More on this 229th weekly Disquiet Junto project (“Fourth Worldizing: Use a favorite trick of legendary sound designer Walter Murch”) at:

http://disquiet.com/0229/

Thanks to Steve Ashby (ashbysounds.com) and Jakob Thiesen (jakobthiesen.flavors.me) for beta testing it.

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Subscribe to project announcements here:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project from the film THX-1138.


Disquiet Junto Project 0229: Fourth Worldizing

I used two impulse response reverbs in cascade and I slowed down the impulse response files by 15 times and by 8 times.

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

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

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

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/

Image associated with this project from the film THX-1138.

You [disquiet0229]

More on this 229th weekly Disquiet Junto project (“Fourth Worldizing: Use a favorite trick of legendary sound designer Walter Murch”)      release date: 19 May 2016

Large Hadron Collider(Disquiet Junto Project 0229 Fourth Worldizing)

As is often the case, the Junto idea is something to leap off of in the direction of what I would generally do when doing a Junto.  Doing something simple/quick/trashy with something on hand that I don't otherwise use too much.  And then philosophize too much about the whys and wherefores.

I bent or broke the Murch fourthworlding by:

--recording the source sound (the raking of a metal box fan's grill face, open air feedback of recording set up) in pretty much the same room in which it was later rerecorded at 4x speed playback

--never playing the ambient sound in sync with the original recording (obviating the whole approach meant to shift/recreate/4th world the ambient space) 

--never playback any of the sounds (within the final recording) at any speed greater than .4 times original speed.  And generally much slower than that.

I like the Murch approach and admire his craft and resourcefulness.  But I really didn't want to emulate it.  I heard the speed change part, and never meeting a varispeed playback I didn't like, went with that in a very generalized way.  The ambient tracks were recorded of a 4x speed playback of the original sounds just as Murch would've done, but that's it.

Arguably, I otherworlded things.  Nothing came out as it went in, no elements combined in a march step manner to subtly expand a seemingly naturalistic space.  Nope.  

Kept things simple so it could function in a short, roughly one minute duration.  The sounds occur in a loose field that can more or less play out in the time.

Again quick & dirty:  Recorded two mono original tracks on PPC iMac laptop running Audacity.  Played them back at 4x speed running Gleetchlab out the headphone jack into a venerable boombox with line in jacks.  Recorded that in stereo via an Android phone running Titanium Recorder.  Combined tracks in loose non-sync/various slow non-reconstituting speeds via Gleetchlab on same laptop.  Edited the selected take in Audacity.

More on this 229th weekly Disquiet Junto project (“Fourth Worldizing: Use a favorite trick of legendary sound designer Walter Murch”) at:
http://disquiet.com/0229/

Thanks to Steve Ashby (ashbysounds.com) and Jakob Thiesen (jakobthiesen.flavors.me) for beta testing it.

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

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

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

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/



4th Of Other - Disquiet0229

This week's prompt finds me experimenting with using very different tools that I normally do. It would seem that Mr. Murch had tape recorders with variable speed controls for both record and playback functions. My normal field recorder does not have this functionality (well, at least I couldn't figure it out if it does). I know this sort of manipulation can be done after the fact, but I wanted to experience what it is like using the precise method for creating a reverberant space which he describes in this video:

https://www.youtube.com/watch?v=_py6jVyOqUY 

All sounds in this track are taken from his video and there was no post production other than a slight bit of EQ to keep my ears from totally bleeding. I recorded the playback of the video on my iMac using SmartRecord on my iPhone. This app has the ability to both slow and speed up both recording and playback, but it's max speed is 2X. So After I recorded the initial recording at 2X, I then bounced that over to my iPad recording with the same software also running at 2X. This got me into the realm of the 4x recording he mentions. All of these recordings were done over the air in my studio space which doesn't have much going on in the way of acoustic treatment. After these initial two recordings, I began bouncing faster and faster, and then slower and slower. I was greatly irritated by the exceptionally aliased recordings complete with stair stepping and  piercing artifacts. But, these were being played and recorded, repeatedly, with tinny consumer-level speakers on portable devices not known for their fidelity. I did eight takes on each device for a total of sixteen; half speeding up, and then half slowing down (.5X is the slowest it could go). After that I ended up with the screechy drone that runs in the middle channel of this. I captured it using my MKH20 pointed towards the iPad's speakers. I didn't care for it by itself and decided I'd bring two of the early iterations into play in the left and right channels panned hard each way. I really liked hearing my breath, which was frustrated as I did this, in the recordings. That and my clumsy efforts to press play and record on multiple devices concurrently led to some thumps and bumps that I also like in the final mix. I was surprised to find that once I'd sped things up that many times, and bounced the recordings that many times, there was no rescuing the human vocal data of the original recording. No matter how much I slowed things down on the drone, it droned on.

More on this 229th weekly Disquiet Junto project (“Fourth Worldizing: Use a favorite trick of legendary sound designer Walter Murch”) at:

http://disquiet.com/0229/

Thanks to Steve Ashby (ashbysounds.com) and Jakob Thiesen (jakobthiesen.flavors.me) for beta testing it.

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Subscribe to project announcements here:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/


Church Of Murch [disquiet0229]

track here https://hearthis.at/sevenism/discontorted-space-disquiet0229/

i've been doing alot of distorted ambient this week (https://sevenism.bandcamp.com/album/waves). this stumped me at first, nice to learn something new!

-recorded short piece thru zynfx -> podfarm -> ddly
-change speed 4x in audacity
-re-recorded with cardioid mic quite far from speakers (to capture lots of air!)
-slowed down in audacity

listened with headphones and if anything it's decreased the sense of space.. but i couldn't find anything to record sped up. heyho.

edit: digitally expanded version here: https://sevenism.bandcamp.com/track/dis-con-torted

Oo..oOOo..oOOo..oOOo..oOOo..oOOo..oOOo..oOOo..oOOo..

Disquiet Junto Project 0229: Fourth Worldizing
Use a favorite trick of legendary sound designer Walter Murch.

Background: At 2:14 in the following YouTube clip of an interview about the concept of “worldizing” with sound-design legend Walter Murch he plays a bit of a movie, THX-1138, and then describes the process of recording something to get an exaggerated sense of the space in which it was recorded: “If you are in an ordinary sized room and play the voice at four times speed … and you record it on the other tape recorder, also running at this very fast speed, then when you play the other recorder back at normal speed you get the original sound but you get the space of the room as if it was four times larger than it really is.” (Just to expand the idea a bit, the project’s title, “Fourth Worldizing,” is a nod to musician Jon Hassell.)

https://www.youtube.com/watch?v=_py6jVyOqUY

These are the steps for the project:

Step 1: Using the trick Murch has provided, make something of it.

Step 2: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 3: Annotate your track with a brief explanation of your approach and process.

Step 4: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in shortly after noon, California time, on Thursday, May 19, 2016, with a deadline of 11:59pm wherever you are on Monday, May 23, 2016

Length: The length is up to you, though between one and three minutes feels about right.

Upload: Please when posting your track on SoundCloud, only upload one track for this project, and be sure to 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. Photos, video, and lists of equipment are always appreciated.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please in the title to your track include the term “disquiet0229.” Also use “disquiet0229” 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, please be sure to include this information:

More on this 229th weekly Disquiet Junto project (“Fourth Worldizing: Use a favorite trick of legendary sound designer Walter Murch”) at:

http://disquiet.com/0229/

Thanks to Steve Ashby (ashbysounds.com) and Jakob Thiesen (jakobthiesen.flavors.me) for beta testing it.

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

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

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

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/

waves

dis|con|torted space (disquiet0229)

Over 20 years ago, Mark Gage of Vapourspace and I sat down with my Roland S-760 sampler and its little monochrome monitor to mangle sound and derive various essences from the sound to inspire creativity.  Mark was-- and still is--a true master of this technique in a time when it wasn't a mouse click away and required much trial and error, not to mention loads of patience.  This project took me back to that time.  The sound is from a field recording of African Pygmies.  I used only the initial recording done in the manner described in the project. It became the audio version of pixelated to my ears, and it was the launch pad for this piece.  

Pixelated Pygmy {Disquiet 0229}

Ohm Research: 
Craig & Todd Wharton 
Craig Carlton [https://soundcloud.com/user-453495586]
Bandcamp: https://ohmresearch.bandcamp.com/
Annasenz [https://soundcloud.com/annasenz]
Processing Room [https://soundcloud.com/processingroom]
Exploring the sonic landscape since 1979.