Junto Disquiet

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto Project 0073: Faulty Notation

Disquiet Junto Project 0050: -.......--.-..-...-

For the morse code I used SuperCollider to generate it. Dash is pink noise with a "square" envelope which is varied between 0.03 and 0.07secs long, dot is a very short sine envelope. The spacing between each sound has a varied length to give it some movement, there are general minimum times.

This was then moved in Ableton Live mixed and the other sounds added. 

More on this 50th Disquiet Junto project at:

http://disquiet.com/2012/12/13/disquiet0050-morsebeat/

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Code [disquiet0050-morsebeat]

More on this 51st Disquiet Junto project at:

http://disquiet.com/2012/12/20/disquiet0051-audiojournal/

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/


twenty twelve [disquiet0051-audiojournal]

I found this one really hard and have struggled with it, but here it is.

Method: 
1. End of the cat in the ocean, which went into SuperCollider, this code cuts it up and replays it in a random order with different samples left and right.

2. The intro of broken robots, this went straight into Ableton live and was messed up in there.

3. A 2.17 second sample from broken robot, this went into SuperCollider and I used code to cut it up into micro-sounds and to also generate the beat track.

All this went into Ableton where is was arranged and fx's applied.

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This Disquiet Junto project was done as a celebration of the efforts of the Bump Foot netlabel, and to support its employment of licenses that allow for derivative works. These Junto netlabel remix projects are intended to promote reworking as itself a means of music distribution. This track is comprised of three pieces of music, all originally released on Bump Foot: "Bongo" off the Aguas Tonicas album titled Los Desposeídos, "Broken Robots" off the Gridline album titled Red Music, and "The Cat in the Ocean" off the Pics Frunk album titled Low Voltage. More on the Bump Foot netlabel, and the original versions of these tracks, at http://www.bumpfoot.net/.

More on this 52nd Disquiet Junto project at:
http://disquiet.com/2012/12/27/disquiet0052-bumpcc/

More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/


the mat sat on the cat [0052-bumpcc]

Question: What if I cut Re into 3 second sections, let the software re-sequence the sections into a new order, shape with a sine envelope and put through a reverb and delay effect (with varying delay time and amount)?

Answer: Above.

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More on this 55th Disquiet Junto project at:
http://disquiet.com/2013/01/17/disquiet0055-twoscrews/

More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

More on the Frahm project at:
http://reworked.nilsfrahm.com/

Re: question [disquiet0055-twoscrews]

With this one I wanted to create not just a rhythm track but have some texture in it, I used only Ableton Live and its built in effects.

Sound was recorded with a contact mic.

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More on this 56th Disquiet Junto project at:

http://disquiet.com/2013/01/24/disquiet0056-matteroftime/

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/


mechanism [disquiet0056-materoftime]

I felt that I need to play something as I followed the map. Adding the recored of the wire I was able to add an element which represents the land shown on the map and the mobile phone represents the fault lines and the movement the cause.

The wire recording was made in my garden one (for once) sunny Sunday afternoon with a stretched piece of wire with a contact mic attached to it. It was the first time I tried this idea and was surprised that it record more than just the sound of the wind blowing on the wire. Effects then applied in Ableton.

The mobile phone was recored using a coil mic to pick up the internal sound of it "talking" to the network. I set up to delay effects in Ableton and mapped there controls to my nano Kontrol, which I "played" live as I recored.

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More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/


073 Duet for Wire and Mobile Phone [disquiet0073-faultynotation]

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:
http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:
http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

Cell04 [disquiet0073-faultynotation]

SPOILER ALERT : I DONT THINK THIS TRACK IS SUCCESFUL BUT I AM GLAD THAT I TRIED TO ACTUALLY STRUCTURE SOMETHING IN A MORE DISCIPLINED MANNER I GUESS

The main body of these sounds are two i've been playing with this week - a dull field recording & a sort of synth bit - which i sincerely tried to edit in a manner that was indicated by the map fragment [ http://25.media.tumblr.com/4f5d12f081caad8bf49257d003973708/tumblr_mngknweftA1r3krcco1_1280.png ] additional audio was generate just for this particular project - i recorded myself reading all the text on the map & recorded some running water, 'cause, y'know, *flow* &c &c

I divided the image up into smaller sections - working on a scale of 8.3 pxl [approx] = 1 second - which i didn't stick to rigorously but was key in choosing when events occured - the [heavily processed, practically muted] words for example, or certain panning decisions.

I got particularly stuck trying to include the synclines & anticlines in such away that was approprite & interesting; it was a good though experiment if nothing else - how do you fold a sound? But then i was stuck 'cause perhaps i didn't need to, right? Like, that's a category error i'm working from the map not its meaning [or the territory, even] anyhow, that's how the three minute duration i started with was reduced to 2:54, as a sort of gesture of overlapping & enfolding which, annoyingly, isn't even very sonically distinctive...

&! i really should've worked out something to do with those colours on the far right there.

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Fm cell13-hvt [disquiet0073-faultynotation]

I started with an old field recording of mine, of a humming transformer station. The transformer station is big and solid, and within it are huge powers. I slowed it down and it lies as a big heavy foundation throughout the piece, encompassing the whole map, the mountain, the earth. Ambient sounds with occasional erratic ripples illustrate both the mountain, the winds, the dust, the shapes and colours of the mountain and of the man made map. Meanwhile there is a mumble and a creaking going on underground. Along the lines we travel, lines come with us for a while and disappear, other lines come and follow for a while and then fade off. The piece is in constant motion, not linear, more like the cyclic movement of wind, waves, earth, time.

I used a field recording, digital, analogue and modular synthesisers, all recorded and transformed in Logic Pro.

More reading:
http://undensounds.blogspot.com.au/2013/06/transformation.html

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More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Transformation [disquiet0073-faultynotation]

Contributed to the Disquiet Junto, details below.

This week's Junto exercise was to take a segment of a map, which shows some land along the San Andreas Fault in California, and to use this map as a graphic notation score.

For the following to make sense, have a look at my segment of the fault line map, which I uploaded to my website here: http://www.crumblereshape.com/disquiet73map/

In my interpretation of the map, I read 'time' going left-to-right, up-and-down is a bit harder to explain. There are three distinct regions, a hilly area to the west, a flat area in the middle, interrupted by a hidden fault line, and some lower hills to the east.

1) Westmost hills: 
You'll notice from the map that the hills form colored bands from northwest to southeast. I interpreted each band as a simple 6 note melody, which descends an octave. Because the hills are irregular, I took my melody, programmed it into a sequencer on my modular, and used a random generator to create disturbances in the timing of the sequence, to break it out of strict timing. Altitude is roughly how I modulated envelope delay and volume. The melody is a simple chord from the modular, with Absynth used to generate the pads. 

2) Middle flat area with fault:
I used a dual stereo analog filter, a random source, and another oscillator to FM the filter, with both stereo channels almost in self-oscillation, to create a low rumbling. I used Absynth to create a subtle drone over the top. I wanted to create a drone, which would then be interrupted when the fault was hit. To signify the fault, I stopped the modulating the filter to create a hit, plus suddenly changed the pitch of the Absynth drone. I hope the bass works well on your speakers or headphones!

3) Eastern hills:
These hills are lower and gentler than those to the west, so I played another, more restricted melody via a keyboard, and looped it. 

--- background ---

More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

 


Hills -> field - > syncline [disquiet0073-faultynotation]

2, 5, 7, 5.
Numbers on my bit of map, lead me to create a rhythm in 26 or 13/8.
I kept following those numbers in patterns and tones, and broke away from them as inspired. I kept the map on the screen next to me to keep the connection, feeling the building of underground pressure, the holding on. Added some Contrabass, French Horn, Cello, Trumpet and Violin.


More on this 73rd Disquiet Junto project, which involves reading a map of the San Andreas Fault as if it were a graphic notation score, at:

http://disquiet.com/2013/05/23/disquiet0073-faultynotation/

This project was conducted as part of a course of study led by Geoff Manaugh (BLDG BLOG). More on his research at:

http://bldgblog.blogspot.com/2013/01/san-andreas-architecture-for-fault.html

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

073 Duet for Wire and Mobile Phone [disquiet0073-faultynotation]

mint loader