Interpretation of a graphic score by composer Cat Hope. Most sounds are generated in VCV rack, with the exception of a few vocal samples of the amazing Audrey Chen (http://www.audreychen.com) — from the Xtended Vox sample library.

Project Discussion: 
https://llllllll.co/t/interpretive-lines-a-community-graphical-score-project/60418

Photo by Alexander Ant on Unsplash

Bubble Stops (Interpretive Lines)

23 0728 MU Extension Livestock Specialist Gene Schmitz cut 4

23.07.28 Arrival

Cafe Del Mar Vol 14

I Believe

Katy Perry  Swish Swish Instrumental

LIFE AIN'T SHIT (FEAT. JXYKXLLJXY)

Disquiet0609 - 60bpm

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]

Music that listens to itself.

More on this 611th weekly Disquiet Junto project, Music That Listens to Itself (The Assignment: Record a piece of music that repurposes itself as it proceeds), at: https://disquiet.com/0611/

Some of the music resulting from this project may be included in a September 29, 2023, event at the Berkeley Alembic in Berkeley, California: https://www.eventbrite.com/e/expanded-listening-music-that-listens-to-itself-tickets-712124101357

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-0611-music-that-listens-to-itself/

certain debt [disquiet0611]

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/

Bubble Stops (Interpretive Lines)

Borhane

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