I have some long ago experiments with clock-like works. I revived some of those ideas here, exploring several different clock like processes. I used minimally minimal sonic material: Sine waves only, simple envelopes on them. Pitches drawn from the overtone series of D (as approximated in equal temperament...)

As per the instructions, no reverb or effects at all.  Listening on open speakers vs. headphones yields two different sonic experiences of the work.


-=-

More on this 555th weekly Disquiet Junto project — A Simple Timer (The Assignment: Simplify by a factor of 5) — at: https://disquiet.com/0555/

-=-

Photo by
Stefan506: https://commons.wikimedia.org/wiki/File:Signetics_NE555N.JPG

0555 Timer - 101 Seconds (disquiet0555)

0555 timer - 101 seconds (bis) (disquiet0555)

Grant Muller's "Broke Beat" really spoke to me: The odd meter, the
repetitions in odd lengths... it is right up my alley. Not to mention that the drumming is very compelling.

I wanted to add something that felt like the two of us were in the room, having practiced the 23/8 beat together, and then the fractured opening. The mallet-esque part I added emphasizes both aspects of the original composition, restarting when the drum line restarts, and following the 8+5+7+3 structure used for 23/8.

Muller's mix of his own part against a filtered skewed version of it is quite beautiful, so I tried to leave space for that to come through when it happens.

Only alteration to the original track was to pan it slightly left.

-=-

Muller's original track is here:
https://soundcloud.com/grantlucasmuller/broke-beat-disquiet0619

-=-

More on this 620th weekly Disquiet Junto project, Beat Accrual Accrual (The Assignment: Turn someone’s slow-build beat into a finished track), at: https://disquiet.com/0620/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0620-beat-accrual-accrual/

BAsquared (disquiet0620)

Composed and created in Ableton 12. This was a great excuse to play around with some of the new instruments in Live 12.

There is a lot of spatial quality to the instruments. Best probably to pan the sound to the left if you like, or if extreme, take only the left side. Combining L+R to make a mono track will alter the tonal quality considerably.

—
Created for the Disquiet Junto

More on the 636th weekly Disquiet Junto project, Left (1 of 3) — The Assignment: Record the first third of a trio — at https://disquiet.com/0636/

—
Image credit:
"Day 8 - Winter forest at night" by Vladimir Agafonkin
CC BY 2.0, https://www.flickr.com/photos/80849382@N00/3347741916

2024 - 03 - 10 Night Walk - disquiet0636

Built upon 33per's "(Rock the) Firebells" piece: https://soundcloud.com/33per/firebells

This instrument made of fireballs immediately made me think of the two organ pipes I have in my studio. I took them outside and played them with a shop vac. A bit noisy, but there it is.

Added two elements to 33per's track, both are made from samples of the lowest organ pipe. Left lots of empty space.

As the original track is stereo and makes use of that, my mix is also stereo with my parts layered on. I have a version with hard panning if you prefer.

---
More on the 637th weekly Disquiet Junto project, Right (2 of 3) — The Assignment: Record the second third of an eventual trio — at https://disquiet.com/0637/

Firebells And Pipes - Stereo - disquiet0637

This is built on

@lazenbeeindustries - rightward
https://soundcloud.com/lazenbeeindustries/rightward-feat-john-wright-disquiet0637

which in turn is built on

@thgirwnhoj - Just Percussion
https://soundcloud.com/thgirwnhoj/disquiet0636-just-percussion

My addition is a pair of bass parts. It was a challenge to make the bass parts stand distinct without being able to shape the other two parts... but I did my best.

I also added a kick. It seemed needed to drive the percussion once there were so many other parts going on. I shamelessly admit that I got the idea from reading @DeDe's write up of their own treatment of the same pair of tracks.  (Didn't listen yet to keep myself ignorant by what is surely a fantastic bass track!)

I resisted the temptation to muck with the two original parts, but I did use the original full-stereo version of Just Percussion, and then I panned it and rightward somewhat left and right, not hard. You should still be able to keep the parts distinct as you listen. As always - if anyone wants stems, or a hard L-C-R mix, just ask.

——
More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

——
Image Credit: Tim Sullivan
https://stocksnap.io/photo/yellow-lines-OJYARI0WOY

Down The Center - disquiet0638

I started with a field recording of a sound that is very regular and yet arrhythmic in the actual timing. I also used a field recording of some commentary on the first sound, made at the time by my son.

I used Ableton Live to carefully mark all the timing points in these samples, then sliced them to get notes in the timing. I converted some of these to grooves, so that I could apply it to something composed on a grid. The rest was mixing.


That's Crazy (Disquiet 0220 - Rhythmic Arrhythmic)

For the phrase, I wanted something both high and low, both fast and slow - so that when it inevitably got out of sync, the parts would contrast against each other.

I used a new controller in my studio to play this: A LaunchPad Pro set in Note mode, where it gives an isomorphic layout of pitches on the 64 pads. I set the sensitivity to high so that I could strum across them: vertically in 4ths, horizontally is chromatic.

8 takes, including my first two "warm up" ones where I made mistakes and my counting got off. I wasn't going to include them, but: 1) the mistakes add interest, 2) the different lengths let you hear near the end fewer layers which is also nice, 3) I like the honesty aspect of it.

Instrument is a sample of PVC pipe with a small amount of processing on it. No processing on the mix other than panning.


Plectrum - (Disquiet 0223 - Layered Sameness)

This is a technique I've developed over the years and use as the basis of many a self-generative analog modular patch.

There are two main features:
a) Three LFOs each modulating the next in a loop - this produces widely varying rhythm and structure
b) A varying control voltage run through a three stage sample and hold shift register, so that the pitches of three sources change in a cascade

There is some additional "old skool" digital delay added in the middle for that "electronic music studio" sound.

Close up pictures of the patch: https://goo.gl/photos/cqBPChZWhmKhTCzp8

Video on YouTube: https://youtu.be/uMX5busmeuI

——
More on this 242nd weekly Disquiet Junto project — “Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware” — at:

http://disquiet.com/0242/


Modular 3XAOS - disquiet0242

I'm in the back room of the house, but there is still leakage from the holiday bustle in the rest of the house. And if you listen carefully, a very much in-tune airplane!

I choose to play a McNally Strumstick, which I've had for years. My mother gave this to me when I was in college... and she happens to be visiting, so circle!

— —
More on this 260th weekly Disquiet Junto project — “Tone Fade: An exercise in when a sound ends — at:
http://disquiet.com/0260/
(This project is for Sterling.)

More on the Disquiet Junto at:
http://disquiet.com/junto/

16 Strums for 2016 (Disquiet 0260)

I rolled 11 & 60, which gave me 6 pitches, and 4 durations totaling a 4/4 measure. This repeats rather quickly in only three measures. So the material was rather limited to work with.

So worked by elimination - pulling out notes from the line and distributing them around three instruments: Hocket, sometimes clear sometimes abstract.

It was pretty much done when the connection to games (D&D, dice) struck me, and had the inspiration to add the kids. Balarrrga!!!!

-=-
Children playing outside during lunch break (Amsterdam The Netherlands) recorded by Yuval:
 https://freesound.org/people/Yuval/sounds/184449/

-=-
More on this 298th weekly Disquiet Junto project — Dungeons & Drum Machines: Make a track with two rolls of a 20-sided die — at:
https://disquiet.com/0298/

Major thanks to Jason Wehmhoener for initiating this project, and for co-plotting it.

More on the Disquiet Junto at:
https://disquiet.com/junto/

Bagatelle 0298  (disquiet0298)

I almost wasn't going to do this one - but then my partner needed to stay up late Sunday doing some volunteer work. So rather than go to bed, I stayed with him and worked quietly on this with headphones.

Apart from the bells (recycled from a previous Junto) I wanted to work with a group of field recordings and Elektrosluch device recordings I had... And so, I contemplated how does one make these ostensibly jarring sounds, meditative?

I worked more on form and timing relationships, and tried to not rely too much on filtering, delays, and reverb to smooth them. I was after a gritty sound, but meditative experience.

Composed and performed on the Digitakt. Then mixed with a bit of a slowed down copy of the take, and lightly EQ'd.

-=-
Image by Windell Oskay
https://www.flickr.com/photos/oskay/4581198790

-=-
More on this 323rd weekly Disquiet Junto project (Music for Meditation: Record a piece of music suited to meditation) at:
https://disquiet.com/0323/11

More on the Disquiet Junto at:
https://disquiet.com/junto/1

The Meditations Of Discarded Robots (disquiet0323)

First, I tuned up the quartet: The four tracks were warped to be in time and in tune. ikjoyce's track was cloned so it could play chords. Then, I built a Max4Live patch that let me gate the tracks from a MIDI keyboard, one track per note. Finally, I wrote a score for the four players - a score of only playing or not playing: You are hearing all four tracks played start to end simultaneously, gated by the score.

-=-
More on this 337th weekly Disquiet Junto project (Disquiet Junto Project 0338: Imaginary Quartet / In collaboration with Naviar Haiku, make a four-person band from the provided four live solo recordings.) at:
https://disquiet.com/0338/ 3

Major thanks to Neil Stringfellow (aka Audio Obscura) for proposing this collaboration between the Disquiet Junto and the Naviar Haiku series, and for the support of Naviar’s Marco Sebastiano Alessi. The audio employed as raw material in this project is from live recordings by Ikjoyce, Audio Obscura, Subsepai, and sevenism. More on the Naviar Haiku at:
http://www.naviarrecords.com/about/naviar-haiku/

More on the Disquiet Junto at:
https://disquiet.com/junto/

Involuntary Ensemble (disquiet0338)

Samples are here: https://goo.gl/AxW5vC (48kHz, 16bit, mono - ~450kB .zip file) Enjoy!

Update: See what others did with this kit! It was featured in:
https://soundcloud.com/ethanhein/mountain-view-marks-kit-disquiet0346 -
https://soundcloud.com/namesishard/just-type-w-norns-foulplay-disquiet0346 -
https://youtu.be/oI-SvA2kDMY -
https://soundcloud.com/plusch/slapdash-disquiet0346 -
https://soundcloud.com/morgulbee/glassical-zero-disquiet0346 -
https://soundcloud.com/0hn3/disquiet-junto-0346-disquiet0346

And in these multi-kit tracks:
https://soundcloud.com/vonna-wolf/vonna-aretheredrumsyet-drumachinations-disquiet0346 -
https://soundcloud.com/detritus-tabu3/the-beat-goes-stone-samples-disquite-junto-see-description

I did what any bedroom-producer would do: I went about my bedroom and found objects that made noise, perhaps when struck. Fortunately, I have a lot of curious objects in my bedroom!

I then selected various hits, applied a small amount of processing on each one to bring out what I thought made it special. This was mostly EQ and compression, but occasionally a touch of reverb.

The two parts of the beat were made two different ways: First part in Ableton, written in by hand, and played with basic overall processing on the track. For the second part I transferred all the samples to my Digitakt, rebuilt part of the beat... but then added and processed from there.

- = -
More on this 345th weekly Disquiet Junto project (Sample Time / The Assignment: Make your own drum machine sounds, do something with them, and share them) at:
https://disquiet.com/0345/

Major thanks to Matt Nish-Lapidus and Jason Wehmhoener for helping put together this project.

More on the Disquiet Junto at:
https://disquiet.com/junto/

0345 BR Beat (disquiet0345)

I rolled a 2: Death. But in the post-collapse world, resources cannot be wasted, and so death has become a ritual of recycling.

Four voices represent the forces of the world: The drumming of walking upon the earth, the clang of machines, the deep moan of the environment, and the breath of humans trying to speak.

The work is in 9/8 with a fractured beat as befits a fractured world. The section in 4/4 is the indifferent functioning of machines. The procession walks from outside to a large inner space.

-=-
More on this 354th weekly Disquiet Junto project (Rituals & Canticles / The Assignment: Make music using instruments from a future that doesn’t fully remember our present) at:
https://disquiet.com/0354/

Thanks to Nathan Moody (noisejockey.net) for proposing and providing the sounds and images and ideas for this project.

More on the Disquiet Junto at:
https://disquiet.com/junto/

Photo by Lucabon
https://commons.wikimedia.org/wiki/File:Compost_steaming_-_detail_3.jpg

Ritual Of Recycling (disquiet0354)

A re-setting of Satie's original in 13/8 time.

-=-
More on this 363rd weekly Disquiet Junto project — Gymnopédie Rats: Make over Erik Satie’s “Gymnopédie No. 1” in your chosen genre — at:

disquiet.com/0363/

Many thanks to Peggy Nelson and Alex Hawthorn for having proposed this project, at the tail end of last week’s project.

More on the Disquiet Junto at:

disquiet.com/junto/

Gymnopédie 1₁₃ (disquiet0363)

Audio Journal 2018

January     Six Legged Chair (disquiet0315)
February    Metal Biped, live performance
March       Organ45 (disquiet0326)
April       Ripples 2018
May         Skipping Through Sheherazade (disquiet0332)
June        Live at Resident, SF
July        rehearsal
August      rehearsal
September   Pond Walk, Infinite Set 3
October     Ritual of Recycling (disquiet0354)
November    Mechanism
December    Gymnopédie 1₁₃ (disquiet0363)

January - https://soundcloud.com/mtnviewmark-bits/0315-six-legged-chair-disquiet0315
February - un-released
March - https://soundcloud.com/mtnviewmark-bits/organ45-disquiet0326
April - https://youtu.be/fumtG5stirM
May - https://soundcloud.com/mtnviewmark-bits/skipping-through-sheherazade-disquiet0332
June - https://youtu.be/hJ5KQAdiGkk
July - https://www.instagram.com/p/Blwx57kjsrm/
August - https://www.instagram.com/p/BmELf_eHeJl/
September - https://electrickitchen.bandcamp.com/track/pond-walk
October - https://soundcloud.com/mtnviewmark-bits/ritual-of-recycling-disquiet0354
November - https://soundcloud.com/mtnviewmark-bits/mechanism-loop-start-here-project
Devember - https://soundcloud.com/mtnviewmark-bits/gymnopedie-1-disquiet0363

-=-

More on this 365th weekly Disquiet Junto project — 2018 Tracker / The Assignment: Create a sonic diary of the past year with a dozen (or more) super-brief segments — at: https://disquiet.com/0365/

Audio Journal 2018 (disquiet0365)

Bass part to a future trio, in three parts.

I tried to keep things simple, leaving space in frequency, harmony, and instrumentation. However, I really liked the long held beating bass notes, so built a three part structure where they could take more space in the middle section, while the bass as a whole is less dominant in the other two sections.

Apologies for the somewhat shifty meter - it just felt right when playing. Score to follow soon. Can also supply a left panned mono version if desired.

-=-
Photo by Kari Shea on Unsplash
https://unsplash.com/photos/laHwVPkMTzY

-=-
More on this 367th weekly Disquiet Junto project (Trio Initiate / The Assignment: Record the first third of an eventual trio) at:
https://disquiet.com/0367/

More on the Disquiet Junto at:
https://disquiet.com/junto/

Trioh - Bass (disquiet0367)

I couldin't resist Alanza's Monosynth Study
https://soundcloud.com/aalanzaa/disquiet-0367-trio-initiate-monosynth-study

It was the first thing I tried, and I played this nice riff on my new Boppad drum controller.... But I worried I wasn't a good enough drummer yet to pull anything off other than that one riff, so I set it aside for a different trio-part-two.

Only I kept coming back to this to try out more.  So, after beating on the pad for three hours, and way too many takes (and a little bit of note fixing in Live)... here is this, turning Alanza's electric water arpeggios into a thumpy frenzy in an abandoned factory.

-=-
More on this 368th weekly Disquiet Junto project (Engage Duo / The Assignment: Record the second third of a trio, adding to a pre-existing track.) at:
https://disquiet.com/0368/

More on the Disquiet Junto at:
https://disquiet.com/junto/

Monosynth And Drums Study (disquiet0368)

Added a bass synth to complete the trio of
1: drums from https://soundcloud.com/north_woods/disquiet0367-trio-initiate
2: drone from https://soundcloud.com/carlin-mclellan-751824513/northwoods-droney-drone-disquiet0368

The bass is built from Operator in Ableton, played on a Launchpad Pro, with aftertouch mapped to the filter so that I could be a bit expressive while playing. I added reverb to have it match the feel, but not as much as the others, so it sits in front, despite being the low end.

-=-
image based on photo by Mark Basarab on Unsplash
https://unsplash.com/photos/_WITb4g1ImY

-=-
More on this 369th weekly Disquiet Junto project (Final Solo / The Assignment: Record the final third of a trio, adding to a pre-existing track, based itself on a prior pre-existing track) at:
https://disquiet.com/0369/

More on the Disquiet Junto at:
https://disquiet.com/junto/

Drummy - Droney - Bass (disquiet0369)

Two song cycles: First, a cycle for beings that perceive time at five times the rate we do. That is, to them 600 bpm is an average tempo. The cycle consists of three songs:

1. vivace: "Discovery"
2. adagio: "Courtship"
3. moderato: "Expansion"

The second song cycle is for beings that perceive time at one twentieth the rate we do. Alas, I only had time to compose the first three notes. They can be heard in the bass register under the other song cycle.

-=-
Clock picture by Klearchos Kapoutsis
https://www.flickr.com/photos/klearchos/4009767682

-=-
More on this 373rd weekly Disquiet Junto project — Copernican Music / The Assignment: Record a piece of music intended for an alien species — at:

https://disquiet.com/0373/

This week’s project was made as a proposition by the artist Jonathon Keats.

More on the Disquiet Junto at:

https://disquiet.com/junto/

Copernican Song Cycles (disquiet0373)

The music does follow an algorithm, though slightly different than the prompt: A line of four notes is mutated, note at a time into a different line with different notes from the scale. This is then repeated two more times. Each mutation is played slightly skewed in time from each other. As played on the marimbas it makes a more complex cascading line. As played on the organ it reveals a four chord sequence that the piece ultimately ends with.

-=-
More on this 377th weekly Disquiet Junto project — Algorithms Assemble / The Assignment: Have fun with rules applied to scales, in coordination with the Algorithmic Art Assembly — at:
https://disquiet.com/0377/

The project is lightly adapted from one proposed by Junto member Charlie Kramer (aka NorthWoods).

More on the Disquiet Junto at:
https://disquiet.com/junto/

Four by Four (disquiet0377)

Between the stations are just strains of other stations you can barely hear. You grasp at wisps. And yet they seem to all fit together into a whole you can't quite reach.

I grasped at musical bits. Recorded takes without listening to others, without any reference. I pulled in a recording I had lying on my disk. I recorded faint bits of percussion... and removed most of it. I added far more audio processing, on each layer, and on the whole, then I normally do. My aim to was to somehow make these independent parts fit together they your mind on a quiet solo drive tries to make order out of noise.

-=-
Image: "Abstract Car Crash" by toastal_OLD
https://www.flickr.com/photos/kylekress/5171470634

-=-
More on this 407th weekly Disquiet Junto project — Dark Pitch / What do you hear between stations on the radio dial during a drive in the middle of night? — at:
https://disquiet.com/0407/

More on the Disquiet Junto at:
https://disquiet.com/junto/

dark serendipity (disquiet0407)

I picked two instruments, and played two related, but distinct lines. They were each performed as a continuous line, but then chopped into tiny bits and alternated. I then took two longer ambient recordings - a rainforest storm, and a subway platform - paired them with the other two parts, matching the cuts.

I did "extend" the idea of alternating chapters to include something somewhat like the parallel chapters down the page in Samuel R. Delany's "Dhalgren". In the end I'm not sure how "aesthetically distinct" the two sides are... perhaps more like "two sides of the same coin".

Composed with Ableton Live, performed on Launchpad Pro Mk3.
Ambient samples from: https://www.freetousesounds.com/

-=-

More on this 422nd weekly Disquiet Junto project — Chapter Cascade / The Assignment: Make a piece of music made up of tiny alternating parts — at: https://disquiet.com/0422/

More on the Disquiet Junto at:
https://disquiet.com/junto/

-=-

Photos by
David Clode: https://unsplash.com/photos/xFqH9peAlmw
Simon Shim: https://unsplash.com/photos/EymQLnU_zio

two worlds (disquiet0422)

A march in 13/16 time as the basis for further collaboration.

This is was performed live on the Pulsar-23, then brought into Ableton Live for a little EQ and bass boost. I also sped it up slightly so that it would be at an integral BPM, easier for others to work with.

Metric structure is 3-3-3-2-2. ♩= 98 BPM.  I tried to create a basic structure for the work. There are four rough sections, and a coda. Otherwise, the rhythmic is rather static to give space for dynamic parts on top. The high end might need taming with a bit with EQ depending on what gets added. If you need, feel free.

-=-
More on this 429th weekly Disquiet Junto project — The Assignment: Record the first third of a trio that others will complete — at:
https://disquiet.com/0429/

More on the Disquiet Junto at:
https://disquiet.com/junto/

0429 March 13 (disquiet0429)

Building on @michel-banabila's track, Fase-1 (https://soundcloud.com/michel-banabila/fase-1-disquiet-0429-solitary-ensembles), I added two tracks of live played percussion on a Pulsar-23. Taken into Ableton for some EQ, mixing, and yet more reverb.

As per the instructions, to prepare for next week's trio, the 1st track is panned hard left, my additions are hard right. If anyone wants original stereo stems, just ask.

-=-

More on this 430th weekly Disquiet Junto project — The Assignment: Record the second third of a trio that others will complete — at:
https://disquiet.com/0430/

More on the Disquiet Junto at:
https://disquiet.com/junto/

0430 - phaze too (disquiet0430)

The first part was Ryan Scott Mattingly's driving "The Sand Gets Everywhere":
https://soundcloud.com/ryanscottmattingly/the-sand-gets-everywhere-disquiet0472

This week I added a second part, Pulsar-23 percussion.
Next week, someone may add the third part and complete the trio

—=—
More on this 473rd weekly Disquiet Junto project — Placebo Effect (1 of 3) / The Assignment: Record the second third of a trio that others will complete — at:
https://disquiet.com/0473/

More on the Disquiet Junto at:
https://disquiet.com/junto/

—=—
synth: Pulsar-23
controllers: Boppad, Wave MIDI ring by Genki
mixing: Ableton Live

Sandstorm Surfstorm - Disquiet0473 - Mix

The first part was Ryan Scott Mattingly's driving "The Sand Gets Everywhere":
https://soundcloud.com/ryanscottmattingly/the-sand-gets-everywhere-disquiet0472

This week I added a second part, Pulsar-23 percussion.
Next week, someone may add the third part and complete the trio

—=—
More on this 473rd weekly Disquiet Junto project — Placebo Effect (1 of 3) / The Assignment: Record the second third of a trio that others will complete — at:
disquiet.com/0473/

More on the Disquiet Junto at:
disquiet.com/junto/

—=—
synth: Pulsar-23
controllers: Boppad, Wave MIDI ring by Genki
mixing: Ableton Live

Sandstorm Surfstorm - Disquiet0473 - Hard Pan

an asynchronous trio:

The first part was made by Torsten Goerke, as ⅓ of a trio without knowing who might add on to it...
The next week, it was selected by Rusty Hurley (Northern Flight), adding the pedal steel guitar and a subtle kick drum.
This week, I picked that, and added the bass.

part one: https://soundcloud.com/torstengoerke/looper-unsynced-disquiet0472
part two: https://soundcloud.com/northern-flight/looper_left-pedal-steel-right

video fo this part: https://youtu.be/OFeNYBcVJ2E

—=—
More on this 474th weekly Disquiet Junto project – Police Action (3 of 3) / The Assignment: Complete a trio by adding a track to an existing duet by two other musicians – at:
https://disquiet.com/0474/

More on the Disquiet Junto at:
https://disquiet.com/junto/

Desert Resync - disquiet0474

this track is a remix of

- Peter Eisenhauer's "Police Action with halF unusuaL & analoc"
  https://soundcloud.com/peter-eisenhauer/disquiet0474-police-action-with-half-unusual-analoc

which was a trio built on

- halF unusuaL's (Darren Bourne) "halF placebO [disquiet0473] with analoc"
  https://soundcloud.com/half-unusual/half-placebo-disquiet0473-with-analoc

which itself was a duo built on

- analoc's (Anatol Locker) "Whatever Comes [disquiet0472]"
  https://soundcloud.com/analoc/whatever-comes-disquiet0472


The original track by analoc was in 7/4 time. The other parts built on that, but treating the rhythm in different ways. I decided to recast the whole piece in triplet 4/4 time at quite a bit faster tempo. Each of the three parts was re-fit to the new meter in different ways.

There has been some effects added to each track, mostly to make parts stand apart more, and bring out the bass register which is very muted in the original. Notably, there are parts of Peter's violin that I dropped an octave and slowed to add a bass part.

I removed some material to give it a more sectional structure.

Lastly, and I'm not sure I should have, I added a very light standard session drum set. I felt this helped add to the dinner club or Penguin Cafe Orchestra kind of feel I was after.

Whenever (disquiet0475)

This is an account for various experiments and snipptes.
My main musical project, is Electric Kitchen. See the link:

Popular tracks by MtnViewMark-Bits