Disquiet Junto Project 0632: Shear Wind  
The Assignment: Make the most of the disturbance within a field recording.

Step 1: Consider how when making a field recording, there can be disturbances in it, such as a passing car or plane, or a noise you didn’t notice until you listened back, or a malfunction in the recording equipment. A common such problem is wind shear. 

Step 2: Make a recording that has wind shear in it, perhaps by standing in the wind, or recording from a moving vehicle, or through some other technique. Or locate a pre-existing field recording with wind shear, perhaps on freesound.org.

Step 3: Make a piece of music employing the recording you made in Step 2, and make the wind shear a focus of the piece. That is, pay attention to, rather than avoid, this sound that you would likely in other circumstances identify as a shortcoming.

. . .

Deadline: This project’s deadline is the end of the day Monday, February_ 2, 2024, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, February 8, 2024.

. . .

More on this 632nd weekly Disquiet Junto project, Shear Wind — The Assignment: Make the most of the disturbance within a field recording — at: https://disquiet.com/0632/

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

Subscribe to project announcements: https://juntoletter.disquiet.com/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0632-shear-wind

Disquiet Junto Project 0632: Shear Wind

From https://soundcloud.com/user-957729823/the-faucet-and-the-pipe

Trio For Faulty Pipes

A demo song for Korg Gadget 3. 

“sentimental” doesn’t count cause I had the idea since Gadget 2…  😂😂

snakecharmer

The Tumbling Ocean (NaviarHaiku525)

Naviar Haiku 525

vernal seas…
all day long swelling, falling
swelling, falling
 
One of the four great haiku masters, Yosa Buson studied both Japanese and Chinese poetry. He was also an accomplished painter, and most of his poems were accompanied by paintings, resulting in a more diverse and individual set of works than the one by his main historical influence, Basho.

This haiku was translated by Adam L. Kern.
 
Haiku by Yosa Buson

Picture by Cris S.

Wave Dynamics

Wave Dynamics (NaviarHaiku525)

Bhoga

This was my contribution for Disquiet Junto Project 0631: In A Silent Waveform

Here’s a copy of my post on the Disquiet Junto 0631 discussion thread:

I saw a video a while back of a two module setup using Plaits to create a nice self-oscillating soundscape with nothing patched to any inputs. It was then patched out through Ripples and processed with a DAW using Valhalla reverbs. After reading this week’s description, I decided I wanted to duplicate that setup to see what would happened. This drone is the result after several minutes of fooling around. I tweaked the Timbre and Morph controls slightly on Plaits to create the tone variations. Added Valhalla reverbs in Ableton Live. I can see future experiments using this patch by adding other types of modulation and effects. Here’s the original YouTube link this was based on https://www.youtube.com/watch?v=2o5SU-5Ikpk   

More on this 631st weekly Disquiet Junto project, In a Silent Waveform — The Assignment: Take one held tone and make it dance slowly — at: https://disquiet.com/0631/
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-0631-in-a-silent-waveform/

Just Two [disquiet0631]

More on this 631st weekly Disquiet Junto project, In a Silent Waveform — The Assignment: Take one held tone and make it dance slowly — at: https://disquiet.com/0631/

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-0631-in-a-silent-waveform/

Disquiet0631 - 1tone2rulethemall

Poem "Land's End" by Weldon Kees
Accessed here: https://www.poetryfoundation.org/poems/53030/lands-end-56d231f9ebd38

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


More on this 632nd weekly Disquiet Junto project, Shear Wind — The Assignment: Make the most of the disturbance within a field recording — at: https://disquiet.com/0632/

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

Subscribe to project announcements: https://juntoletter.disquiet.com/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0632-shear-wind/

Marching Band at Lands End (disquiet0632)

More on this 632nd weekly Disquiet Junto project, Shear Wind — The Assignment: Make the most of the disturbance within a field recording — at: https://disquiet.com/0632/

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

Subscribe to project announcements: https://juntoletter.disquiet.com/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0632-shear-wind/

Shear Wind Drone (disquiet0632)

An original field recording made on the shore with wind shear & various glitches incorporated, modified using filters, a touch of delay & reverb, etc.

More on this 632nd weekly Disquiet Junto project, Shear Wind — The Assignment: Make the most of the disturbance within a field recording — at: https://disquiet.com/0632/

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

Subscribe to project announcements: https://juntoletter.disquiet.com/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0632-shear-wind/

Glitches Inc. (disquiet0632)

Disquiet Junto Project 0632: Shear Wind
The Assignment: Make the most of the disturbance within a field recording.

Something with frogs :-)

More on this 632nd weekly Disquiet Junto project, Shear Wind — The Assignment: Make the most of the disturbance within a field recording — at: https://disquiet.com/0632/

Not Easy Being Green (disquiet0632)

The prompt for Disquiet Junto 0632, "Shear Wind", instructed us to take that awful wind-blowing-across-the-microphone sound and make it useful.

I live in a notoriously wind-swept city and the weather was cooperative, so I recorded several minutes of wind shear in my back yard with a stereo field recorder. I brought the recording into my DAW on three tracks, one reversed, and executed some glitch maneuvers to make them rhythmic. On top of everything is a Cmaj7 drone using a few layers of custom sampler instruments.

REMEMBER: Headphones are antennae, like an insect's, that pick up the thoughts of the composer.

More about this week's Disquiet Junto: https://disquiet.com/0632/

Recorded at NOSIGNAL Multimedia Labs, The Shambles

Disquiet Junto

A Picnic on a Cliff (disquiet0632)

sound art for disquiet0632.

sparrows in a hedge.

More on this 632nd weekly Disquiet Junto project, Shear Wind — The Assignment: Make the most of the disturbance within a field recording — at: https://disquiet.com/0632/

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

Subscribe to project announcements: https://juntoletter.disquiet.com/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0632-shear-wind/

sparrow's breath (disquiet0632)

Disquiet Junto Project 0632: Shear Wind
The Assignment: Make the most of the disturbance within a field recording.

Step 1: Consider how when making a field recording, there can be disturbances in it, such as a passing car or plane, or a noise you didn’t notice until you listened back, or a malfunction in the recording equipment. A common such problem is wind shear.

Step 2: Make a recording that has wind shear in it, perhaps by standing in the wind, or recording from a moving vehicle, or through some other technique. Or locate a pre-existing field recording with wind shear, perhaps on freesound.org 1.

Step 3: Make a piece of music employing the recording you made in Step 2, and make the wind shear a focus of the piece. That is, pay attention to, rather than avoid, this sound that you would likely in other circumstances identify as a shortcoming.

===

Track notes:

I spent a couple of days in my hometown/homearea of Normanville on the western coastline of the Fleurieu Peninsula. It's Summer here at the moment, and the weather down south has been particular lovely and warm. I took a long late afternoon walk along the beach, heading south with the heritage protected dunes on one side and a very still ocean on the other. 

Aside from the serene, still conditions there was a nagging, turbulent breeze throughout the afternoon and evening.

I made a few recordings along the way, including one at the foot of the dunes (feat. cicadas) and another on a shallow bed of dried seaweed at the tide break. Though I documented moments of transparency in the recordings, the wind (even with a jammer on the handheld recorder) was prominent throughout.

Since coming home and listening back to the recordings, I thought it would be interesting not only to feature the sound of wind shear, but use its dynamic peaks to control aspects of the composition.

I recorded a sample from the tide recording to my Morphagene module and routed the CV output directly to the clock. The dry/wet mix was set to roughly 60/40, so 60% of the mix would be the dune recording played back in real time, whilst 40% is the tide sample playing back on the Morphagene. Whenever a wind shear event arose (either form the tide or dunes) this would manipulate the time stretching, 'Morph' and 'Slide' parameters of the Morphagene. 

I'm letting the Morphagene play itself for the first half of this track, then subtly manipulating some of the controls to transition parts of the sample and close out the track with just the dune recording.

[Disquiet_Junto_0632] Tidal Jamming

What's a month for the sea
as the waves touch my feet
a shiver, endless
(Marco)

https://www.naviarrecords.com/naviarhaiku528-whats-a-month-for-the-sea/

As the Waves touch my feet-naviarhaiku528

Disquiet Junto Project 0639: Path Ways (4 of 3)

I picked up/finished my 637, to give it a proper burial.

Center and more:

https://freesound.org/people/kyles/sounds/450651/

playground active bright children playing with rolling planks with passing cars and spanish voices Madrid, Spain.

CLARINET in Bb:
1) Multiphonics
2) Glissando
3) Keys click

4)Kalimba and Percussiv Piano.

My Way - NMT (disquiet0639remix)

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).

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.

[Disquiet_Junto_0632] Tidal Jamming

Tristan Louth-Robins

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