More on this 106th Disquiet Junto project (“Treat the weather as a graphically notated score”) at:

http://disquiet.com/2014/01/09/disquiet0106-sonarvortex/

More on the Disquiet Junto at:

http://disquiet.com/?p=16588

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto Project 0106: Sonar Vortex

Tracks I made in 2014. Most are standalone, several are performance recordings. One track is from a CD release (~60 Hz, on Irritable Hedgehog), and one track is from a netlabel release (Absence sleeps between the buildings at night, Stasisfield), Three tracks are submissions to Disquiet projects, and two are submissions to 60x60 projects.

2014

space

February 2014

My submissions to the Disquiet Junto projects that I've participated in, in reverse chronological order.

Disquiet Junto

Marc Weidenbaum

ablution ambient remix of Seachange's single 'Bursting'. original single can be heard here: https://soundcloud.com/seachanger/bursting

Seachange - Bursting (Lasse Kuhlmann aka. Ablution Remix)

This is my entry for the 97th Disquiet Junto project, where we were asked to take an 80-character excerpt from a book we're reading, transform it into a melodic line based on some simple rules, and make a short track out of it.

I'm currently reading Thomas Pynchon's novel "Bleeding Edge", so I used that as my source. The excerpt  (including the terminal comma) was: "a gong from a hitherto-unreleased Fu Manchu movie goes off, abrupt and strident,".

I mapped the derived melody to La Monte Young's Well-Tuned Piano tuning, which is in just intonation. The piece consists of eight simultaneous renditions of the melody, played twice. The first time through, the eight lines are played at the same speed but with slight offsets in time, creating a rhythmic echo/tremolo effect. The second time, they repeat starting with the same offsets, but lines two through eight are each scaled slightly differently so that by the end, they converge on unison.

I made the piece entirely with Csound, using Steven Yi's graphical composition environment blue. The instrument I used is called "Sine modulo pluck" and was designed by Mark Van Peteghem for use within blue.

---

More on this 97th Disquiet Junto project, in which music is decoded from a phrase in a book, at:

http://disquiet.com/2013/11/07/disquiet0097-page99remix/

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Image via wikipedia.org.

Maxine's Bells [disquiet0097-page99remix]

A short sonification based on a photograph by <a href="http://sidsmith.blogspot.co.uk/">Sid Smith</a> as part of Sid's String Quartet project, where he offers photos to be used as graphical scores. Go <a href="http://sidsmith.blogspot.co.uk/2014/01/string-quartet-online-collaboration.html">here</a> for details.

I chose a very literal approach that also afforded me the opportunity to play with the very interesting <a href="http://warmplace.ru/soft/ans/">Virtual ANS</a> software. It is possible to treat an image as a sonogram and then translate it to audio. The vertical axis is used for pitch and the horizontal axis represents time, according to the settings one uses. Every detail in the image is represented in some way in the rendered sound. I did some post-processing in Audacity to add some reverb and adjust the amplitude.

The photograph is copyright Sid Smith, all rights reserved.

String Quartet XIV #4 (for Sid Smith)

After reading this weeks Junto, I knew right away what I wanted to do...I recently got hold of "punch hole music boxes" (thanks Masaya for sharing a link that turned me to these wunderinstruments) Music boxes that play the music from holes you punch into a card...(Hope it makes sense) I traced the image, I got from the weather site, onto a card - inverted and retrograded it to get 4 variation all together ...recorded the music box twice - once in the intended direction and once reversed. Went out into my garden and recorded the sound of the weather around 1PM - it' pretty windy as you can hear. Kept it simple eq'ed and mastered a little to finish it - ohh btw theres some delay/reverb on the musicbox....

Disquiet Junto Project 0106: Sonar Vortex

This week’s project is about graphic notation. We’ll find the music inherent in weather patterns. The procedure is as follows:

Step 1: Go to the website WeatherSpark.com. Enter the city/town where you live.

Step 2: Find the weather for January 10, 2014. (Depending on when you do the project, this will either be a prediction or a matter of historical record.)

Step 3: This weather website has many viewing options, but the default is to just see the temperature, and you should only see the temperature for this project. The image should roughly resemble the one associated with this post (if not visible, see image at disquiet.com). The chart depicts the weather altering over the course of the day, and has it shown in various bands, with the actual/predicted temperature as a black line, and historical highs, lows, averages, and other data depicted in more subtle shades. For additional information about reading the weather chart, visit this URL: http://goo.gl/3fRGwW. Make a screenshot of the day’s weather chart of your area, and trim it to just show that one day. Be sure to associate that image with your track, so the listener can view it.

Step 4: Produce an original track in which the weather chart is read from left to right as a musical score. Perhaps you’ll assign a different instrument or tone to each band or line. Perhaps you’ll align pitches with temperatures. Perhaps you’ll set the pace based on the time of day.

Deadline: Monday, January 13, 2014, at 11:59pm wherever you are.

Length: Your finished work should be between 2 and 4 minutes in length.

Information: Please when posting your track on SoundCloud, 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.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0106-sonarvortex” in the title of your track, and 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, be sure to include this information:

More on this 106th Disquiet Junto project (“Treat the weather as a graphically notated score”) at:

http://disquiet.com/2014/01/09/disquiet0106-sonarvortex/

More on the Disquiet Junto at:

http://disquiet.com/?p=16588

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

“disquiet0106-sonarvortex” Musicbox and Stormy Weather

I recorded this track on Jan,10, after taking elements from my garden (some birds, some wind, some grass). I used one processed guitar and tried to play live to follow the graphical draw of my city weather map. It was firstly recorded on my old cassette rec, then on to my reel to reel ... and quickly mastered ... in digital ...


Disquiet Junto Project 0106: Sonar Vortex
This week’s project is about graphic notation. We’ll find the music inherent in weather patterns. The procedure is as follows:
Step 1: Go to the website WeatherSpark.com. Enter the city/town where you live.
Step 2: Find the weather for January 10, 2014. (Depending on when you do the project, this will either be a prediction or a matter of historical record.)
Step 3: This weather website has many viewing options, but the default is to just see the temperature, and you should only see the temperature for this project. The image should roughly resemble the one associated with this post (if not visible, see image at disquiet.com). The chart depicts the weather altering over the course of the day, and has it shown in various bands, with the actual/predicted temperature as a black line, and historical highs, lows, averages, and other data depicted in more subtle shades. For additional information about reading the weather chart, visit this URL: http://goo.gl/3fRGwW. Make a screenshot of the day’s weather chart of your area, and trim it to just show that one day. Be sure to associate that image with your track, so the listener can view it.
Step 4: Produce an original track in which the weather chart is read from left to right as a musical score. Perhaps you’ll assign a different instrument or tone to each band or line. Perhaps you’ll align pitches with temperatures. Perhaps you’ll set the pace based on the time of day.
Deadline: Monday, January 13, 2014, at 11:59pm wherever you are.
Length: Your finished work should be between 2 and 4 minutes in length.
Information: Please when posting your track on SoundCloud, 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.
Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0106-sonarvortex” in the title of your track, and 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, be sure to include this information:
More on this 106th Disquiet Junto project (“Treat the weather as a graphically notated score”) at:
http://disquiet.com/2014/01/09/disquiet0106-sonarvortex/
More on the Disquiet Junto at:
http://disquiet.com/?p=16588
Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/


LINEAR BELLS - Jan10 - disquiet0106-sonarvortex

**Production Notes**

The weather was nice today in Munich, Germany. Much too warm for a winters day. Sunny. It made me want to go outside. When the Disquiet Challenge came in, I got my data from Weatherspark.com and tried to make sense of the "score". (You find a clipping at http://www.artinvaders.com/transfer/disquiet106.png)

- As a day is pretty much a manifestation of time, I made some simple beats, which represent the ticking of a clock in quarters of an hour. 

- I defined most of the temperature lines as pitch. Played the notes was played with Reaktors Gaugear (a very pretty beast this is).  

- Added some bass (there was a line starting in the middle of the piece). 

- I also had three sunny hours in the middle of the piece and three clouds later, which were made woth different bell like sounds from Operator. 

Production time: about 3 hours. Honestly, it’s more a sketch than a song. And it‘s too dense. And a bit too short. As always. 


* * *

**Disquiet Junto Project 0106: Sonar Vortex**

This week’s project is about graphic notation. We’ll find the music inherent in weather patterns. The procedure is as follows:

Step 1: Go to the website WeatherSpark.com. Enter the city/town where you live.

Step 2: Find the weather for January 10, 2014. (Depending on when you do the project, this will either be a prediction or a matter of historical record.)

Step 3: This weather website has many viewing options, but the default is to just see the temperature, and you should only see the temperature for this project. The image should roughly resemble the one associated with this post (if not visible, see image at disquiet.com). The chart depicts the weather altering over the course of the day, and has it shown in various bands, with the actual/predicted temperature as a black line, and historical highs, lows, averages, and other data depicted in more subtle shades. For additional information about reading the weather chart, visit this URL: http://goo.gl/3fRGwW. Make a screenshot of the day’s weather chart of your area, and trim it to just show that one day. Be sure to associate that image with your track, so the listener can view it.

Step 4: Produce an original track in which the weather chart is read from left to right as a musical score. Perhaps you’ll assign a different instrument or tone to each band or line. Perhaps you’ll align pitches with temperatures. Perhaps you’ll set the pace based on the time of day.

(...)

More on this 106th Disquiet Junto project (“Treat the weather as a graphically notated score”) at:

http://disquiet.com/2014/01/09/disquiet0106-sonarvortex/

More on the Disquiet Junto at:

http://disquiet.com/?p=16588

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

- end -

Pretty Day [disquiet0106-sonarvortex]

My first Disquiet Junto submission for 2014 (and my first one in far too long). This project has us take a visualization of the weather in one's local area, and use it as a graphical score.

My process:
- Use the Awesome Screenshot extension in Google Chrome to clip the image from the WeatherSpark site.
- Open the image in GIMP. Transform it by inverting the colors and posterizing.
- Imported the image to Virtual ANS, a program that can convert image into sound. Tweaked the ANS parameters until I was satisfied with the result, and exported it as a WAV file.
- Imported the sound into Audacity. Added a little silence to the end, applied some EQ to boost the bass, applied a simulated plate reverb, adjusted the amplitude, and exported as an MP3.

Additional notes:
- I decided to prepare the image before submitting it to Virtual ANS because it would allow the graphical elements to emerge more starkly.
- There is an artifact at the end the track resulting from the ANS process; I decided to keep it as it seems to work as a coda.
- The weather data came from the Silver Ranch Airpark in Jaffrey, NH, US, which is one of the weather stations closest to Peterborough, NH (where I live).
- The Flickr set shows the original captured image and the altered image: http://www.flickr.com/photos/seidel/sets/72157639652552553/
---

More on this 106th Disquiet Junto project (“Treat the weather as a graphically notated score”) at:

http://disquiet.com/2014/01/09/disquiet0106-sonarvortex/

More on the Disquiet Junto at:

http://disquiet.com/?p=16588

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

0110 [disquiet0106-sonarvortex]

Video: https://www.youtube.com/watch?v=0eQZg-z7ZRo

"sunken contour" (performed by Syl'Cor)

Experimenting with the Shnth in a Hexany 1-3-5-7 scale:

  1/1 25/24 7/6 5/4 35/24 3/2 5/3 7/4

There is no octave as the Shnth has only eight keys/buttons. The opportunity to use tunings like this is one of the main reasons I got the Shnth, where all pitches are specified as integer ratios.

Shth (stereo) into two Digitech Grunge pedals, combined in a Repeater matrix mixer, then though a Moogerfooger ClusterFlux (back into stereo), then a Deluxe Memory Man. Ehdalh Moisturizer in the FX bus. Photo here: http://www.flickr.com/photos/seidel/11939149493/

Recorded in real time. No more than two pitches played at any one time, though with plenty of overlap due to a long decay time plus two layers of flanger resonance (and some reverb).

Image from Wikipedia: https://en.wikipedia.org/wiki/File:Octahedron.svg (Creative Commons).

Hexany Dyads

Recorded in performance at 119 Gallery (Lowell, MA) on January 25, 2014.

I played a <a href="http://shbobo.net">Shnth</a> with processing and looping. The piece is in three sections. To make this version, I edited out the first couple of minutes of playing and added a fade-in at the beginning and a slight fade-out at the ending, but there was no other post-production other than conversion from 96K/32-bit WAV to 48K 320kpbs MP3.

The first section uses an 8-note <a href="http://www.billalves.com/porgitaro/serenadetuning.html">scale devised by Lou Harrison</a>, and the tones and chords were actuated by my breath as I blew into the Shnth's built-in mic. The second section moves back and forth between two 6-note <a href="http://anaphoria.com/wilsonintroMERU.html">metaslendro</a> scales played on the buttons of the Shnth. The third section returns to the Harrison scale, also played using the buttons.

The two channels of the Shnth's stereo output went through two Grunge distortion pedals (used only in the third section), and were then combined into a single channel. This mono channel was split up and routed through a Moogerfooger Ring Modulator and a FreqBox in parallel, and then recombined along with the original signal and sent to a Moogerfooger Clusterflux, the stereo output of which went to a Deluxe Memory Man with Hazarai and finally a Boomerang III looper, both in stereo. I used an Ekdahl Moisturizer reverb unit on the mixer's FX bus. The recording was made directly off the mixer. All the nutty routing was facilitated by a Repeater Electronics 4x4 passive matrix mixer -- a very helpful device.

The Boomerang III loops throughout in pseudo-Frippertronics fashion. In the second section, the Deluxe Memory Man is temporarily switched into a similar mode, but with a different loop duration, which allowed me to build up clouds of notes that were only approximately predictable (similar to the technique used in <a href="https://soundcloud.com/mysterybear/collider">Collider</a>). In the first and third sections, the Deluxe Memory Man is used more like a flanger.

Here's a photo of the setup (taken at home before the gig): http://www.flickr.com/photos/seidel/12135979426/

The image is from Wikipedia: https://en.wikipedia.org/wiki/File:DNA-RNA_D-loops,_greatly_exaggerated.jpg

Loop Studies (119 Gallery, 2014-01-25)

100% produced in SunVox on an Android tablet.

Immelmann

This is track 6 from my new release on the Stasisfield netlabel, <i>Absence sleeps between the buildings at night.</i> For more information (including liner notes and full attribution for all field recordings) and to download the entire release for free, please visit http://www.stasisfield.com/releases/year12/sf-12001.html.

Image copyright 2013 John Kannenberg.

Download

I wish to live with myself (from "Absence sleeps between the buildings at night", 2014)

Uploaded with AudioShare app - http://kymatica.com/audioshare

OneBit_BassByte

MUSASHIDEN - CAUSTIC 3

Hypercube

I decided I might as well mess around with my own stuff since everyone one else is, so here is the mysterybear mix.

I took the third chunk, and decided to layer it over itself, using Audacity effects only and no editing. I did it pretty fast and didn't take notes, so some of my details may not be completely accurate.

First layer: pitch-shifted up an octave, subjected it to crossover distortion, and finally run though a resonant filter swept by a Lorenz fractal.

Second layer: pitch-shifted down an octave and then went through a Chebychev distortion effect.

Third layer: the original chunk with no effects at all.

I applied staggered fade-ins and fade-outs to the layers, and then mixed them down into a single stereo track.

I found the image at http://jellybellyonaplate.tumblr.com/

--

More on this 114th Disquiet Junto project — “Combine elements of Dave Seidel’s album ~60 Hz (Irritable Hedgehog)” — at:

disquiet.com/2014/03/06/disquiet0114-60hz/

More on the Disquiet Junto at:

http://disquiet.com/?p=16588

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

The source audio is from Dave Seidel’s ~60 Hz album, released on the Irritable Hedgehog record label. More on the album at:

http://recordings.irritablehedgehog.com/album/da…el-60-hz

Wibbly Wobbly [disquiet0114-60hz]

My entry for Disquiet Junto project 148: "Make music inspired by and suitable for listening to while reading William Gibson’s novel The Peripheral."

More from the project description: "You will make two minutes of loopable background music. The music will be inspired by a phrase from William Gibson’s novel The Peripheral. Think about music that is suitable to reading."

We were provided three different passages to use as possible starting points. I chose this one from Chapter 56 (“The Light in Her Voice Mail”): “The ambient sound was glum as the light, as calculated to unsettle.” The title comes from the previous sentence in the book: "A wintery light found its way down, as from unseen windows."

I wrote this in Csound, using the blue frontend. After looking into ultrasound and infrasound, and rejecting them as impractical for MP3s, computer speakers, and headphones, I decided to stick with the general idea of using a high sound and a low sound. The high sound consists of three pitches at or near 1920 Hz, expressed using binaural beating. The low sound is at 45 Hz and also uses binaural beating. I used only sine waves, with a bit of digital reverb and finally some convolution reverb using an IR from York Minster in the UK as provided by the Openair project: http://www.openairlib.net/auralizationdb/content/york-minster. This was all done in Csound, then normalized and converted to MP3 in Audacity. Total working time, once I started actually making it, about 2 hours.

The image comes from Wikipedia (https://commons.wikimedia.org/wiki/File:FC8.H8177.879dc_-_Des_destin%C3%A9es_de_l%27ame_-_Harvard.jpg) and is described as follows: "Copy of Des destinées de l'ame by Arsène Houssaye, published in Paris, France, 1880s. According to source's item description: Bound in human skin taken from the back of the unclaimed body of a woman patient in a French mental hospital who died suddenly of apoplexy; laid into case with this book is typed memorandum by J.B. Stetson giving details of its provenance (an example of anthropodermic bibliopegy)." It is in the public domain.

---

More on this 148th Disquiet Junto project — “Make music inspired by and suitable for listening to while reading William Gibson’s novel The Peripheral″ — at:

http://disquiet.com/2014/10/30/disquiet0148-peripherallistening/

a wintery light [disquiet0148-peripherallistening]

My entry for Disquiet Junto 178. In this project, we were presented with a field recording of bells in Berlin, and directed to "[r]ework the source audio in a manner that reinforces the melodic component of the bells. Beyond that sole instruction, the choices are up to you." 

Process:
1. take a 56-second excerpt from the source file (156s - 212s)
2. apply fade-in and fade out
3. stretch the track to four times its original length (using the Paulstretch effect in Audacity)
4. using Csound, convolve the track against an impulse response file made in an empty nuclear reactor hall (see below for details)
5. repeat step 4 four more times (five times in all)
6 convert to FLAC, add tags, upload

No additional sounds were added.

The impulse response I used is from the CC-licensed Open Acoustic Impulse Response (Open AIR) Library, specifically the "R1 Nuclear Reactor Hall" IR, made in empty hall of the first nuclear reactor in Stockholm. Link: http://www.openairlib.net/auralizationdb/content/r1-nuclear-reactor-hall

-----

More on this 178th Disquiet Junto project — “Emphasize the bells in an urban field recording” — at:

http://disquiet.com/2015/05/28/disquiet0178-sepulchrabells/

Source audio by Michael Raphael, aka Sepulchra, who runs the sound-library firm at rabbitearsaudio.com. Audio used with Raphael’s permission. Track originally posted at:

https://soundcloud.com/sepulchra/150526-marienkirche

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/

Reactive Sepulchre [disquiet0178-sepulchrabells]

I've wanted to get a white-noise module for awhile, and finally added one to my setup. This module has 7 different noise sources, including white, red, grey, and blue. Each is being triggered by a different sequence. They're all in sync, though one is slightly delayed, which lends a tiny bit of character to the cadence, I think. The only reason I skipped pink is because I don't have any pink cables right now, and the color-coded cables helped me keep track of things.

You can blame this on someone who's listened to too many Chain Reaction releases, too much Consolidated, and too many scores to Michael Mann films.

Slightly more technical information: The sequences are all in CV Toolkit (a piece of software running on my laptop), and they're getting to my modular synthesizer via an Expert Sleepers ES-3 module. The noise-source module is the Quantum Rainbow 2. The white, red, and grey sources are all receiving sequences directly from the software. The blue source is getting a slight trigger delay (and a slightly extended length to the trigger), thanks to the Doepfer A-162. The whole thing is being mixed in an ADDAC 802 VCA Quintet, and out through a Pittsburgh Outs, through a Focusrite Scarlett 2i4. It was recorded in Audacity. 

White Noise Beat

I was asked by the Dutch musician Michel Banabila to contribute a remix to Marilli Remixed, a collection of reworkings of tracks from his very first album, Marilli, released in 1983. I selected the fourth track on the first side of the LP.

The original was elegant, but had percussion throughout. I wanted the ambient quality more formalized, and the percussion a little more muted and arhythmic.

. . .  

Here are some notes on my remix. I’ll note in advance, they’re fairly technical, as a notebook entry on what went into this, and what I learned in the process.

I used the my modular synthesizer (mostly filters, and a little triggered live sampler), the software Audacity (to sequence it, and also for some effects), and my Monome (running the mlr patch in the software Max). 

First I stretched a relatively percussion-less segment of the original track to get an ambient bed, yielding in the end something about 30 seconds long. I set it to run eight times in a row, overlapping to varying degrees at each repeat. 

Then I extracted a small percussion loop from the original. I did a "live performance" of that percussion loop with the Monome (four simultaneous tracks: one straight through, two running tighter sub-loops against each other a little quieter, and one in reverse even quieter still, though it's also the last bit to fade out of that sequence, so it has a little moment in the sun). The loop ran a little slower than the original, and I used a small Novation Launch Control to manage the relative volume of the four tracks within mlr.

And then I used my modular synthesizer to create variations on the ambient bed, which I layered in at various stages. 

In the end I had eight tracks in Audacity:

The 1st and 3rd tracks are the eight sequential repeats of the ambient sound bed, each intersection overlapping to varying degrees.

The 2nd track is a filtered version of the ambient bed, which has a slow LFO on it (giving it a light Laurie Anderson–ish "ha ha ha" feel) and some echo. This was done on the modular using a filter (either the A-121 or the A-136 or the Z2040 — my notes are unclear — influenced by a digital LFO, the Hikari Sine, and then run through an Eko module).

The 4th is the "live performance" on the Monome of the percussion loop, running mlr. It has four tracks of the loop doing different things. I used a Novation Launch Control to balance the volume of those four tracks.

The 5th is a copy of the ambient sound bed, pitched lower for the full length of the loop. This gives it that deep vibe for the penultimate repeat of the ambient bed. In track 1 at that same stage the volume of the original ambient bed is a little quieter, to let the deep version sound even louder than it is, in relative terms. 

The 6th track is a copy of the ambient bed but pitched higher, and I just use it for a very short moment, a final peak before the track fades out. 

And the 7th and 8th are two different instances of the same tweak of the ambient bed, which I did in the modular using a Harvestman Polivoks. It's a tingling, slightly irritating sound, a momentary breach in the ambience.

The whole idea is it opens with this expanse, and then goes to something a little tribal, and then returns to the expanse. I'll be honest about my influences here. The ambient bed is striving toward Brian Eno's Thursday Afternoon, and the rhythmic part has Peter Gabriel's soundtrack to The Last Temptation of Christ in mind. The first appearance of the Polivoks "irritant" is then repeated toward the end to provide a sense of reflection on where the piece started, but in between is that percussion performance. The deep vibe in track 5 gives an orchestral sense of closure, and the peak in track 6 is little filigree, like the clouds breaking, before it all ends.

At least that's where I ended up. It wasn't where I started. When I started, it was all gonna be about this firecracker/rattle sound in the original, but in the end I went a totally different direction.

Free Album Download

"A4. Marilli Rmxd 14"

disquiet 0245
Disquiet Junto Project 0245: Practical Music
Write a piece of music for getting things done, suitable for playing on repeat.

Clean up, routine, tiding up....that leads me to repetitive stuff.
I played a simple riff on my “diaz custom5”  drake bass guitar, very repetitive and yet variations going from A to D to D/E with no real structure.
Added a synth bass drone, and a Wurlitzer A200 electric piano improvising a bit.
Then some repetitive voices (tah-tah-tah-tah...) in four part harmony/
My usual rhythmic delays played a big role, here in 1/8th and 1/4th notes.
You can loop this, there’s no lead in or lead off.
Love
DD
Recorded in Paris, France September 9th  2016.

More on this 245th weekly Disquiet Junto project — “Write a piece of music for getting things done, suitable for playing on repeat” — at:

http://disquiet.com/0245/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/disquiet-junto-project-0243-synth-trial/4288

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by jurek d. and is used thanks to Flicker and a Creative Commons license:

http://flic.kr/p/npLwcU

clean it and loop it - disquiet0245

This is based on a Pure Data patch I made called "Oval Noise" because it reminded me of Markus Popp's ovalcommers-era sound. 

The patch is a mess since I just kind of threw it together with 3 oscillators playing one of four pitches randomly, with 2 of them summed up and the other being sent to another effect along with being summed with the other 2. 

Pure Data measures tempo by millisecond, so I started at 500 (i beat every half second), then divided it by 2, 4 and 6. The last little bit is divided by 8. 

Recorded into Audacity where I cropped it and fixed some clipping issues. 

||||

More on this 246th weekly Disquiet Junto project — “Compose a piece of music that increases speed in stages as it proceeds.” — at:

http://disquiet.com/0246/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/double-quadruple-sextuple-music-disquiet-junto-project-0246/4549

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by Oliver Gouldthorpe and is used thanks to Flicker and a Creative Commons license:

flic.kr/p/sMDxq

https://creativecommons.org/licenses/by-nc/2.0/

Latticeworks (disquiet0246)

Experimental electronic music, mostly in the drone category. This is where I put live sets, one-offs, experiments, and excerpts from longer releases.

CD: "~60 Hz" on Irritable Hedgehog - http://recordings.irritablehedgehog.com/album/dave-seidel-60-hz

All releases, including netlabel items: 
http://mysterybear.net/music

https://mysterybear.bandcamp.com/

Sorry, SC won't let me follow any more people, so don't feel slighted if I don't follow you back.