Disquiet Junto submissions

More on this 399th weekly Disquiet Junto project — Edges & Echoes / The Assignment: Make sonic art for a space with the sounds of that space — at:

https://disquiet.com/0399/

This week’s project is the second of three being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. The source audio was provided by the Tobias Reber. More details at:

https://www.musikfestivalbern.ch/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0399-edges-echoes/

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

The image associated with this project was adapted from one by Tobias Reber and is used with his permission.

Disquiet Junto Project 0399: Edges & Echoes

Disquiet Junto Project 0394: You & Me

The Assignment: Accompany the music made by a species other than your own.

This is a project for World Listening Day.

Step 1: Think of an animal you would like to accompany. It may be one in your possession, like a household cat, dog, or bird, or perhaps it might be one for which you’ll need to locate a recorded example.

Step 2: Acquire audio of the animal you selected in Step 1, either by making a recording or locating one.

Step 3: Create a new piece of music by playing along with the audio acquired in Step 2. In the final mix, you and the animal you accompany should be heard at equal levels of prominence (of course, you may also trade off).

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

Track notes:

This track was created with audio extracted from a video my partner had made of our cat, Neko snoozing in the afternoon. Her snore is supringly musical. I looped the recording in Max with a fzero~ object employed to detect the fundamental frequency of Neko's snore. The fzero~ is then delayed and used to provide the frequency for a triangle wave; in effect, creating a call and response to Neko's snore. In addition to this, each time a fundamental frequency is detected by fzero~, this triggers a snapshop~ with the output control the waveband of a noise filter. A couple of signal buses are also set up with tapout~ feedback set to near-infinity, creating a consistent sonic texture. Panning of the channels is controlled with cycle~ objects, whose respective phase are constantly shifting.

The title of this track is taken from a quote I came across recently by Japanese sound artist, Toshiya Tsunoda: "If you think about it carefully, the activity of an actual space always moves. [...] Place is always moving, like a sleeping cat." [1]

[1] https://www.thewire.co.uk/in-writing/essays/quiet-storms_toshiya-tsunoda

Tristan Louth-Robins, July 2019

[disquiet0394] (place is always moving) like a sleeping cat

Disquiet Junto Project 0395: Acoustic Expanse
The Assignment: Make music with (samples of) the biggest guitar in the southern hemisphere.

https://llllllll.co/t/disquiet-junto-project-0395-acoustic-expanse/24269

This project was proposed by Jason Richarson. There’s just one step:

Step 1: The biggest guitar in the southern hemisphere is in Narrandera, Australia. Junto member Jason Richardson recorded a wide range of samples of the guitar and made them available under a Creative Commons license. Now it’s time for you to play this guitar. Get the samples at big-guitar.com/download.

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

Track notes:

The inspiration for this piece comes from my childhood/teenage observation of my dad's guitars hanging in the living room and how human voices, impulse-like sounds and other musical instruments would - depending on their loudness and/or proximity - ocassionally cause these stationary instruments to resonate sympathetically and sound.

I started by selecting a few nice resonant tones from the Narrandera big guitar. Looping these in Ableton so that they drifted in and out of phase with each other, I removed the attacks from each of the notes to create a continous drone that pulsated periodically. I sent the output from Ableton - via a 20w amp - to a Digitech exciter (i.e. transducer) which I placed on the soundboard 'sweet spot' of one of my dad's old guitars. This guitar has been in my possession for over 20 years - a 1976 Tama acoustic.

The surface of the Tama in effect becomes a resonater for the Narrandera guitar tones as they are 'transplanted' into the acoustic body of the Tama. Throughout the recording I occasionally strum the strings of the Tama - slack tuned and in approximate harmony with the Narrandera guitar tones. I also physically move the transducer from the Tama's sweet spot to other areas of the soundboard surface; which in effect, articulate different resonant qualities of the Narrandera guitar tones, and also makes audible some of the discrete artefacts of the Narrandera recordings.

[disquiet0395] acoustic transplant

I was wracking my head on the drive down to my mum's farm this weekend. I'd made plans to start building a much-talked about aeolian harp on the property using found materials and various bits and pieces I had lying around my home studio. I was (over) thinking aspects of resonance, wire lengths, fundamental tones, harmonics, etc and in between this I was also thinking about this week's challenge.  A couple of days work resulted in the MiddlePhone* (see pic and footnote below) and an outcome for this weeks Junto challenge.

I attached one end of a slinky to the chimney flue on the MiddlePhone, and the other to a tin can. I fixed a contact mic to the interior surface of the chimney flue and pointed a shotgun mic off into the distance. Hitting record, I stretched out the slinky/can and hummed an improvised melody into the can for about a minute.

In the recording you can hear two simultaneous recordings which have been mixed together: the slinky's contact with the flue, and the shotgun mic; which is fixed on my position with the stretched slinky/can. I've mixed the track so that you hear only the shotgun mic recording at first (w/peripheral sounds) and then gradually crossfade into contact mic; the latter revealing the reverberent/harmonic effects of the slinky, as well the articulation of resonances. Which most of the resonances are derived from the flue/slinky combo, I'm fairly certain the network of stretched wires have had some effect too.

The MiddlePhone*

Yesterday afternoon, I deviated dramatically from my original design plan for the aeolian harp; to such an extent that it resembled a completely different instrument - which you can see pictured in the track cover. It comprises of an old tallowwood fencepost jammed between the branch stumps of a Melaleuca tree. The post has thin wires attached to it which are tightened and fixed to the ground, as well as run over an oil drum and also connected to a chimney flue. The wind interplays with it discretely, but is most effective as a ridiculous percussion instrument. However, attaching contact mics to it reveals a variety of resonances and sonic perculiarities. More recordings of the MiddlePhone to feature in the near future!

[disquiet0396] elastic hum

Track notes:

A quick and dirty one this week. I used an iOS 808 emulator, sent it through a stereo amp driving a couple of my corked speakers, using the vibrations to move and rattle objects. I stuck some old guitar strings in the cork of the left speaker to wobble about and strike a tambourine; on the other speaker I layered a tin foil bowl to rattle about. Then I move the objects around and incorporate a bit of tinfoil. I’m quite fond of the outcome; my partner, not so much.

Assignment notes:

Disquiet Junto Project 0397: Numbers Racket
The Assignment: It’s 808 Day. Do it up.

Step 1: It’s 808 Day today, August 8, the start of the latest Junto project. Let’s make it last through Monday.

Step 2: Make music with or about or somehow in the spirit of the Roland TR-808.

[disquiet0397] 808 junklet

For this week's challenge I decided to continue some explorations of the cycle~ object in Max where I've been using it (at very low rates) to control float values which oscillate back and forth; and subsequently transpose this float value to wider ranges to control things like frequency, amplitude and panning.

When thinking about the idea of 'rauschen', a lingering poetic over the past week had been a line from the song 'I Remember Me' by the SilverJews (aka, David Berman):

The tape hiss of the trees

There's always been something so striking and evocative about that line, and for me it does a wonderful thing of bridging the tricky gaps in (the English) language when it comes to accurately describing sounds. Sure, I guess imagining 'tape hiss' is pretty subjective and experiential, but for me it's such a strong (albeit, slightly surreal) poetic expression.

The objective for this week's challenge was for me to evoke the sound of wind through the trees using the hiss of a blank cassette tape. 

I set about building a little Max patch of four noise modules ,with the noise source derived from a hiss of a blank cassette played back on my old Tascam 424 Portastudio. The tape hiss recordings are routed to a bandpass filter, whose frequency range and amplitude are constantly moving. These (along with the panning) are all controlled with cycle~ objects set a different rates. When the four modules play back simultaneously, this creates a pretty dense noise texture which is constantly shifting - evoking the wind shearing through trees at varying intensities and trajectory. 

I've uploaded a breakdown of the Max patch on YouTube if anyone wants to explore the finer details of the process: https://youtu.be/5G59iszqXWw

[disquiet0398] the tape hiss of the trees

More on this 399th weekly Disquiet Junto project — Edges & Echoes / The Assignment: Make sonic art for a space with the sounds of that space — at:

https://disquiet.com/0399/

This week’s project is the second of three being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. The source audio was provided by the Tobias Reber. More details at:

https://www.musikfestivalbern.ch/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0399-edges-echoes/

Where the Edges Echo Echo Disquiet0399

Processed with python in six passes: analysis & segmentation, particle synthesis, wave extraction, wave reconstruction, wave plucking, layer combination & macro-recipe application. 

(This system is an in-progress project to make ongoing reconstructions of a different database of field recordings for a radio stream.)

Source code: https://github.com/hecanjog/radiopost/commit/a7786fef8f570e755bd080947ef4a3cc47c49a66

(It's a mess, sorry.)

More on this 399th weekly Disquiet Junto project — Edges & Echoes / The Assignment: Make sonic art for a space with the sounds of that space — at: https://disquiet.com/0399/

This week’s project is the second of three being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. The source audio was provided by the Tobias Reber. More details at: https://www.musikfestivalbern.ch/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0399-edges-echoes/

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

The image associated with this project was adapted from one by Tobias Reber and is used with his permission.

He Can Jog - In Words, See Light [disquiet0399]

echo

halF festivaL [disquiet0399]

To make a bit of a twist on the exercise, I made the room part of the recording of recordings of rooms, by recording the whole thing through these Sennheiser binaural microphones. I put all the clips into Ableton Live, and for each one pulled out a loop that sounded like either a drone, a low note, or percussion. I then sorted these loops into three corresponding rows.

I then started the first clip going, cranked it up quite loud, walked downstairs and recorded the sound of me walking up to the room. 

I then manipulated the clips to create a rough sequence of drone -> low -> percussion -> low -> drone. Here's a video that shows the process:

https://www.youtube.com/watch?v=VcpR5tH6Qfg&t=64s

Thanks Marc! and thanks Tobias and the Musikfestival Bern folks!

More on this 399th weekly Disquiet Junto project — Edges & Echoes / The Assignment: Make sonic art for a space with the sounds of that space — at:

https://disquiet.com/0399/

This week’s project is the second of three being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. The source audio was provided by the Tobias Reber. More details at:

https://www.musikfestivalbern.ch/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0399-edges-echoes/ 1

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

The image associated with this project was adapted from one by Tobias Reber and is used with his permission.

Disquiet0399 Edges and Echoes

Track notes: An interesting challenge this week. I decided I would attempt to 'parse' the ambiences in these recordings and represent the space(s)in terms of weight, lightness and shade. I selected about half the available samples (metal bin, skate ramp, stage ambience, bridge)and composed a short collage in Logic X exploring aspects of dynamic, duration and texture using only volume and panning automation, along with a single band EQ to set and sweep through the frequency range of given samples.

Challenge for Disquiet Junto 399 "Edges & Echoes"

The Assignment: Make sonic art for a space with the sounds of that space.

This project is the second of three that are being done in collaboration with Musikfestival Bern, which will be held in Switzerland from September 11 through 15. For this reason, a German translation is provided below. We are working at the invitation of Tobias Reber, an early Junto participant, who is in charge of the educational activities of the festival. Select recordings resulting from these three Disquiet Junto projects will be played publicly as part of the Rauschlabor Schützenmatte (musikfestivalbern.ch 2) or broadcast on the festival’s radio show, Radio Antenne (radioantenne.ch). If you don’t want your recording to be used in this way, please note so wherever you post it.

Step 1: Familiarize yourself with the German word “rauschen,” the theme for this year’s festival. Understand that “rauschen” is noise in the sense of white noise, waterfall noise, background noise, static, wind in trees, rain, etc. The blurred, diffuse, continuous kind of noise, not short individual non-tonal sounds.

Step 2: Provided are several recordings capturing the sounds of the empty performance space for the festival. Access them at the following URL and listen to them:

https://www.dropbox.com/s/jy7ou2ssdvl8til/Bern%20Audio.zip 20

Step 3: Create a piece of sonic art intended to be played back in the festival performance space utilizing only the source audio.

[disquiet0399] parsing the air

Tristan Louth-Robins is a South Australian artist working principally in the medium of sound art and field recording. Ideas of sound and its signification are key elements in Louth-Robins' practice, traversing the space between the visual and aural his work is realised through the mediums of recordings, installation, visual art and performance. He is interested in sound and its associative implications - including its relationship to objects, technology, urban space, memory and the natural world. 


Since 2005, Louth-Robins has presented work in Australia and internationally as a solo artist, whilst also collaborating with artists, writers, researchers, musicians and performers. 

Working across a vast array of activities encompassing composition, sound design, installation art, field recording and workshops, his work has been featured in events such as the Adelaide Festival of Arts (2006), The National Regional Arts Festival (2012), Mildura-Wentworth Arts Festival (2013), Fairfax Festival (2013) and Adelaide Fringe Festival (2014); and selected works exhibited at galleries including The Australian Experimental Art Foundation (2009), SASA Gallery (2012, 2015), Light Square Gallery (2012) and FELT Space (2015). His audio works have been broadcast on radio including Radio National, Classic FM, The BBC (UK), Acoustic Frontiers (USA) and RBB (Germany).