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/

Image associated with this project is by Andy Piper and it is used thanks to a Creative Commons license:

https://flic.kr/p/5N7TPV

Disquiet Junto Project 0232: No Input

Junto Disquiet

Well I did not have 2 mixers but I have noticed how my headphones feedback when I lay them on the mic going throughout my stomp box interface so I went with that. I noticed that those fx on the box made different sounds and I noticed an fx when I messed around with the eq on the mixer(cool) so I did that and switched presets fx on the stomp box. I recorded all that. Pitched them down cause that high sound gives me a headache after awhile. I converted one track to midi and feed through a modular bass drum sound. I could not listen to much of this but I could see how a bit might be cleansing.
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/

Image associated with this project is by Andy Piper and it is used thanks to a Creative Commons license:

https://flic.kr/p/5N7TPV


And How Do You Feel About That? (disquiet0232)

This week's Disquiet Junto involves creating a track using the 'zero-input mixer' method - which means that no overt sound sources are allowed - the noises are created using feedback loops form the mixer and any effects that are applied to the loops. 

I have done some ZIM work  before (https://soundcloud.com/ikjoyce/zero-input-mixer), so know just how important it is to be careful with levels! You have to really be ready with the kill switch / faders when feedback ramps up! It is usually advised to add a hard limiter to the end of the chain to prevent massive volume spikes. 

I did mine in my modular - using an A-138-m matrix mixer - this allows me to route four inputs into four outputs in various levels. It also allows me to send the signals either right-way up or inverted, which can help tame the feedback a little by letting me add in the inverted signal to the chain. I ran the loops through a few filters, a BBD delay module, and a Springray reverb unit (on large tank). The output went via a filter to the mixer, and had a large reverb added courtesy of the Strymon BigSky.  I then recorded as I played around with the various mixer knobs, filter cut-offs , tone controls on the springray, and delay length on the BBD.   The resonance controls on the filters was was turned down to avoid putting the filters in self-oscillation, which would have been contrary to the idea of a ZIM I feel!

A related idea is to use no patch cables between modules- just to play with the self-oscillations that can be created in individual modules:  -  and also a similar concept of using no patch cables: https://soundcloud.com/ikjoyce/self-oscilation 

Zero Input Mixer - (Disquiet0232)

https://hearthis.at/sevenism/crimson-sky-disquiet0232/ (full piece)

i do a lot of this. gave myself some extra constraints.. didnt use a noise gate or any limiting so if it went mental i'd have to deal with it on the fly. i wanted to get it so there was a complicated rhythm, bass, and mid/hi melody. recorded first go, came out ok.

all done in podfarm.. synth mods, wah, delays, reverb etc .. 20 modules across two fx chains

maglmmagkamgdkfadmsgdvblmbfbl;s,;s,bldf';.s'dFB:d.b';db#

Disquiet Junto Project 0232: No Input
The Assignment: Record a piece of music exploring the concept of “no-input mixing.”

This week’s project explores the concept of no-input mixing. For background, including a tutorial, this Synthtopia article, summarizing more detailed coverage by the Department of Performance Studies at Texas A&M, might prove useful:

http://www.synthtopia.com/content/2014/10/27/no-input-mixing-tutorial/

Step 1: Read up, if it’s not already familiar, on the concept of “no-input mixing,” which involves creating feedback by taking the output of a mixer and plugging it into the input of the same mixer, thus exposing and building on inherent (i.e., noisy) sonic properties of the device.

Step 2: Experiment with no-input mixing.

Step 3: Record a short piece of no-input mixing music.

Step 4: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in the afternoon, California time, on Thursday, June 9, 2016, with a deadline of 11:59pm wherever you are on Monday, June 13, 2016.

Length: Length is up to you, though between two and three minutes seems about right.

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 “disquiet0232.” Also use “disquiet0232” 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 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

https://hearthis.at/sevenism/crimson-sky-disquiet0232/

more of the same

Crimson Sky (disquiet0232)

a textured noise experiment in no-input mixing. an afternoon in the laboratory, high-voltage lines sizzling, mysterious pipes and beakers bubbling. subsonic rumbles. no audio signals were used.

this is my first-ever venture into no-input recording, per this week's disquiet junto project theme. i was originally planning on doing something with my mackie mixer and strymon effects pedals, a multitracked pitched ambient drone sketch, but...i didn't have enough 1/4" cables. so i figured i could try it with a mixer eurorack module: mutable instruments shades.

i normally mostly use shades to control the amount of modulation sent to clouds. but on its own, once self-patched, shades puts out a surprising amount of extremely low-frequency noise when adjusting knobs, as i saw with a spectrum/eq utility in ableton live. i had an idea: why not excite that activity with a modulator such as tides? i already had the parasite alternative firmware running on tides, so it was just a matter of sending one output of random control voltage into shades, and from there into my audio interface.

the result was seven minutes of hilarious, delightful knob-wiggling, which i then edited down to under three minutes. this track is a sample of the wildly varying textures, drones, static pops, pitched buzz, and burbling gloops obtained with this tiny self-patched rig. just two modules, but so much fun!

recorded for disquiet junto 0232, "no input," and weekly beats 2016 #23.

http://disquiet.com/2016/06/09/disquiet0232/
http://weeklybeats.com

electric waterworks (disquiet0232)

Disquiet Junto Project 0232: No Input
The Assignment: Record a piece of music exploring the concept of “no-input mixing.”

This was the first time I’ve tried “no input” mixing. I was really surprised at the variety and complexity of sounds that came out. Very cool. 

Equipment: Mackie 1202 (I used 2 channels of feedback) and a voltage controlled delay (Ray WIlson design) modulated with a Wogglebug (mostly random step). Edited in Audacity. 

Creative Commons license granted. 

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/

No Input Mixer [disquiet0232]

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).

//////////////////////////////////////////////

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

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.

///////////////////////////

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.

//////////////

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.

//////////


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/


NoInputMixer - disquiet0232

mint loader