A return to the Lady Bay reef and one particular set of tidal pools and seagrass meadows that were documented in January 2021. The three environments presented here reveal the diverse soundscapes contained within a wide, shallow meadow of seagrass and two tidal pools containing a variety grasses, kelp and seaweed. There is still much research to be done regarding the constituent sounds of these environments, since - at this present time - it is difficult to distinguish plant/reef sound from fish, crustacean and other organisms.

FKISM: Seagrass meadow, Lady Bay reef (southern region) - April 2022

New album released.

「森と海」
Bandcamp page
https://satoshisugiyama.bandcamp.com/album/--3

----- caution ------
 I'm in the process of making the CD. I will send it to you by surface mail  as soon as it’s ready.


以下、アルバムについて。


「森と海がまじわるところ」

鬱蒼とした森の記憶を辿るように、レコーダーを手にし土と枯れ葉の小道を登る。
まず、その小高い森の中心と思われる場所で一度目の録音。
そして同じ場所でレコーダーのマイクを空に向け二度目の録音。
遠くに僅かに波音が聴こえた。

その音に誘われて、数日後、友人たちと森を抜け海に降り立つ。
岩場の潮溜りにハイドロフォンを落とす。
マイクを通して海中の音を聴くのはそれが初めてで、海の中から外の世界を見ているような気持ちになった。
小さな生き物たちの気配、波音と森のざわめきと
すべてがまじわるところに僕はいた。


※この録音を聴き返すうちに、10年前に三木葉苗が書いた「美の基準についての覚え書き」を思い出し読み返す。合わせて読んでももらえるといいなと思いこれを付属することにしました。

録音と編集　杉山聡
絵　三木咲良
言葉　三木葉苗

森と海 -Excerpts-

Contains recordings by Tristan Louth-Robins, Thomas Undermulden, Hugh G Prat, Jonathan Zorn and Bo OhWell
Mixed & mastered 10 Sep 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

Process notes -
Along with my own submission for 0609, I grabbed pieces of the following
 - [Disquiet_Junto_0609] Refactored Drift (60 bpm) by Tristan Louth-Robins
 - Sleep Spindles (disquiet0609) by undermulden
 - Upeow (disquiet0609) by Hugh G Prat
 - Disquiet0609 60bpm by Jonathan Zorn
 - Shadow Clocks [disquiet0609] by OhWell

After roughly tuning the tracks to something approaching C, I chopped chunks out of each, shortened these to 1 min total length from different starting points, chose different warp modes in Live and then stretched all 6 tracks to 2 min. I added some effects, including some to add pitchiness to non-tonal material. I used Max for Live to modulate some parameters while others were manually automated, then cut more chunks out. I accepted my rough mix and ran these through a variation of my Ozone 9 mastering chain.

-----

This original version of "Cactus, O Cactus" was submitted as part of ​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.

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

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

This track was originally released under the artist name "Antlers Spread Wide."

Fluttering Fins

Cactus, O Cactus (disquiet0610)

Electronic percussion sequences created in Pure Data with a touch of reverb & additional noise.

More on this 612th weekly Disquiet Junto project, Drum Vector (The Assignment: Walk the listener through variations on the same percussive instrument), at: https://disquiet.com/0612/

Thanks to Mahlen Morris for having proposed this project.

About the Disquiet Junto: https://disquiet.com/junto/ 1

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0612-drum-vector/

Drum & Hum (disquiet0612)

This was my contribution for Disquiet Junto Project 0612: Drum Vector

Here’s a copy of my post on the Disquiet Junto 0612 discussion thread:

At first, I wasn't sure how to approach this project. Briefly fooled around with various ideas and percussive instruments, till I finally settled on composing this in Ableton Live. Not sure how accurately I followed the assignment though but at least I had fun.

Five tracks were created using Ableton Live's Wavetable synth, all with the Mallets/Crockhausen preset and Max for Live Octopulse sequencer. Different parameters for the synth and sequencer were adjusted for each track to try to emulate five different musicians. Audio was processed with Minimal Audio Cluster Delay and Arturia LX-24 reverb. Background noise/drone from AudioThing Noises. Image by Neosiam via Pexels.
 
More on this 612th weekly Disquiet Junto project, Drum Vector (The Assignment: Walk the listener through variations on the same percussive instrument), at: https://disquiet.com/0612/
Thanks to Mahlen Morris for having proposed this project.
About the Disquiet Junto: https://disquiet.com/junto/ 1
Subscribe to project announcements: https://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0612-drum-vector/

Five Radials At Obtuse Angles [disquiet0612]

This is a submission in the Disquiet Junto collaboration number 612 "Drum Vector".

In the absence of a handy percussion instrument, and not wanting to reuse samples, I fashioned an instrument out of:
- A mixing bowl
- twine
- a conservatory (greenhouse for the americans)
- spacetime

More on this 612th weekly Disquiet Junto project, Drum Vector (The Assignment: Walk the listener through variations on the same percussive instrument), at: https://disquiet.com/0612/

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-0612-drum-vector/

Disquiet0612 Autumnal Equi - Knocks

Recorded, mixed & mastered 22-23 Sep 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, outside.

©2023 Jim Lemanowicz

Process notes - 
On Sep 23, 2023 and in the presence of an army of active landscaping equipment, I recorded a no-name eBay piccolo snare drum in twenty different short recordings using a handful of different exciters and techniques into a 2019 iPad and AUM with no other effects. 

This I arranged into three track groups in Ableton Live for left, right and center, each with an effects chain containing an Ableton Corpus and a Melda Production MAutoPitch into my standard channel rack. These clips were arranged over a straight recording of the landscaping equipment split into two stereo tracks, both through an Ableton Resonator and a Melda Production MAutoPitch. 

I didn't want to present a linear walk, so I went with a busy walk through an airport or major train station as my guide...with landscapers...

Photo - 
23 Sep 2013, Bryant Park, NYC, NY, USA, Jim Lemanowicz

-----

This original version of "My Resistance Is Not My Personality" was submitted as part of ​Disquiet Junto Project 0612: Drum Vector. The Assignment: Walk the listener through variations on the same percussive instrument.

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

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

This track was originally released under the artist name "The David Conspiracy."

My Resistance Is Not My Personality (disquiet0612)

• Key: F min / C min /A min     BPM: 95     Time signature: 4/4     DAW: Reaper
    • Instruments: Xiaoluo
    • Plug-ins: NI East Asia, Komplete Kontrol, Izotope Neutron, Ozone
    • The Assignment: Walk the listener through variations on the same percussive instrument. 
    • Used the Chinese Percussion Instrument “Xiaoluo”
    • Played the instrument for different lengths of time
    • Layered the items 1 to 5 deep
    • Length of Song = 4:12 approx.

More on this 612th weekly Disquiet Junto project, Drum Vector (The Assignment: Walk the listener through variations on the same percussive instrument), at: https://disquiet.com/0612/

Thanks to Mahlen Morris for having proposed this project.

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

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

disquiet0612 - Xiaoluo Route

sound art for disquiet0636

More on the 636th weekly Disquiet Junto project, Left (1 of 3) — The Assignment: Record the first third of a trio — at https://disquiet.com/0636/

marsh bones (disquiet0636)

I used Tristan Louth-Robins  (@red_robin) guitar track as a basis for this. 

https://soundcloud.com/red_robin/disquiet_junto_0636-epochs-left-1-of-3-72-bpm

I added electric bass, playing a quite standard bass line and some harmonics.

This still sounds like a "basic track", hope somebody has an idea to complete this next week.
This collaboration between two austral guys is called Australopithecus.

I did alter the original to suit my taste, I added an intro (copy paste form the original's first bars) 'cause Tristan's track started a bit abruptly. And then added the coda using an Ecophlex tape delay simulation. My best contribution to the track  if you ask me.
So , yeah, I didn't follow rule number 3 "When composing and recording your part, don’t alter the original piece of music at all" so shoot me!
The pitch here:
https://llllllll.co/t/disquiet-junto-project-0637-right-2-of-3/

Australopithecus - disquiet0637 with tristan louth robins

I used @daniel-diaz track Australopithecus https://soundcloud.com/daniel-diaz/australopithecus-disquiet0637-with-tristan-louth-robins which built on  Tristan Louth Robin's (@red_robin) Epochs https://soundcloud.com/red_robin/disquiet_junto_0636-epochs-left-1-of-3-72-bpm

I knew I wanted to play some drums along with their nice groove. Played djembe, then shekere, then full kit. Added in some rhodes harmony and lead and flute leads. Some chanting voices for a celebratory or ceremonial feel. Made me think of traveling across some great plains filled with animals. Evolving this more was fun, thanks to Daniel and Tristan for the great parts to build on!

More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

Tres Hominis [disquiet0638] with Daniel Diaz and Tristan Louth-Robins

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).

FKISM: Seagrass meadow, Lady Bay reef (southern region) - April 2022

Tristan Louth-Robins

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