Definitely a temporal disturbance here, like time itself looking askance at mans attempt to control!

So lush. How did you interact with the Mikrophonie? Striking it?

great sounds, they go very deep, excellent

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

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:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

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

Image associated with this track is by Heather and used thanks to a Creative Commons license:

flic.kr/p/4fD1HJ

creativecommons.org/licenses/by-nc-nd/2.0/

Disquiet Junto Project 0264: Time Travel

https://www.beatport.com/artist/xfa/589219

MMXXIVVIIIVBRCHD

More on the 665th weekly Disquiet Junto project, Clicks + Cuts Music Factory — The Assignment: Record a track in honor of the late Achim Szepanski — at https://disquiet.com/0665/

cut past present (disquiet0665)

Made for Disquiet Junto Project 0665: Clicks + Cuts Music Factory
The Assignment: Record a track in honor of the late Achim Szepanski.

Background: Achim Szepanski (1957-2024), founder of the Mille Plateaux record label, among numerous other accomplishments, died this week. This project is in his honor. You needn’t know much if anything to begin this project; just follow the instructions. As always, discussion of the topic at hand in the project’s llllllll.co message thread is encouraged.

Step 1: Listen back to the first Clicks + Cuts compilation album (originally released in 2020). It is streaming on YouTube (the first hour or so of that playlist).

Step 2: Consider the common elements in various tracks: the glitch effects, the sense of space, the attention to tiny details, the industrial minimalism, the emphasis on sampling, the tempo, the groove. What else do you hear?

Step 3: Record a track in the spirit of that first Clicks + Cuts album.
---
My notes:
I had not heard of the label, but was familiar with some of the artists on that compilation. I enjoyed the music and it was fun to try and make something inspired it. I used various samples including my handpan, camera, bathtub and water sounds from a Mr. Bill sample pack. The only non-sample part was is the bass track, which is from Ableton Drift synth. Processed the handpan samples with the excellent PitchLoop89 device in Ableton.
I imagined attempts at taking photos of, under and around water as this evolved.
---
More on the 665th weekly Disquiet Junto project, Clicks + Cuts Music Factory — The Assignment: Record a track in honor of the late Achim Szepanski — at https://disquiet.com/0665/

The image associated with this project was created by Lubomir Panak in 2011. Originally posted on Flickr, it is used thanks to a CC BY-NC 2.0 license. This is a detail of the original image, and it has been tilted at an angle, with the project information superimposed.

Drizzled Mementos [Disquiet0665] [Weekly Beats 2024 Song 39]

I recorded this late night Thursday October 3rd 2024 and during the morning of today, next day, Friday.
Tempo is 66 bpm
I used 6 instances of Kontakt with creepy sounds and orchestral bursts.
I recorded 6 tracks with toys and little percussions I had around the studio (sticks, crotales, a turtle shell, a "cuica")


I used a photo by Vitaliy Shevchenko for the cover image.

Congratulations @disquiet  and all junto fellas for this diabolical milestone.
For this junto project:
https://llllllll.co/t/disquiet-junto-project-0666-beauty-and-the-beast


666 (disquiet0666)

Like water

More on the 673rd weekly Disquiet Junto project, Switch Back — The Assignment: Make the quiet part loud, and vice-versa — at https://disquiet.com/0673/

As well as the more obvious switches, this track also features the wonderful Sumu plugin from Madrona Labs ... https://soundcloud.com/madronalabs ... Hot out of the workshop, having just been released as version 1.0, after an extended beta testing phase ... As you can hear, it doesn't disappoint! https://madronalabs.com/products/sumu?locale=us

You'll be hearing more unusuaL Sumu sooooon 😁❤️

more halF unusuaL

halF switcH [disquiet0673]

Electric guitar, electric bass, soundscapes (some synth washes but mostly a reversed guitar track)
Related to this track https://soundcloud.com/daniel-diaz/tempest (that focuses more on the reverse guitar track from the same session)

This track "Down Together" was finished tweaked and mixed today inspired by this haiku by Miura Chora (1729-1780):
Stillness:
The sound of Petals
Sifting down together"


@naviar-records

Down Together (naviarhaiku571)

ça devait être autrement

Flight 333

was thinking about space dilating as i imagined speeding through time.

i got some cello samples and put them thru the protoplasm tsm synth, lots of oscillation, then had dimension expander and crystal reverb automated so they'd get bigger throughout. 
pulled into audacity and sliding time stretch applied so gradually speeds up
audition - duplicated track, stereo widened, then crossfaded with previous track to gradually get wider. mastered

....

Disquiet Junto Project 0264: Time Travel
Record a piece of music that plays with the perception of time.

Step 1: Recorded music is, generally speaking, a fixed object. It’s a document. It proceeds linearly, over time. It is, in the terminology of fine art, “time-based.” That said, music has the power to change one’s perception of time. Slowing and speeding tempo alone can alter a listener’s understanding of what is happening. Backward masking, sublimated hints of themes yet to come, the sound of a tape in fast forward mode — those are just a few ways that a composer can suggest that time is not moving linearly. Now, consider for a moment the tools available to give an impression of time doing things other than proceeding in a steady forward motion.

Step 2: Record a short piece of music that takes time travel as its theme, using ideas that resulted from the consideration in Step 1.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0264″ (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

http://llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project’s deadline is 11:59pm wherever you are on Monday, January 23, 2017. This project was posted in the morning, California time, on Thursday, January 19, 2017.

Length: The length is up to you, but two to three minutes sounds about right.

Title/Tag: When posting your track, please include “disquiet0264″ in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, 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.

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 online, please be sure to include this information:

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

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:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

temporal pulse (disquiet0264)

This is a tough one to describe.  I knew I couldn't do time travel with just an instrumental.  There had to be a voice involved.  Some kind of narrative.

The voice sample (not me) is altered.  Pitch-shifted up on the left and lowered on the right, but the duration was preserved on both to avoid phasing.  A bit of reverb.  The two samples were panned.  You should really listen to this piece with headphones.

Was the voice recording cut up and re-ordered or is it a continuous rant?

The subject matter does the time traveling in my mind:  Beach Boys, David Lynch movie, minute steaks with sunnyside up eggs, Edgar Winter, Stevie Ray Vaughn, Vyvanse, swinging bachelor pad, dress pants and dress shoes, shaved head, Mannix, Ironside, The White Album, Revolution #9, Long Long Long, Revolution #1, sleep, swagger, "the same feeling that night I drank", "the shield of armor" (which is Ephesians 6:10-18), AA talk, "and then Laura told me to Sit In That Feeling."

Book-ending it with talk about "a David Lynch movie" and "Laura told me to sit in that feeling" was intentional.  Or was it?

Was I trying to make the voice sound like a cheap version of The Man From Another Place, or did it just turn out that way?

Now you're thinking about the Twin Peaks reboot.  This isn't about the Twin Peaks reboot.  Or is it?

Music added includes bits of "We Meet Again" by Ambient Matyk (to be released soon), "Feather Ridge", "Kad", and "Shunting" by me, and some extra sounds.

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

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:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

Sit In That Feeling (disquiet0264)

One Percent Disjunction [disquiet0264]

I thought I’d approach this by exploring the inside of a stretch, rather than just absorbing the overall drone effect. Not sure if it worked, but it was fun.

I took a 3 second sample from a piece I was working on. I used Audacity’s Sliding Time Scale effect on it. This stretches the sample unevenly, pulling only from one end, as it were. When the result was just over three minutes long, I reversed it. 

I duplicated the track and then pitched it down by 1% - that is by 0.01 of a tone. This helps create the phasing and movement you hear in the track. I also mixed these together and laid the mix as another track, but out of phase by 0.01 of a second.

A reverb version of the mixed tracks was also laid (in phase).

The ending was made by stretching the original sample out 12x using Audacity’s simplified version of Paulstretch.

The track image was made by applying similar principles to Marc’s email image, using paint.net



----------------------------------------------

Disquiet Junto Project 0264: Time Travel

Record a piece of music that plays with the perception of time.

Step 1: Recorded music is, generally speaking, a fixed object. It’s a document. It proceeds linearly, over time. It is, in the terminology of fine art, “time-based.” That said, music has the power to change one’s perception of time. Slowing and speeding tempo alone can alter a listener’s understanding of what is happening. Backward masking, sublimated hints of themes yet to come, the sound of a tape in fast forward mode — those are just a few ways that a composer can suggest that time is not moving linearly. Now, consider for a moment the tools available to give an impression of time doing things other than proceeding in a steady forward motion.

Step 2: Record a short piece of music that takes time travel as its theme, using ideas that resulted from the consideration in Step 1.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0264″ (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

http://llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/


Join the Disquiet Junto at:

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

One Percent Disjunction [disquiet0264]

God: You can never change the future. The past, yes, but not the future.

Lucifer: How do you change the past?

God: Why, the past is always changing—nobody remembers anything. But the future can no more be turned away than the light flowing off the moon.

This bit of dialogue is from Arthur Miller’s underrated play The Creation of the World and Other Business. It comes at a crucial point in the narrative where Lucifer admits to God that he compelled Eve & Adam to partake of the forbidden fruit, an act that ultimately banished God’s children from the Garden of Eden.

Time travel is not impossible; we are always revisiting past events in our efforts to understand the present, and our attempts to predict the future often arise from moments of stagnate contemplation. Anyone who has experienced the feeling of traveling by air or rail understands the dichotomy between moving and not moving, not unlike how a great piece of music rewards the listener’s investment by making time stand still.

For this short piece, Suss Müsik literally went back in time—ten years, to be exact. The source material is an eight-bar guitar phrase played with a Danelectro 12SDC 12-string in 2007. The sample was chopped through a Korg ToneWorks 411X processor and recorded live from a Vox AD30VT. The binaural motion cycles for about two minutes or so before the reverse reverb winds it down, coming almost to a halt. The momentary respite allows for a calming pause before the cymbals announce their arrival.

The piece is entitled Trammel, a word to describe something that restricts or impedes one’s freedom of action.

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquietjunto/

Project discussion takes place on llllllll.co:

llllllll.co/t/musicfortimetravelersdisquietjuntoproject0264/6157/

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

Trammel [Disquiet0264]

This is an audio imagining of being stuck in a rift in time-- caught in the eye of a time storm.  What is heard is a modular patch involving primarily a Mutable Instruments Rings, being triggered by a Music Thing Modular Mikrophonie and also processing the ambient room sound passing through the Mikrophonie, then passing through a Mutable Instruments Clouds.  Various aspects of the sound are modulated by a Mutable Instruments Tides, with bit of sample and hold routed to the input of the Mikrophonie.

Temporeal (Disquiet 0264)

My 33 1/3 series book about the Aphex Twin album <i>Selected Ambient Works Volume II</i> was published in 2014. The book was one of the top 5 bestselling titles for the calendar year, and in 2015 was ranked by Pitchfork as one of the "33 best" of the 100-plus books in the 33 1/3 series. It has subsequently been translated into Japanese (2019) and Spanish (2018)

Since 2012 I have moderated the Disquiet Junto group, which began on SoundCloud. More at disquiet.com/junto. 

I've written for Nature, Pitchfork, The Wire, Down Beat, Boing Boing, NewMusicBox, Red Bull Music Academy, Art Practical, the website of The Atlantic, and many other publications. 

I've exhibited sound art at galleries in Los Angeles (Crewest), Manhattan (apex art), and Dubai (DUTAC), and I had a audio-visual installation at the San Jose Museum of Art as part of its 45th anniversary.

And since 1996 I've run the website Disquiet.com about the intersection of sound, art, and technology.

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.

Temporeal (Disquiet 0264)

Ohm Research

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