Disquiet Junto submissions

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

Un-Ravel

Disquiet Junto| Un-Ravel - disquiet0691

I selected the 4th movement of the quartet, chopped it up and remixed it to a stereo track. Then, by means of many adjustments and various effects, I converted it to a modern atonal/microtonal composition.

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

Ravel Revamped (disquiet0691)

Ravel from the 1920s, timestretched in ableton, then converted to midi and combined, fx etc

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

un-ravel +3 mix [disquiet0691]

Following this week's Disquiet Junto project this track was created using a historic recording of the Ravel string quartet from 1928.
This is the sound of a dream, dissolved beyond recognition, but still present as the conscious cause of this unconscious music.

The audio was transformed using spectral synthesizers and effect chains to create this dreamlike rendition. No other sounds or instruments were employed.

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

rêver  (Disquiet0691)

Edited, mixed & mastered on 28 Mar 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, USA. 

This piece uses a 1928 recording by the Capet String Quartet of Ravel’s string quartet (Col. D 15057-60).

The original source is the Internet Archive: 

https://archive.org/details/3-capet-sq-col-d-15057-60-ravel-1928-mov-3/

Photography - Jim Lemanowicz, 24 Apr 2009, Massapequa & NYC, NY, USA

©2025 Jim Lemanowicz

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This original version of “Chowder Spray” was submitted as part of Disquiet Junto Project 0691: Un-Ravel. The Assignment: Make a recording of a string quartet fall apart.

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

More on the 691st weekly Disquiet Junto project, Un-Ravel — The 
Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

Chowder Spray (disquiet0691)

“Unraveling a revealing Ravel” takes the final twelve seconds of Ravel’s Capet string quartet in F Major (1903) as the material to apply the idea proposed in Disquiet Junto 0691: “it should make the Ravel sound like it is falling apart — that is, like it is unraveling, or un-Ravel-ing”. 
The tripartite microstructure of those final measures has been mapped into the three sections of the track: the first one starts with the clean original audio and quickly derives into a vivacious sequence of micro-editions, gating and spectral smearing; the second section transitions from energico to adagio until the chords seem to be suspended for a while, just to be submitted to different kinds of decimation, downsampling, aliasing, vacuum tube distortion, vinylic noisification, and bitcrushing; the piece closes with an exagerated ritardando, and wild filtering and cutting of excerpts that maybe expose some microfeatures of the final chord before leaving it totally unravelled. 
More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

This piece uses a 1928 recording by the Capet String Quartet of Ravel’s string quartet (Col. D 15057-60).
The original audio source can be found here:
https://archive.org/details/3-capet-sq-col-d-15057-60-ravel-1928-mov-3/

Unraveling a revealing Ravel [disquiet0691]

I was a bit lazy with this one and also pressed for time. I basically ran the original file through a number of granular plug ins, fading and mixing them against each other and towards the end rendering the mix into an ambient wash. Hints of Ravel remain, moving in and out, here and there....

disquiet0691

Disquiet Junto Project 0691: Un-Ravel
The Assignment: Make a recording of a string quartet fall apart.

Step 1: Download the first movement of the Ravel string quartet at this URL: https://bit.ly/un-ravel

The original source is the Internet Archive: https://archive.org/details/3-capet-sq-col-d-15057-60-ravel-1928-mov-3/

Step 2: Listen to the track closely.

Step 3: Create a new piece of music by employing the provided recording as source material. The goal for your piece is that it should make the Ravel sound like it is falling apart — that is, like it is unraveling, or un-Ravel-ing.

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

unravelling [disquiet0691]

Un-Ravel [disquiet0691]

the end result is not so much a string quartet falling apart as it is a resonator-granular garble, but that's how it is sometimes

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More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/



disquiet0691 - gravel

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.

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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

Disquiet Junto Project 0408: Fritiniency Tronics
The Assignment: Were “fritiniency” (“the chirruping sound made by birds or insects”) a musical genre or technique, what would it sound like?

Many thanks to Michael Upton for having initiated this project.

Step 1: Familiarize yourself with the word “fritiniency.” It was described in a tweet by the author Robert Macfarlane as follows:

Word of the Day: “fritiniency” – “the chirruping sound made by birds or insects; an ambient creaturely hubbub (17thC English; from Latin “fritinnīre”, onomatopoeically meaning “to twitter”). “Fritiniency is a chirping like a Swallow” (Blount, Glossographia, 1656)

The original tweet is here:

https://twitter.com/RobGMacfarlane/status/1185797836585213953 8

Step 2: Now imagine the word “fritiniency” to be a musical genre or technique.

Step 3: Record a short piece of music that would qualify as an example of the genre or technique you imagined in Step 2.

Track notes:

As I mentioned previous in the Junto thread, the idea of Fritiniency and this kind of concept/approach is something I'm very interested in, and immediately I could see some parallels to the sound art explorations of artists such as Rolf Julius and Miki Yui (both of whom are massive influences on my own sound art practice).

I derived all of the sound material from a little clay whistle in the shape of a chicken. By filling it with a little water and blowing through it at the right intensity, it emits a regular chirping sound. It can also be played without water, resulting in a high pitched whistle, with a pitch that can be articulated marginally.

1) I made a couple of recordings with these playing techniques as short improvisations - varying breath intensity and repetitions, whilst employing brief silences.  

2) I then took the recordings and played these back in a simple Max patch that looped them back at different pitches (ranging from a slight detuning to extremes [digital artefacts/glitchy]), whilst randomly determining their spatial position (so they drift around a little).

3) Finally, I layered four of these Max renderings in Logic and mixed them so as to evoke an imagined soundscape. A little reverb was applied to add degrees of depth and space to the soundscape.

x TLR

[disquiet0408] yr tropic

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).

[disquiet0408] yr tropic

Tristan Louth-Robins

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