Junto Disquiet

First thing to say this is the first time I have been any where near the upper time limit. 

The sounds I used were my initial ones which came to mind when I read this weeks email (after changing my mind and not liking it, then on a suggestion changing my mind back to original idea), I used Audacity to edit the files and Ableton to sequence the track.

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More on this 84th Disquiet Junto project, in which two distinct field recordings are connected through a transition between isolated elements, at:

http://disquiet.com/2013/08/08/quotidianthread/

More details on the Disquiet Junto at:

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

theBirdsWillRule [disquiet0084-quotidianthread]

All sounds made in SuperCollider and then mixed together in Ableton. The drone sound is based on wind blowing on a wire, which I used spectral analysis to reproduce the sound as a drone, this technique was also used to produce the bell sound which is based on a singing bowl. The same piece of wire was then turned into a "dudley bow" and this was sampled and also used. The "beat" is from an experiment looking into phasing left and right sounds.

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More on this 96th Disquiet Junto project, in which metal machine music is made in tribute to the late Lou Reed, at:

disquiet.com/2013/10/31/disquiet0096-metalmachine/

More details on the Disquiet Junto at:

Groups – Disquiet-junto

metal wire sound [disquiet0096-metalmachine]

The full title of this track is….
Underground a deep room, awaits to see light, before the end.

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I used live coding in SuperCollider to make the sound files and then I load these in to Ableton and added effects/modified the sounds. I recorded a long take which was edited down to two minutes in Reaper.

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More on this 118th Disquiet Junto project — “What is the room tone of the Internet?” — at:

http://disquiet.com/2014/04/03/disquiet0118-internetroomtone/

More on the Disquiet Junto at:

http://disquiet.com/?p=16588

Join the Disquiet Junto at:

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

Image associated with this Junto project used via a Creative Commons license:

https://flic.kr/p/2af9A


Underground a deep room……….. [edit]-[disquiet0118-internetroomtone]

When I first saw the image and read the brief, I thought of this process before I had listen to the tracks. The Complexity I hope I have added is in the listening being more complex and made up of lots of small parts. The process I used was to "cut" the tracks into 0.9 sec pieces and then these pieces were the rearranged internally into 1,3,5,7 slices (this control was indeterminate)and re-ordered so the track plays out but with the sound in a different order. This process was applied to the left and right channels separately and mixed back together. 

The cutting up/rearranging was in SuperCollider and the mixing was done in Reaper. 

The name reflects the process applied to the track.

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More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:

http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Copmexifitacion0100HS [disquiet0188-complexcomplex]

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]

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]

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]

This was hard one, I tried different ideas and I found the best way was to imagine what I was making the voice off.

Angry - Mechanical monster with a chip on his shoulder (could be in a bar in Star Wars)
Vulnerable - Small insect scuttling around trying not to be squashed.
Happy - A robot in a goof mood chatting away on the telephone.

I used Audacity to chop up the sound I wanted and then SuperCollider to make a new sentence. All the different voice were made using SuperCollider, with different envelopes filters and some modulation on angry. I made a little task to control the "syllables" and the the "words" of the new sentences. I then put these new sentences into Live to stitch them together.

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This project was developed for the Disquiet Junto by Michel Banabila (banabila.com).

The source audio is from the UCLA Phonetics Lab Archive http://archive.phonetics.ucla.edu.

More on this #57th Disquiet Junto project at:

http://disquiet.com/2013/01/31/disquiet0057-phonemetransmit

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/


voices told me too [disquiet0057-phonemetransmit]

First reaction was I hate the sound of my voice recorded, but I'll give it a go as I can add effects. Then the dice rolling gave me 5 4 4 = U O O..... only two sounds. I recorded the U and the first O straight to my R09, for the second O I recorded it by attaching a contact mic to a tourist-tat coconut shell drum skin thing and used this for a diaphragm.

I tried to hold the sound as long as possible and only did one take on each, I then took a 10 second sample from each sound.

I then used SuperCollider to create a play buffer SynthDef with sine envelope and then added some effects (Resonance, cross faded delay and reverb). I made up 3 simple loops with the SynthDef and the controlled these on and off manually and recoded the first complete take (I kept maxing out my memory and crashing the SC sever!).

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More on this 59th Disquiet Junto project at:

http://disquiet.com/2013/02/14/disquiet0059-vwls

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

UOO[disquiet0059-vwls]

I have a fascination at the moment with clicks, pops and noise. Which I am using in my own work, so I wanted to add these elements to this track as I would do with one of my own compositions. The original material did make me thick of drifting in space and I wanted to add elements of signals drifting in and out as you move around.  All the sounds were generated in SuperCollider in some way, manly live coding and testing out some new code I have written on a sample of my work PC recorded using a coil pick up mic, this was then all stitched together in Ableton Live. I went to the Ryoli Ikeda concert at the Barbican (London) on Thursday so I wanted to play with an element of what I heard and saw.

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More on this 65th Disquiet Junto project at:

http://disquiet.com/2013/03/28/disquiet0065-pianoverlay/

More on the source composition by Jared Brickman at:

https://soundcloud.com/one_hello_world/every-day-were-dying-and-outer

The browser-based tool that segmented the Brickman track for this project was coded by Disquiet Junto member Ken Mistove, more from whom at:

http://kenzak.com/

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

35:45 twoMinutes35seconds [disquiet0065-pianoverlay]

I decided to use for my 2 tones piano and balafon (Ghanian). I choose the tones by just playing to see which ones got my interest and recored them with my Edirol R09 and soundman microphones. I then used SuperCollider to loop the sounds and to add the beats. I used sounds which I have made in the past (with a bit of tweaking), as these came to mind when I was listening back to the looped tones. I wanted the sounds to move against each other which is what I hope I have achieved for the 2 tones and first 2 beats. For the 3rd beat I found myself wanting a beat that would "cut across" the rhythms and to argument them, I was thinking for a djembe solo on top. I used gated pink noise for this which was produced using Dust.ar, so I had no control over when it happened. (I could sit back and enjoying listening) 

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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/


palafonio [disquiet0070-2tones3beats]

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]

Fun challenge this week and feeling refreshed after my holiday, straight away I thought of filters and envelopes. I first tried different filters (LPF, BPF and HPF) and square envelopes, but I wasn't happy with the results. So I just used BPFs with different frequencies and Q values panned and changed the envelope to a sine shape. This combination gave me the removal I was looking for. This piece was completely carried out using SuperCollider and it allows me to an random elements in I can not control (I used audacity to convert the file to aiff form mp3 and normalise the track).

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More on this 78th Disquiet Junto project, in which sound is removed from a century-old Edison Symphony Orchestra recording, at:

http://disquiet.com/2013/06/27/disquiet0078-minusmusic/

This track a reworking of a 1902 recording by the Edison Symphony Orchestra of “Angel’s Serenade," or "La Serenata," by composer Gaetano Braga. The source audio is from this URL:

http://archive.org/details/EdisonSymphonyOrchestra-01-10

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/


Junto Disquiet

mint loader