"Bamboche disco"      #STBB861

This track was created for the Naviar Haiku group.
505
https://www.naviarrecords.com/2023/09/06/naviarhaiku505-in-search-of-a-name/

2023-09-07

In Search Of A Name  (Naviarhaiku 505 )

Assignment: Select two or more tracks from the provided ones https://soundcloud.com/disquiet/sets/disquiet-junto-project-0609?si=7c2b7977f36f4e7c8598f9015f1472c2&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing, slow them to half their original pace — that is, to 30 BPM — and use editing techniques to combine them into one new piece of music.

I reworked and mashed together the following three tracks with additional instrumentation:

@ray_cobley https://soundcloud.com/ray_cobley/simply-sixty-disquiet0609?si=964f09599ede490c944c5b477b315984&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

@winterer https://soundcloud.com/winterer/catnip-in-60bpm-disquiet0609?si=a28240ff67dc40d79c9e3170502e9859&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

@atw https://soundcloud.com/atw/transient-melter-60bpm-disquiet-0609?si=eeb41b4e69524f06b852644eee40c388&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

More on this 610th weekly Disquiet Junto project, Speed Limit Pt 2 (The Assignment: Combine two or more pre-existing 60 BPM tracks into something new — at half the speed), at: https://disquiet.com/0610/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0610-speed-limit-pt-2/

Sixty Catnip Dark Corridor Melter (disquiet0610)

I used tracks by Andreas Kitzmann, Analoc, Krakenkraft and Tristan Louth Robins (and in other versions also by Ray Cobley and Debroc). Thanks a lot for being able to work with those.

I made several tracks with different techniques - from straight mixing to editing to different granular tools. The one I uploaded was entirely made with the fantastic Granchild by infinitedigits. What I like about it is the soft and mysterious beginning and foundation which is based on the track by Krakenkraft. Next come three parts by Tristan Louth Robins, Analoc and finally Andreas Kitzmann. It is a very quiet affair and has a certain Revanchol vibe to it.

For those wondering about the cover drawing: after finishing a track I usually google its title and take the first image search result I like to base a drawing on. Here I googled a combination of the original track names, catnip blink drift, and somewhere buried in the results was Trent Reznor… So him it was.

More on this 610th weekly Disquiet Junto project, Speed Limit Pt 2 (The Assignment: Combine two or more pre-existing 60 BPM tracks into something new — at half the speed), at: https://disquiet.com/0610/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0610-speed-limit-pt-2/

Disquiet0610 - Cat Blink Fawn Drift

I started out on this track by trying to put together a self-modifying feedback loop in VCVRack. Much to my dismay, I am really out of practice with Rack, and was getting absolutely nowhere. The number of modules is now astronomical, and I was getting bogged down in “what module do I use, and they're so small I can't really see this anyway” decisions, dragging modules around, flailing, and definitely not progressing.

So instead, I abandoned that, opened up Live and went to my old favorite, Buchla Easel V. It is possible to feed audio from one track to another via sidechaining in Live, so I sidechained the two instances to each other, chose an interesting self-playing patch, switched it around to feed in the preamp input to the patch, and started cranking up the various gains. It was then a matter of carefully tweaking levels inside the plugins and the feedback between each of the instances to send them into just-controlled mutual feedback oscillation.

To make it a bit more tasty, I added Valhalla Supermassive delays, set slightly differently, to both instances, and fed back the post-effects signal instead of the dry one. This finally got me to the density of texture I was looking for, and after a couple of takes to practice tweaking the feedback in real-time (adding the effects made it quite a bit more sensitive), I finally hit record in Audio Hijack and got a usable take. A little trimming of the silence in Fission and it was complete.

The title is from an early poem of Keats, “Woman! when I behold thee flippant, vain”. I first saw it quoted in a Dorothy Sayers mystery and as faintly ridiculous and infelicitous as it is, it’s still stuck with me.

…but when I mark
Such charms with mild intelligences shine,
My ear is open like a greedy shark,
To catch the tunings of a voice divine.

Disquiet Junto 

My Ear Is Open Like a Greedy Shark [disquiet0611]

a reworked version now appears on:

https://howthenightcame.bandcamp.com/album/hostile-architects

- - - -

first time layering two sampled drum beats

More on this 613th weekly Disquiet Junto project, Test Drive (The Assignment: The Assignment: Do something you’ve been meaning to do), at: https://disquiet.com/0613/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0613-test-drive/

[disquiet0613] test drive

Hi, lately I’ve been working a lot (for a professional assignment) on orchestral soundscapes, so my previous Soundcloud shares were done using sample libraries, a friend’s cello performance and my own upright basses (using my bow)

This one, recorded yesterday and edited and finished today (Friday the 27th Oct 2023 is just me and my multitracked bowed bass , to achieve a noisy, creepy tone I didn’t use any rosin on the bow, so i could get some nasty tones bowing very hard and all around the strings. It was fun, just improvising one track on top of the previous and playing around some cathedral convolution reverbs, a Lexicon Hall at 18 seconds and one instance of the great Valhalla Supermassive (always useful for this stuff, with the right settings it transforms a noisy harmonic into a gorgeous sustained pad )

This one’s dedicated to William Burroughs and is called Rotten Ectoplasm.
Happy Halloween to everybody.

https://llllllll.co/t/disquiet-junto-project-0617-haunt-scape

Rotten Ectoplasm (disquiet0617)

JAMUARY 24 - Day 8

Blissfields (w/notes of strings) [LIVE @ Open Mic Generator 26/9/25)

shifty 1.1 cacg 15 bpm take 1 41525

Ambient Dreamscapes for you to enjoy. Relax, unwind, meditate and chillout

CTHULHU MYTHOS - A SHADOW IN TIME

a great honor for me  http://www.youtube.com/watch?v=VRfaP4ROcQs

no professional aspirations, just entertainment
home recordings just for the joy of music
Everything is based on feelings and moods. No use of AI.
thank you for listening
Thank you all for your comments, because there is always room for improvement
I am still looking, trying and experimenting, I really like electronic ambient for many years, but it only works as a live percussionist. In short, nothing is black or white:)
In today's hectic world I need quiet sounds and the vast majority of songs created at night, so are my compositions such as they are.

My tracks is based on the absolute freedom of the use of sound. Arises as if I painted a picture. In the head is the base, and then adding the details here and there.
As well as if I were his music told the story.

I use: Ableton-Live-Suite with Partnerinstrumets, Kontakt Player + virtual instrumentzs,NI-Machine, Ableton Push, Acces Virus TI Snow, Waldorf Blofeld, AKAI MPK 49, Korg Microkorg XL+,KORG Kaossilator,Kaosspad,KORG Wavedrum, Roland HPD 20, nord lead A1 r, Yamaha mx49, Roland Edirol for Fieldrecordings - and various live percussion.(Kalimba, frame drum, tombak, koshi etc)

In Search Of A Name (Naviarhaiku 505 )

Night Note