Disquiet Junto Project 0610: Speed Limit Pt 2
The Assignment: Combine two or more pre-existing 60 BPM tracks into something new — at half the speed.

Step 1: In the previous Disquiet Junto project, participants recorded a variety of tracks at a standard pace of 60 BPM. Listen to the resulting material on the Lines discussion board and the SoundCloud playlist:

https://llllllll.co/t/disquiet-junto-project-0609-speed-limit-pt-1/

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0609

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.

. . .

Deadline: This project’s deadline is the end of the day Monday, September 11, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, September 7, 2023.

. . .

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/

Disquiet Junto Project 0610: Speed Limit Pt 2

Disquiet Junto submissions

Marco Lucchi : violin, piano, ring modulator and tape

featuring sounds from
https://soundcloud.com/marcolucchi/60-bpm-60-disquiet-0609-speed-limit?in=disquiet/sets/disquiet-junto-project-0609 
and
https://soundcloud.com/user-99036881/speed-limit-p1_disquiet0609?in=disquiet/sets/disquiet-junto-project-0609

for the current Disquiet Junto challenge

Disquiet Junto Project 0610: Speed Limit Pt 2
The Assignment: Combine two or more pre-existing 60 BPM tracks into something new — at half the speed.

Step 1: In the previous Disquiet Junto project, participants recorded a variety of tracks at a standard pace of 60 BPM. Listen to the resulting material on the Lines discussion board and the SoundCloud playlist:

https://llllllll.co/t/disquiet-junto-project-0609-speed-limit-pt-1/

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0609

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.

8 settembre 2023

30 <---- 60 bpm [disquiet #0610] w/Debroc

Disquiet Junto Project 0610: Speed Limit Pt 2
The Assignment: Combine two or more pre-existing 60 BPM tracks into something new — at half the speed.

Step 1: In the previous Disquiet Junto project, participants recorded a variety of tracks at a standard pace of 60 BPM.

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.

=============

Track notes:

It was difficult not to reflect on Steve Roden this morning in Adelaide. So inevitably my thoughts were concentrated very much on his wonderful body of work, especially his aesthetic of 'lowercase' music. Lawrence English put it so well last night in a FB post that Steve Roden would "cherish  the minor, the incidental, the unexpected, the hushed"

In this spirit, I used tracks from @henklass and @leonclowes and reformatted them to 30bpm. I used two segments of henklass's kick pulse and waves of noise/random notes and layered these with leonclowes meander of resonant, sustained tones. Against this, I used an archived recording of my own (some radio static) and pitched this so that it harmonised with the other two audio sources.

I experimented with the volume levels until I achieved an equilibrium of sorts. Then I put the bounced audio file onto my phone and took it downstairs to my kitchen. With our Bluetooth speaker atop the toaster (its usual spot), I placed an ambisonic recorder on a mug next to the sink. With the recorder running, I then went to the adjoining laundry room and started the track's playback from the Bluetooth speaker.

Along with the quiet ambience of the kitchen space, this morning there were the traces of stormy weather from overnight, so gusts of wind were brushing through the trees in our courtyard. Inside, the fridge hummed gently, and to my surprise, the stronger notes from leonclowes track resonated the interior of the toaster that the Bluetooth speaker was positioned on top of.

[Disquiet_Junto_0610] The Ongoing Moment - for Steve Roden (30 bpm)

Done for Disquiet Junto 0610

This was fun. This is mostly a quick sample of a percussive 4//lIGhT's 60 bpm Stomp bit, repeated excessively, with a tiny guitar-sounding bit from @tristan_louth_robins 's Refactored Drift. Filled out with @XHG 's Acrostic Speed Limit and some from a 4th one, but I forget.

Instructions:

Step 1: In the previous Disquiet Junto project, participants recorded a variety of tracks at a standard pace of 60 BPM. Listen to the resulting material on the Lines discussion board and the SoundCloud playlist:

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0609

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/

Swrolds Amay - disquiet0610

I slowed the two tracks (“analoc - Blink” and “Andeas Kitzmann - disquet0609”) to 30 bpm with audacity, then mixed and processed the two tracks with csound, finally mastered with flstdio. Thanks to "analoc" Anatol Locker and Andeas Kitzmann.


https://soundcloud.com/analoc/0923-disquiet-junto-609-blink?si=cb80130c6378405fa62b3fdc1427f572&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

https://soundcloud.com/andreas-kitzmann-27370936/disquiet0609?si=8674bbd519d24c52b7dffda53f4fed6f&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

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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: disquiet.com/0610/

Project discussion takes place on llllllll.co: llllllll.co/t/disquiet-junto-pr…0-speed-limit-pt-2/

destroying two - disquiet0610

Disquiet Junto Project 0610: Speed Limit Pt 2
The Assignment: Combine two or more pre-existing 60 BPM tracks into something new — at half the speed.

I selected two tracks that I liked, but more by incident, because I liked many (and most of them felt already finished). But with Refactored Drift from Tristan Louth-Robins (https://soundcloud.com/red_robin/disquiet_junto_0603-refactored-drift-60-bpm) and Transient Melter from ATW (https://soundcloud.com/atw/transient-melter-60bpm-disquiet-0609?in=disquiet/sets/disquiet-junto-project-0609) I had the fantasy, that they would make a nice combination of melody and sound. I was very lazy and just slowed them to half speed. I also wanted to keep the result under five minutes, and I wanted both tracks to have some kind of a solo (because the ATW track more or less forced it). I edited and recut in Reaper by taste and justification, and I ignored scales and syncopation correctness (not totally, but they are surely not always "proper"). No additional knick-knacks but some subtile FX.

Thanks to Tristan Louth-Robins (Refactored Drift) and ATW (Transient Melter).

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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/

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

Refactored Melter [disquiet0610]

For this assignment I used my own submission from last week paired with a.a.miles Key Limit which then morphs into Michele Isoni's Chirper which is finally joined by Sunbear's lovely submission. All the parts where brought into ableton, slowed down by half and then warped back to their original pitch. After it was all sequenced I then used a bunch of puremagnetic effects to give the whole thing that worn out vibe (which also resulted in some strange drop outs and flutters which i left)

Many thanks to all that got involved, so many interesting takes on the assignment!

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/

Blues In Two Phases [disquiet0610]

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

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).