Response to the 500th Disquiet Junto assignment "Play a tune by yourself and as if by two people whom you invent". For this, the two people I "created" were two alternative versions of myself, who differ from me in the sense of having made different decisions at pivotal moments in my/our youth and thus evolved to have different creative approaches/philosophies. 

N1 (my actual self) started this assignment by recording myself improvising on the darbuka (a goblet-shaped drum I've recently starting learning) for approximately 6 minutes, focusing on the idea of "being authentically myself to the best of my current abilities with this instrument". 

N1 then selected about 2.5 minutes of the recording, copied/layered the track twice, adding a variety of effects to each layer including surround and convolution reverb, flanger, bass, and phaser, and keeping the original speed intact (as this felt necessary in the sense of "authenticity"/purity).

N2 took the track N1 exported and listened to her concerns about maintaining the original speed, but determined that it was not at all "less authentic" to alter it. Armed with confidence, she made 2 new tracks, at 125% and 150% speed respectively. She kept the first half of the 125% track, the second half of the 150% track, then made 3 copies/layers of the 150% track, and added a variety of additional effects including delay, phaser, pitch shifter, noise reduction, distortion, de-reverb and a lot of flanger to the assorted layers. 

N3 agreed with N2 about speed alteration and went further to assert that adding new content wouldn't compromise whatever "authenticity" or "purity" N1 was trying to get at. She then selected one of the 3 tracks from N1's composition and slowed it down to 85%, selected an excerpt from it, and layered it with audio recordings of herself reading passages from The Ardour Manual, alongside an ambient/slightly dramatic track from freesound.org. Numerous effects were added to these layers, including more phaser and a variety of delays/echoes to the speaking track.

All three Ns then brought our tracks together into the track posted here (in order, N1-N3), collectively reflecting on how we all enjoyed exploring how the darbuka can sound through various effects/filters, and how the evolution of the rhythm and the contrasting layers accurately reflected many aspects of our mental processes/"ways of being/seeing in the world". 

Equipment: Zoom H4N, 43 cm copper metal Gawharet El Fan Darbuka, 2 hands, 3 minds, edited in Adobe Premiere (but onward soon to Ardour!)

Works cited/sampled (make sure to credit these if you re-use any portion of the track where they appear, 04:12-06:31): 
1.) suonho // erh-p1-2o2bb12-14-alien-sounds-floating-fortress-rwrk// from freesound // CC BY: https://freesound.org/people/suonho/sounds/58769/# 
2.) The Ardour Manual (https://manual.ardour.org/toc/)

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- More on this 500th weekly Disquiet Junto project — Humming to Your Selves (The Assignment: Play a tune by yourself and as if by two people whom you invent) — at: https://disquiet.com/0500/
- More on the Disquiet Junto at: https://disquiet.com/junto/
- Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/
- Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0500-humming-to-your-selves/

A Separate Window disquiet0500

I chose an E flat maj7 chord and a Edim7 for my chords. I set up a clock pulse that fed into 3 Bernoulli switches which triggered sample and hold of a noise source which was then fed into 1 of 2 quantisers, quantised to the respective chord notes. Triggers and note info was then sent into 1 of 2 instances of Rings, 1 was a short pluck, the other a sustained note.
 I recorded 3 passes of this patch and then played them back at different speeds fading them in and out to create chance combinations of the notes. This was then glued together in Rymdigare which also added a wee bit of pitch warble.

More on this 514th weekly Disquiet Junto project — Chord Channels (The Assignment: Take two chords and connect them over time) — at: https://disquiet.com/0514/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0514-chord-channels/

There’s also a Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion.

Waveweave (disquiet0514)

A sequence of enhanced recorded & electronic sounds.

Waves Of Darkness (naviarhaiku409)

Herbert Weisrock - Barritone saxophone
Thomas Sander - Guitar, E-Bow

SHORT-TERM DEPOSIT II

This is the longest song I made or I think it is and it’s also my favorite one so far I hope you enjoy it.

Unsettled Submission

A waltz for people who have a hard time counting to three.

Nerkstura

21 3 9

naviarhaiku422 – the edge of the world

the edge of the world
– the road vanishes into
a curtain of mist

Raymond Cobley is an experimental composer and regular participant in our Haiku challenge. Now retired, Raymond aims to explore the possibilities afforded by open-source software, which he uses exclusively for creating and editing both sounds & images. All his works are published ​under a Creative Commons licence, and free for anybody to download or remix.

Into a curtain of mist (naviarhaiku422)

(Artwork by Jiri Buunk)

made in Ableton Live 11.1 Suite

all samples and presets home brewed

2 samples used for Simpler; a rythmic sample made in Reason 11 Suite, that plays at different 'speeds' and some other different settings.
that is 2 x Simpler..
and 1 Simpler for the vocal sample.

so:

3 x Simpler
1 x Parsec (Reason Rack Plugin)
1 x Unfiltered Audio LION (MPE)
1 x Dawesome Abyss (MPE)

and several effects, mostly the built-in ones.. some spectral magic..

mastered in Wavelab 11 Pro with SpectraLayers 8 Pro

(Final or Fatal Version of These Are The Dreams)

These Were The Dreams

a good friend of mine painted a series of images based on descartes' "meditations on first philosophy."

https://www.lowwintersun.org/work/descartes-meditations

i took painting number 6, sliced it into five strips, fed the images into photosounder, the converted the resulting .wav files to MIDI (quantized to 16ths). i used the MIDI clips separately to trigger various samples: kick; snare; low tom; floor tom; hi-hat. i added a steady hi-hat pedal to help navigate the slightly offbeat rhythms.

finally, i layered in a live guitar piece (played through VCV rack, which i first encountered through disquiet junto, many moons ago...)

some possible questions: how can we think about the relationship between something rhythmic (the "beat") and something a-rhythmic (the "ambient" guitar)?
do they feel like two utterly separate streams, or do they somehow inform each other?
also, my track is only one minute long - can something so short be called 'ambient'?
more generally, can such a brief composition claim to establish a mood or atmosphere?

(wittgensteinian thought: i can claim to have felt sad for one minute, but not to have been depressed for one minute. certain moods or states require longer stretches of time to operate.)

all the best, htnc

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More on this 544th weekly Disquiet Junto project — Feedback Loop (The Assignment: Share music-in-progress for input from others) — at: https://disquiet.com/0544/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0544-feedback-loop/

[disquiet0544] cartesian drummer

King Imagine: Elotronix, FX, Sub - 
Bruno Gussoni: Shakuhachi, Nohkan

KIng Imagine & Bruno Gussoni - Photosynthesis

all compositions and art - peter wessell
all instruments -peter wessell

1 Creation

Artist, aspiring folklorist, and student of the Disquiet Junto, from the other side of the meta-narrative.

A Separate Window disquiet0500

nikikana

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