I then copied it and pasted it to a location at around 30 seconds into the piece.

The second note was recorded from a synthesizer—a Korg DW-8000. As soon as the sequence began, I started playing a patch tuned to 453.08 Hz. I held down the note until 58 seconds had elapsed, leaving room for the reverb tail to fill the remaining two seconds.

I combined the notes as directed into one stereo track, leaving the prepared piano dry and adding reverb to the Korg synthesizer.

Careful to be sensitive to the piano’s subtle beats, I listened back to the prepared piano track and added my favorite drum sound—a 909 kick tuned all the way down. I then added a reverse tambourine to punctuate the kick drum, putting it through a random panning plug-in effect, “Orbit.” Next, I solo-ed the DW-8000 drone. The beats in the tone were plainly apparent, enabling me to easily add a bongo played with a drumstick to match them. I added the same reverb to this bongo as was used for the DW-8000 drone. I then bounced the percussion tracks down to one stereo track.

All drums and percussion were added in real time without the use of a sequencer.

I summed the two recorded stems, feeding them through a limiter. This is the result.


More on this 70th Disquiet Junto project, which involves creating a single piece of music from two tones and three beats, at:

http://disquiet.com/2013/05/02/disquiet0070-2tones3beats/

More details on the Disquiet Junto at:

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

"Afternoon in the Woods" [disquiet0070-2tones3beats]

Devour - [Dark Ambient]

POP | SPACEROCK | VAPORTRAP | TRIP-HOP
AMBIENT | EXPERIMENTAL

the PERSON, the SOUND : Since 1985, Philadelphia-born Michael has composed and released hundreds of audio recordings, and published dozens of [erotic] poems.

His 'sonic-sojourn' began suddenly when he was just a teen -- feet splashing rhythmically through puddles leftover by a seaside rainstorm. Having just parted ways with the then-love-of-his-life, Michael composed his first ballad [and first song] ever -- "Tina." He rushed to his beach-side home to record his visceral 'awakening' on a tiny micro-cassette recorder, and vowed -- from that day on -- to create art for the rest of his life.

He began zealously amassing used music equipment, and had built a modest home recording studio by age seventeen, all the while crafting simple pop, ambient, and experimental works that HE had wanted to listen to -- that HE had wanted to hear, affectionately emulating the works of his then-idols, Duran Duran and Brian Eno.

Now, decades later, he has relocated to a small village outside Atlanta, Georgia, and continues to voraciously attend to his dream as a young, heartbroken boy -- to create and release music that he, himself, wants to hear.

Although no longer sequestered to pop and ambient musics, Michael's signature sound has merged the two, having integrated the R&B, hiphop, and psychedelia he has grown to love as a older gent -- having absorbed the edgy rhythms and dreamy soul of the southern United States (Atlanta and Miami).

Michael still puts forth ample amounts af ambient musics, but his recent 'sound' hovers elsewhere -- somewhere amidst the genres of vaportrap, spacerock, and trip-hop.

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the INFLUENCES : Duran Duran, The Weeknd, Blondie, Depeche Mode, Billy Idol + Steve Stevens, Stone Temple Pilots, Dead Can Dance, Siouxsie & The Banshees, This Mortal Coil, Air, Naked Eyes, Tears for Fears, Alice in Chains, John Barry, Leslie Bricusse, The Chameleons [UK], Brian Eno, The Cocteau Twins, ABBA, The Bee Gees, Claude Debussy, Frederick Chopin, Guillaume de Machaut, Early Music, Renaissance music, Baroque music, and Joe Meek.

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#duranduran #theweeknd #blondie #depechemode #billyidol #stevestevens #deadcandance #siouxsieandthebanshees #air #tearsforfears #johnbarry #lesliebricusse #claudedebussy #mauriceravel #frederickchopin #eriksatie #brianeno #thecocteautwins #abba #beegees #joemeek #chameleons #octoberproject #patbenatar #haroldbudd #lindseybuckingham #nakedeyes #aha #ceefarrow #omd #thismortalcoil #stonetemplepilots #aliceinchains #baroque #renaissance #earlymusic #theweeknd #skeler