Nice spatiousness and minimal mallet musicality omidst the room like sounds. Very enjoyable

outHEAR New Music Week: Sophie Schafleitner - violin, Dimitrios Polisoidis - viola, Gregory Chalier - flute, Elena Arbonies Jauregui - bass clarinet

tres glosas - Klangforum Wien and PPCM Graz - Live

“You said a moment ago that everybody you look at seems to be a rabbit,” says the doctor to his patient in a cartoon by James Thurber. “Now just what do you mean by that, Mrs. Sprague?” Meanwhile, Mrs. Sprague recoils in horror at the vision of her therapist’s enlarged, leporine head. 

There is a rabbit who lives in the underbrush just behind Suss Müsik headquarters. We’ve named her/him Clover. Clover has grown to be fairly large and tends to regard humans with more curiosity than fear. Still, Clover can still easily escape from predators when compelled. Perhaps Mrs. Sprague could take a leaf from Clover’s book.

The rabbit is viewed in Chinese tradition as a calm, gentle yet crafty animal, whose energy emphasizes balance and intelligence. The phrase jiǎo tù sān kū (狡兔三窟) loosely translates as “a cunning rabbit has three burrows and more than one means of escape." With the arrival of the Lunar New Year, this is the approach Suss Müsik took with this week’s Junto.

The piece begins with a gentle piano arpeggio, broken into three fragments that randomly shift cadences like a tone poem. A fake fretless bass moves things along until a DIY synth glitches things up. Brief stabs of percussion interrupt the calm, gentle atmosphere, yet the overall feeling is one of balance and crafty intelligence (or whatever the Suss Müsik equivalent would be).

The piece is titled Jiǎo Tù Sān Kū. The image is based on an etching owned by The Welcome Collection, the use of which is covered under Public Domain Mark (PDM) terms and conditions: https://creativecommons.org/publicdomain/mark/1.0

More on this 578th weekly Disquiet Junto project, Rabbit Spirit Ally (The Assignment: Make music for Lunar New Year), at: https://disquiet.com/0578/

Associated public-domain cover image by Johann Daniel Meyer (1748).

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-0578-rabbit-spirit-ally/

Jiǎo Tù Sān Kū [Disquiet0578]

An electronic sequence created with Samplebrain. Although using the same input elements as 'Birdbrain Bash' (my track for disquiet0561), it has turned out very different.

More on this 579th weekly Disquiet Junto project, Memory Serves (The Assignment: Rerecord a piece of music), at: Disquiet Junto Project 0579: Memory Serves – Disquiet

More on the Disquiet Junto at: Disquiet Junto F.A.Q. – Disquiet

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0579-memory-serves/

Birds of Change (disquiet0579)

Disquiet Junto Project 0580: Evo Evol Evolve

The Assignment: Record a piece of music that develops like an organism evolves.

Step 1: You’re going to record a piece of music informed by evolution. Think of stages of evolution, perhaps choosing a specific animal or other life form that evolved over time.

Step 2: Record a piece of music that evolves as it proceeds, based on the patterns (phases, stages) you explored in Step 1. And yes, animals that went extinct are a potential subject.

===

Track notes:

I took my inspiration from the long evolution of insect species on the planet, considering the vast scale of evolution from primordial epochs up to the present, where insect species are front-and-centre in the Sixth Great Extinction of the late Anthropocene.

SuperCollider came to mind again as a tool for realisation, since I had ‘traditional’ forms of ‘computer music’ in mind - especially Bernard Parmegiani’s epic La Creatione De Monde (1984)

Now, obviously I don’t have a) a year up my sleeve; and b) the coding faculty in SC to pull off such a gargantuan feat, but I thought it might be a cool point of reference that I could fold into my current understanding (as a beginner) in the SC environment.

Recently I got to grips with buffering audio samples and using sequences to control various patterns - both melodic and percussive. I created a couple of dictionaries of short percussive samples (kalimba, woodblock and guiro) as well as instantiating a couple of Synth objects that produce pure waves. The percussive sounds turned out well when triggered, sequenced and manipulated and I liked the interplay with the pure waves.

My track is a bit longer than my usual submissions (~6 mins) but I thought I needed a decent span of time to realise a time compression of a few hundred million years of evolution.

For the realisation, I live-coded from the initial script (see GitHub link below) and then adjusted various parameters, arguments and variable throughout. The idea was to start amongst the matter of the cosmos and then gradually render a semblance of life on Earth. Eventually, an abundance takes form, before the insect population starts to diminish at the close. It not strictly a linear progression; rather, a fairly wobbly negative exponential progression. I’m still getting to grips with controlling instruments on the fly in SC, but I think I’m improving.

I was happily surprised when I saw the spectrogram of this track. Its progression of blobs, smears and flurries of activity over a time series seemed fitting!

https://github.com/TristanLouthRobins/Supercollider/blob/main/junto0580-evo_compressor.scd.scd

[Disquiet_Junto_0580] Evo Compressor (w/SuperCollider)

Disquiet 0581 - this weeks challenge was to download a rhythmic field recording and make it part of a track or incorporate it somehow.

Thanks to Scott Fletcher for having provided the original material. It is used thanks to a Creative Commons license: Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0). Original track at: https://soundcloud.com/disquiet/helsinki-downspout/

I loaded the field recording into Ableton and put it into a drum rack. I then took all the bits between the beats (hiss and non rhythmic parts) and started to mess about with these, adding filters and effects and also playing them as drum hits - that is how the track opens. 
I them loaded all these hiss parts into a synth and stretched and played them as keys, creating the additional synth sounds with effects changing the sounds somewhat.  After jamming about for 30 / 40 minutes I hit reccord and laid down a fairly basic arrangement. 
I tweaked this slightly, adding a little more effects until I had a nice short experimental track i'm pretty happy with!

More or less the whole track was made with the source sounds but it's debatable if the original sound is recognisable?  However I took the prompot to "to sample and rework the source material" as a guide! 

Disquiet Junto Project 0581: Helsinki Downspout

The Assignment: Use a rhythmic field recording as the foundation for a new track.

Step 1: This is a shared sample project, one in which all the participants will utilize the same provided recording, about a minute and a half long, as the rhythmic element for their own music. Access the track, originally recorded by Scott Fletcher and used with his permission, here:

https://soundcloud.com/disquiet/helsinki-downspout

Step 2: Listen to the provided track several times. Think about ways to map its content, perhaps making notations about when certain unique, momentary aspects surface.

Step 3: Record an original piece of music for which the provided music is the underlying rhythm. You might take this quite literally, using the source as it is, resulting in a track that is precisely 1:35 long. Alternately, you might elect to sample and rework the source material. If you go the latter route, make certain that the original sound is, at least at some point in the finished track, recognizable.

Step 4: Because this is a Creative Commons resource, be sure to identify Scott Fletcher as the original recorder of the source material, and include a link to the source track. Identify the license as: Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0).

Audio Obscura - Helsinki Downpour [disquiet0581]

More on this 581st weekly Disquiet Junto project, Helsinki Downspout (The Assignment: Use a rhythmic field recording as the foundation for a new track), at: https://disquiet.com/0581/

Thanks to Scott Fletcher for having provided the original material. It is used thanks to a Creative Commons license: Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0). Original track at: https://soundcloud.com/disquiet/helsinki-downspout/

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-0581-helsinki-downspout/

Helsinki Downspout Crackles (disquiet0581)

DishwasherDrone [Disquiet0591] pt 1

I'm grateful to join in this amazing group and project. Congrats to Marc and everyone on reaching 600 weeks! I look forward to hopefully being a regular with you all. 

I used all but one of the wonderful samples by Marcus Fischer (thank you, Marcus), adding field recordings (a bird's nest fern being watered, the sounds of the Aurora Borealis), a bit of synthesis with VST goodies in Logic Pro, and a bit of a sample from the wild samplebrain, which I am still trying to get my head around.

Special Thanks to @marcus_fischer for sharing the beautiful samples used in this track.
More on this 600th weekly Disquiet Junto project, Reaching Out (The Assignment: This is a shared sample project. Rework a set of seven WAV files provided by Marcus Fischer), at: disquiet.com/0600/

About the Disquiet Junto: disquiet.com/junto/

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

Project discussion takes place on llllllll.co: llllllll.co/t/disquiet-junto-pr…-0600-reaching-out/

This project’s cover image is a detail of a photo by Marcus Fischer.

# disquiet0600  # sample share

First Contact (disquiet0600)

Started  creating image texture of tree branches- used this in image synth in metasynth software with various custom scales then mapped this to custom instrument made of squeaking and banging homemade percussion instruments/rubbish.

for Naviar Haiku no, 497
The gate shuts
with a loud groan
The temple sleeps
(translated Alex Fyffe) Haiku by Hōsai Seven days to make music in response to the assigned haiku: to participate visit https://www.naviarrecords.com/about/naviar-haiku

The Squeaky Gate At The Entrance To the Temple

The Squeaky Gate At The Entrance To the Temple_NaviarHaiku497

Sunday Best (SC 305)

Time stretch modes as lofi rhythmic filters. 4 tracks are slowed to 1/2 speed and cut into short segments. Each segment repeatedly shifts between time stretch modes to create timbral variations. 

Featuring Debroc, Jimmy Lem, 4//lIGhT, and a stem from my Disquiet submission last week.

https://soundcloud.com/user-99036881/speed-limit-p1_disquiet0609?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

https://soundcloud.com/blisterpop/please-my-parching-tongue-by-lumber-mart?si=8e392a7ea7b84914b720f3833737b415&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

https://soundcloud.com/forelight/60bpm-stomp-disquiet0609?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

https://soundcloud.com/oh-well-360226041/shadow-clocks-disquiet0609?si=f1ad384084bf437499a369178e217eee&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

The Assignment: Combine two or more pre-existing 60 BPM tracks into something new — at half the speed.

Step 2: Select two or more tracks from the provided ones, slow them to half their original pace — that is, to 30 BPM — and use editing techniques to combine them into one new piece of music.

More on this 610th weekly Disquiet Junto project, Speed Limit Pt 2 (The Assignment: Combine two or more pre-existing 60 BPM tracks into something new — at half the speed), at: https://disquiet.com/0610/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0610-speed-limit-pt-2/

Split Splatter [disquiet0610]

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_0580] Evo Compressor (w/SuperCollider)

Tristan Louth-Robins

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