Great sounding track! Sector still fascinates/puzzles me, I never quite get what I was looking for but this inspires me in new directions :-)

More on this 242nd weekly Disquiet Junto project — “Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware” — at:

http://disquiet.com/0242/

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/share-yer-knowledge-disquiet-junto-project-0242/4218

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

The image associated with this project is by Susanna Bolle, and is used thanks to a Creative Commons license:

flic.kr/p/8F9Jmz


Disquiet Junto Project 0242: Share Yer Knowledge

Using a feedback delay you can add more color and variations by processing the feedback loop through an effect of choice. In this example I'm using a 5 second delay and a reverb to color the feedback loop. The first part lets you hear the dry loop and the second part with the wet feedback.

Unfortunately adding an effect to a feedback loop is not possible in any DAW. I use Bitwig and Reason for this purpose. In Reaper it should be possible too. Another option is using plugins like MXXX.

More on this 242nd weekly Disquiet Junto project — “Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware” — at:
http://disquiet.com/0242/1

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/share-yer-knowledge-disquiet-junto-project-0242/4218

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

The image associated with this project is by Susanna Bolle, and is used thanks to a Creative Commons license:
flic.kr/p/8F9Jmz

Process The Feedback Loop [disquiet0242]

electronic
granulated, transverb'd, taldub3'd, mjucjr'd
k-blamo

Especial {disquiet0242}

See http://bassling.blogspot.com/2016/08/disquiet-junto-0242-share-yer-knowledge.html for track discussion and video.

More on this 242nd weekly Disquiet Junto project — “Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware” — at:

http://disquiet.com/0242/

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/share-yer-knowledge-disquiet-junto-project-0242/4218

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

Farewell [disquiet0242]

This track uses 2 tricks. 1) FEEDBACK is at the heart of everything electronic, oscillators and filters use it for instance, feedback in any process exaggerates the effects of that process and feedback is one of my favourite tricks, it gives you MORE but always suprises you. This is part of a piece i am working on using four “oscillators” which are feedback loops through delays. By cross-feeding and phase-shifting the feeding you can make anything from tuned harmonic drones to noise. I expect that this shares something with David Tudor’s work but this is all in software. (Max 7) They are difficult to control though and this is edited from a long recording when i was trying to write a song about Aleppo but couldn’t find the words. 2) In addition this piece is AMBISONIC to an extent. The oscillators are tapped at 4 different points (wxyz) to create a spatial image. Ambisonics is my other tip/trick/obsession, such an easy way to deal with 3d space and all the patents have expired so all the knowledge is mostly free and available - even for VR, just google it. Here using ATK plugins in Reaper to mix and Binaurally render the 4 channel recordings made in Max7 down to stereo. listen on headphones! and, off topic #0242 makes me think - who remembers Front 242? or the 242 Pilots for that matter?

https://en.wikipedia.org/wiki/List_of_Ambisonic_Software

this track is dedicated to the people of Aleppo.


More on this 242nd weekly Disquiet Junto project — “Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware” — at:

http://disquiet.com/0242/
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/share-yer-knowledge-disquiet-junto-project-0242/


Feed(Aleppo)[disquiet0242]

The stress off modern life can be a bitch so I often find a little bit of sonic mayhem is just the balm I need. First I must stress this point -that you MUST delete all prior tracks as you move along your path of destruction, do not hold onto anything no matter how much you like something that happened. You must commit fully to come out the other side. I do this mostly with drum tracks as they often have the hardest attack and shortest decays and kicks just rock. I put 2 drum loops in. The first one stays the same the 2nd I warp to 2/3 time and do some more warping to get it out of time. I then crossfade those tracks to a new track. This will still have a bit of rhythm to it and that will have to go. Take that track copy it another track and start a a different point. The crossfader will now start clipping those sounds,record that to a new track. Now record that track and using the mouse to change the tempo using big and little changes. That new track now must be unwarped in ableton so that the tempo changes stay. Now you can use the new track and do some transposing. Because it is not warped the transposing also changes the speed of everything. Each new track can be copied and crossfaded between using a different start point. Keep doing this process till you feel the stress leave your body. At no point do I add fx. Fx too early in the process kills the slicing effect of the crossfader. When you finally reach you last track then you copy and paste that to another track. Now add fx to it but record it with you scrolling through the presets at whatever rate feels right. Now crossfade that track with the track with no fx and record to one track. Copy that track once and add different drum master fx to each. Pan one a little left and the other right. Master the master to taste. You should not be attached to the final track. That is not the point. The point is where your head is at now.
More on this 242nd weekly Disquiet Junto project — “Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware” — at:

http://disquiet.com/0242/

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/share-yer-knowledge-disquiet-junto-project-0242/4218

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

The image associated with this project is by Susanna Bolle, and is used thanks to a Creative Commons license:

http://flic.kr/p/8F9Jmz

How to Obliterate a Drum Track and Find Inner Peace (disquiet0242)

For this weeks Junto I have two techniques I wanted to share. They are both in the same song and were part of a video project for One Track Mine. I used Brian Eno's Apollo album as my source. The video was inspired by the Rosetta project a few years back, the orbit and landing on a moving comet. I took a clip of the first few seconds of each track on the album and loaded them onto separate tracks in Cubasis. Then played them all at once so they meshed into a single mass of sound. Then that audio was imported into Sector, a circular randomizer/sequencer app, which I used to build into a simple sequence that was broken apart by randomized clips of the audio from the album, which are never the same clips during each playback. So essentially I wanted to share the technique of track stacking and randomized slicing of audio in a sequence. Nothing all that special or ground breaking but it was fun to do. The video can be seen here:

https://youtu.be/k8vhHNdYmC8

More on this 242nd weekly Disquiet Junto project — “Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware” — at:

http://disquiet.com/0242/3

More on the Disquiet Junto at:

http://disquiet.com/junto/2

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/1

Project discussion takes place on llllllll.co:

llllllll.co/t/share-yer-knowledge-disquiet-junto-project-0242/4218



Apollo [disquiet0242]

i got last week's track and stretched it to 225 million years to represent one orbit of the milky way
then i went through and recorded a 'tick' every so often (i didnt listen to all of it) 
then blurred it into itself

http://llllllll.co/t/music-for-the-galactic-tick-disquiet-junto-project-0248/4744

Disquiet Junto Project 0248: Galactic Tick
Celebrate the new celestial holiday in music.

Project Steps:

Step 1: Read up on the Galactic Tick, a new proposed holiday exploring, as described by Popular Mechanics, “how people’s perceptions would change if they really realized the one fixed point in their celestial understanding, the mighty sun, was also in flux.”

http://www.popularmechanics.com/space/deep-space/news/a22492/galactic-tick-day-september-29/8

http://galactictick.com/2

Step 2: Devise a short piece of music in celebration of the Galactic Tick. Perhaps you’ll explore the distance of 225 million years, which is how often the Earth fully circles the center of the Milky Way. Perhaps you’ll find cosmic meaning in 1/129,600,000, which is the “centi-arcsecond” employed by the Galactic Tick planners to make the period of time more human-comprehensible. Perhaps you’ll find meaning in 633.7, which is the number of days between celebrations of the Galactic Tick here on Earth, or 1.74, which is the number of years.

Galactic Orbit |disquiet0248|

My Music Videos - https://www.youtube.com/channel/UCc_iQ5JFusPt9EIwKIZ5rew
With this project I wanted to create a sense of scale and 225 million years was an intriguing number. What I came up with was 1 second and in this case 1 beat equals 1 million years. So 225 beats = 225 seconds = 3:45 minutes of length(plus a smidge of tail). For the steady count of time I went to Patterning for a punchy hit that would cut through the Animoog patch I had in mind. Using a metallic texture base I played with frequency, resonance, crush and drive over a longer session and then arranged different parts over four separate tracks in Cubasis. Underneath I added a field recording of a counterweight-cable elevator equipment room pushed through FluxFx and finally added some Micrologue for the bottom. A little eq for two tracks and a small verb for the master channel finished it off! A little longer than prompted but makes a fun way to count through the millions of years ;-)   @disquiet

More on this 248th weekly Disquiet Junto project — “Celebrate the new celestial holiday in music” — at:

http://disquiet.com/0248/

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/music-for-the-galactic-tick-disquiet-junto-project-0248/4744

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

The image associated with this project is borrowed from the website galactictick.com

Season of our Disquiet

One Is A Million(disquiet0248)

my first entry to disquiet junto weekly semi-score composition. i focused on the sun, movements of the sun and our cyclic movement around the sun. ticking. incremental movement yet some aspect of a celebration therein/thereby. quartal movement progression often feels like space. harmonious celebratory feelings amidst vastness. dichotomy and beyond.

4thal celebal (disquiet0248)

Space - beyond all human measure
Vocals/Operator/Convolution Reverb/Watersamples (space and flow)
Tempo set to 63,37 bpm -->  633.7, the number of days between celebrations of the Galactic Tick here on Earth, or 1.74, which is the number of years.

More on this 248th weekly Disquiet Junto project — “Celebrate the new celestial holiday in music” — at:
http://disquiet.com/0248/

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/music-for-the-galactic-tick-disquiet-junto-project-0248/4744

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

Turning (disquiet0248)

Disquiet Junto Project 0248: Galactic Tick

Typically I have about 3-4 hours on a Friday morning to work on a Disquiet project. The response to this weeks project has a slightly longer genesis in that it started some weeks ago as a response to Project 0246: Double, Quadruple, Sextuple, which, due to work constraints, I wasn't able to finish in time.

The original piece started with a short sample, which was then time stretched to create new samples at 2, 3, 4, 6 and 8 times the original length. These were then layered and manipulated until I had what I thought was a pleasing result. And then I had to stop.

For me the two projects have similarities in that they both deal with periodicity and division. I used a short sample from a scene from the TV series Versailles, a transition between a scene of a performance of 18th century dance music and someone walking down a corridor, loud footsteps with incidental music. The connection with Versailles? Louis XV was a keen student of Astronomy and the Passemant Astronomical Clock is located at Versailles. 

For this weeks project, I revisited the abandoned piece, reworking the durations of the derivative samples. I started by going back to the original sample, cutting it down to 1.74 seconds and then creating new versions multiplied by 1.74 seconds (3.03s, 5.27s, 9.12s). These were layered and manipulated per the original project with some added bass, rhythm and hidden melody.

APOB - Versailles [disquiet0248]

A modular piece. Rene, Tides, Clouds, Warps, Peaks, Shelves, Maths, Dixie II+ in no particular order.

Tick(tock){Disquiet 0248}

Description coming later...

More on this 248th weekly Disquiet Junto project — “Celebrate the new celestial holiday in music” — at:
http://disquiet.com/0248/

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/music-for-the-galactic-tick-disquiet-junto-project-0248/4744

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

The image associated with this project is borrowed from the website galactictick.com

Pulsar (disquiet0248)

Disquiet Junto 0248 - Galactic Tick

http://llllllll.co/t/music-for-the-galactic-tick-disquiet-junto-project-0248

Taking my cues from Marc's original post to the Disquiet Junto group above, I used the numeric values in the project link above.

Each number in the article appeared close to being a meaningful Hz number.
225 million light years - 220Hz
1/129,600,000 of seconds - 1129Hz
633.7 days - 634Hz
1.74 years - 174Hz

Set four instances of the (super-useful) MOscillator VSTi to those Hz settings, you get a nice microtonal chord...

I started the track with each MOscillator set to the average of the four frequencies - average of 225, 634, 1129, 174 = 540Hz
Then automated each MOscillator from it's starting 540Hz to its Hz value (174, 225, 634, 1129). 
Added movement using Rhythmic Gates (A1TriggerGate free vst - great plugin), and Delays and Distortions on Sends.
Went for a nice heavy beat here, at a good foot-tapping BPM (132). 

Maybe the Galactic Tick after-party would use this track... :-)

Galactic Party (disquiet0248)

Radiant  Flux

Radiant Flux

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.

Apollo [disquiet0242]

qrux

Recent comments

337is (three three seven is)

Hypoid

Related tracks