Disquiet Junto Project 0575: On Ice
The Assignment: Record the sound of ice in a glass and make something with it.

Welcome to a new year of Disquiet Junto communal music projects. This week’s project is as follows. It’s the same project we’ve begun each year with since the very first Junto project, way back in January 2012. The project is, per tradition, just this one step:

Step 1: Please record the sound of an ice cube rattling in a glass, and make something of it.

Track notes:

Happy new year all! 

For this year's ice challenge, I put about ten ice cubes in a large  wine glass and filled it with water. I placed an Aquarian hydrophone into it and routed it into my little modular skiff, using an ohcd LFO,  DLD(stereo delay) and Morphagene module.

Recently I'd been playing around with Karpus-Strong delay effects on the DLD, which is in essence 'resonance feedback', which is useful for generating plucked string sort of sounds from an incoming signal.

One of the things I like about experimenting with resonance feedback is how very transient and discrete sounds can become powerful (and unpredictable) impulses when used in conjunction with the effect.

With an ultra-short delay and high feedback threshold set on the stereo delay module, I rattled the ice in the glass and recorded the very end of the tail of the rattle to the Morphagene and used a couple of LFOs to control the CV of the sample's grain and morphology. 

Because the sample captures the tail-end of the rattle, there's only a little movement interspersed with very discrete crackles, squeaks and pops.  

For recording this track, the dry/wet of the Morphagene was set to 50/50 so that the ongoing 'quiet' action within the glass is heard in conjunction with the granulated sample. At a couple of points, this develops dramatically, with some incidental ice movement, followed by a large crack. The final part involved me turning the Morphagene mix to 100% wet and attempting to break the sample apart, so that only vague traces of the original sample recording can be heard.

[Disquiet_Junto_0575] Ice Murmur

More on this 575th weekly Disquiet Junto project — On Ice (The Assignment: Record the sound of ice in a glass and make something with it) — at: https://disquiet.com/0575/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0575-on-ice/

Boiling Hot Ice (disquiet0575)

My submission for Disquiet Junto Project 0575: On Ice. Followed the instruction: "record the sound of an ice cube rattling in a glass, and make something of it". This track uses only samples from a 5 minute recording I made pouring water into a few different glasses with ice and clanking the cubes around. Primary tools used were Bitwig's sampler (pitched notes) and Stepic VST (5/8 rhythms). Animating Bitwig's filter device on sequenced clanks made the tabla like drums.

Ice Ice Junto (Disquiet0575)

Made as an submission for [disquiet0588] (and not bad seen for itself), but discarded in favor of https://soundcloud.com/winterer/surfing-the-seven-seas-disquiet0588

What can be surfed? A wavetable synth. This was the starting point for a patch with the virtual modular system miRack. The patch is modulated by some LFOs. Additional surfing theremins for good vibrations and keyboard sounds of an internet surfer...

Surfing Seven Seas

naviarhaiku488 – in dream world
in dream world
was I laughing at a turtle?
winter seclusion

Bischen(naviarhaiku488)

More on this 595th weekly Disquiet Junto project, Filter Progression (The Assignment: Make music by processing a static sound), at: https://disquiet.com/0595/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: Disquiet Junto by Marc Weidenbaum (Disquiet.com)

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0595-filter-progression/

Feedback Filterbank (disquiet0595)

All music written, recorded and performed by Ryan J Raffa in Taipei, Taiwan during late 2021 on moog matriarch, modular, fender rhodes, snare drums, cymbals, percussion, op1, tape machines, and field recorders.

Every sound was captured for this specific occasion

Mastering by Taylor Deupree
Vinyl cut by Barry "Baza" Grint at Alchemy
Layout by Drew Heffron
Photographs by Ryan J Raffa

4 e and a is about the infinite spaces between. As a classically trained percussionist, Raffa sat in front of a metronome for the majority of their life. And in their mind, they would play with the spaces between those clicks. In especially challenging times, Ryan would attempt to expand and stretch those spaces into forever. Just existing in the between. This record is about these moments (and places) when we are living in those infinite spaces.

That time of intense musical focus was also Ryan's first introduction to an analog synthesizer. As a teenager, their drum teacher was Herb Flower, an incredible human with light beams of creative energy pouring out of him and his musical family at all times. A parent of another student of Mr. Flower’s was an electrical engineer who had recently been laid off during large cutbacks at Carrier, one of the major employers at that time in Syracuse where Raffa grew up. This parent, with their newly acquired free time, hand-built a drum machine, housed in a large wooden cabinet with 8 or so unmarked knobs, and they gave this synthesizer to Mr. Flower. The sound from that machine was glorious. And Mr. Flower, their drum teacher, would turn a few knobs, make a pattern and have me play along with it during rehearsal. These moments were such a gift, and I know those moments are still reverberating today. Raffa thinks about that time of experimentation, of exploration, of shared love of sound and music as a place that they can go to, a place we can all go to, whenever we choose.

4 e and a

Thoughtful In Late Nights

Spanish vein jam with Mark Grimshaw..wav

A composition written to capture the feel and presence of an ancient temple, part of the soundtrack for an unreleased game.

ForceBound op.08

SON OF YEAHUAH

ETHEREAL AMBIENT SOUNDSCAPES INSPIRED BY GAME OF THRONES AND THE  LORD OF THE RINGS AND MANY OTHERS. RELAX, ENJOY AND DRIFT AWAY.

DARK AMBIENT - AGELESS TERROR

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).

[Disquiet_Junto_0575] Ice Murmur

Tristan Louth-Robins

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