It took me a while to think about what I wanted to do for this one. When I read it left to right, I could not get any thing from it and the same when I read it right to left. This lead me to read it top to bottom and then the whole thing came alive in my head.

The sounds were made in SuperCollider and then I sequenced and effected them in Ableton Live. I think if I was to do this again I would make the whole piece in SuperCollider, as I think this allows more variation, changes and control. I am now releasing that I prefer to working in code and not GUI audio editor.

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More on this 225th weekly Disquiet Junto project (“Sight read a late-1940s painting by Argentine artist Lidy Prati as a graphically notated score”) at:

http://disquiet.com/0225/

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 originally posted (and viewable in larger scale) at

http://blakegopnik.com/post/142806762364


Serial Composition [disquiet0225-serialcomposition]

Unknown0000

I was very happy when I saw this challenge as this is something I have tired once in the past with not much success and have wanted to try again, this gave me the motivation to try it again, the tutorial helped a lot this time round to get (in my opinion) better results.

Equipment used and also see track image
Folio Notepad mixer - Mixer 1
Foster MN-15 Mixer - Mixer 2 (My partner brought this for me in charity shop)
Boss OverDrive OD-3 pedal (into passive DI box)
Ableton Live for recording and Compression and EQ

I started play around to at first and enjoyed finding new sounds, and was amazed at the variety you could get wth the smallest movement of the control (almost to much it was hard to make chooses). For the first attempts of recording I just hit record and recorded the whole lot, but I wasn't happy with the results of one long continues track. Then the idea came to me to find "sweet spots" and record these with silence in-between. So I set the constants of only changing 5 controls, recording 5 sections which in total should last about 3 minutes. Which is what I did and then added some EQ and compression afterwards (framing of the sound).

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More on this 232nd weekly Disquiet Junto project — “Record a piece of music exploring the concept of ‘no-input mixing.'” — at:

http://disquiet.com/0232/

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/

NoInputMixer - disquiet0232

I am always pleased to see morse code mentioned in the challenge. I started with the sketch which I have used for the image of this track and the moved to SuperCollider to make the track and then Reaper to edit it the recording down to a minute. This one is based on the rhythmic parts of the morse code [1,1,1,1,0,0,1,1,0,0] and I used weighted choose to control if a sound was made or not, this was a chance element. First the sounds where made and then time was spent playing with different rhythmic timing to see what works best. This one turned out as a big nod to Ryoji Ikeada, who's music I really enjoy and love. ENJOY!

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More on this 236th weekly Disquiet Junto project — “Say hi to the Juno Spacecraft by embedding Morse code in an original composition” — at:

http://disquiet.com/0236/

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/

More on the Juno Spacecraft technology at:

http://spaceflight101.com/juno/spacecraft-information/

More on the “Say ‘Hi’ to Juno” ham operator project here:

http://www.jpl.nasa.gov/video/details.php?id=1263


Saluton Jun(t)o [disquiet 0236]

160813d

160813c

160813b

160813a

Really had to give this one lots of thought to avoid trying to sounding like sound art and wanted it to feel and sound like the music I am making at the moment. Influence and inspiration came from thinking about the Japanese art of Kintsugi (https://uk.pinterest.com/mintloader/kintsugi/). I was thinking about how something broken can have beauty, if not more beauty in its new state then before the damage. But who decides if something is broken or damaged?

All the sounds are from SuperCollider using Pbinds to control the sounds which are all controlled with random sequences or weighted choose. I played around with the control until I found the beauty. The track was edited and compressed in Reaper.

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More on this 274th weekly Disquiet Junto project — “Broken Sound: Record a piece of music in the genre called ‘broken sound’” — at:

http://disquiet.com/0274/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

http://llllllll.co/t/the-genre-of-broken-sound-disquiet-junto-project-0274/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by Marc Weidenbaum:

http://instagram.com/p/BDvyl6zLIiB/

Rampita Sono [ disquiet0274 ]

Sound created in SuperCollider, then forgotten about, then found and edited in Reaper.

Trovis Bruo

A audio postcard from my holiday in Cornwall, the rhododendron brush had a loverly sound and I could resist recording it. (see image).

Recorded with Edirol R09 and Soundman binaural microphones.

mint loader

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