Disquiet Junto projects

https://hearthis.at/sevenism/spring-palindromes-dark-winter-snippets-disquiet0177-netlabelportrait/

spring palindromes
waves metaphorical
move forward/setback
ice crystal rainbow
.

-30 second intros played from web and recorded in audacity
-1st 2 samples repeated then reversed
-3rd sample played in middle and reversed
-project stretched and smoothed with paulstretch to fit 4 mins
-volumes messed around with

Step 1: Create a new piece of music by using nothing but the following segments of the following songs:

Use the first 30 seconds from “Part 1″ off Scott Lawlor’s World of Ice and Snow:

http://www.darkwinter.com/dw095.html

Use the first 30 seconds from “Underground Shelter” off Nadador Nocturno’s Harsh Winters in the Distance:

http://www.darkwinter.com/dw096.html

Use the first 30 seconds from “DSM III – The Cristalline Entity” off Ovdk vs Seetyca’s Allegorik Symptom Before the Cataclysm:

http://darkwinter.com/dw097.html

Step 2: Upload your track to the Disquiet Junto group on SoundCloud.

Step 3: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

hear

Spring Palindromes (Dark Winter snippets) (disquiet0177-netlabelportrait)

I was playing around with Cecilia5 which is awesome for real-time processing, clicked random sound which came up with a vocoder preset and it had already emphasized the bells and got rid of most of the background sounds! I fiddled about with it coz there was a little distortion and to make it sound a little more weird but then all i needed to do was a bit of gentle levelling and fading out in audacity. This is the first couple of minutes.
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Disquiet Junto Project 0178: Berlin Bells
Emphasize the bells in an urban field recording.

Step 1: Download the audio file at this URL. It is a field recording of urban Berlin by Michael Raphael (aka Sepulchra):

https://goo.gl/C3kJNA

Step 2: Rework the source audio in a manner that reinforces the melodic component of the bells. Beyond that sole instruction, the choices are up to you.

Step 3: Upload your track to the Disquiet Junto group on SoundCloud.

Step 4: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

longer

Bells {rndm vocode} 001 (disquiet0178-sepulchrabells)

*shortened for space. full track here: https://hearthis.at/sevenism/chinook-showroom-ambientechoes-disquiet0179-techniquetalk/*

The main thing I've learned recently is how to cede control to an instrument, like how inuits (and other cultures) say: the sculpture is already there. i just need to tease it out. So there's more of a collaboration, feedback loop, between performer and instrument.

Here, I used acidrack pressed the random button to get a synth tone, then pressed random again because i didnt like the first one. i fed this tone through a load of echo and delay in podfarm. i used excel to generate random notes, then improvised based on these constraints. 

The long rhythmic echoes suggested long gaps between the notes but sometimes these echoes were lower in the mix so i'd play quicker, at the same time i was cognizant of what had already happened and how close it felt to the end.

The track title was found by 'conducting' my swype keyboard on my phone to produce two words. Art was found by searching google images for these words and manipulating an image i liked
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Disquiet Junto Project 0179: Tech(nique) Talk
Show off (and explain) one thing you’ve learned recently about an instrument/tool.

Step 1: Think of one thing in the recent past you’ve “figured out” related to how you use an instrument or another piece of technology to make music.

Step 2: Record a short piece of music that employs that technique.

Step 3: After uploading the piece, explain in the accompany text (and/or in the captions to the SoundCloud file) what the thing is you’ve figured out, so others can benefit from what you’ve learned. Explain how you’ve employed it in the track.

Step 4: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

More on this 179th Disquiet Junto project — “Show off (and explain) one thing you’ve learned recently about an instrument/tool” — at:

http://disquiet.com/2015/06/04/disquiet0179-techniquetalk/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

full track

Chinook Showroom {ambientechoes} [disquiet0179-techniquetalk] (shortened)

I represented each of the six dolls as an instrument -  the bass doll, then opening up we hear my voice, then mountain dulcimer, then kalimba, 12 string guitar and glockenspiel. Then I reversed it as the doll is put back together and we just hear the bass to close.

The bass starts off with more fx then I remove more and more fx from the instruments as it opens up.

I tried to restage the image with my instruments!

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Disquiet Junto Project 0180: Matryoshka Music
Use the Russian nesting dolls as a model for a musical composition.

Step 1: Consider the Russian nesting doll called the matryoshka, in which hollowed-out wooden figurines are designed to be stored inside each other, excepting the smallest doll, which is solid.

Step 2: Compose a short piece of music that somehow takes as its basis the doll’s structure. (For a further constraint, imagine a matryoshka consisting of 6 dolls.)

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This assignment was made in the early evening, California time, on Thursday, June 11, 2015, with a deadline of 11:59pm wherever you are on Monday, June 15, 2015.

Length: The length of your finished work is up to you, but between two minutes and four minutes is probably best in this context.

Upload: Please when posting your track on SoundCloud, only upload one track for this assignment, and include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

More on this 180th Disquiet Junto project — “Use the Russian nesting dolls as a model for a musical composition” — at:

disquiet.com/2015/06/11/disquie…0-matryoshkamusic/

More on the Disquiet Junto at:

disquiet.com/junto/

Join the Disquiet Junto at:

soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

disquiet.com/forums/

Matryoska (disquiet0180-matryoshkamusic)

*shortened to make space. longer versn here https://hearthis.at/sevenism/matryoska-demo-kpple-concpt-remix/*

the first recording of vocals for my matryoska track i couldnt fit with the other instruments. i loved the concept of this track: https://soundcloud.com/jmmy-kpple/untitled-matryoshkoid-disquiet0180-matryoshkamusic and used it here.. although for the first minute i was stretching it rather than compressing it but fuck it i love mistakes, and anyway it degrades the sample further which i wanted because it wouldve taken too long to record 50 odd iterations at decreased mp3 quality.

this was too creepy for my girfriend 'why have you got to make frightening music?'

matryoska demo (kpple concpt remix) (shortened)

my guitar dreams in  fragments
my guitar remembers half forgotten notes
my guitar does not know how he sounds when he's sound asleep
my guitar does not control his dreams

I love my fender semi-acoustic guitar; we've been through a lot. I haven't used him recently, the battery for his pick up always runs out and i can't find the charger. I did have a spare battery, but then i thought i'd record close-mic'd to give that vague faraway dreamlike sound. I played just after i'd woken up, with sleep in my eyes, without thinking, just half playing an old song;  letting the sound come from the instrument. There was some gentle fx too and i reduced the hiss a little bit afterwards

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Disquiet Junto Project 0181: Instrumental Dream
Imagine your favorite instrument is dreaming while it sleeps — what does it sound like?

Step 1: Focus on your favorite instrument.

Step 2: Imagine that your instrument sleeps.

Step 3: Imagine that your instrument dreams.

Step 4: What does it sound in your instrument’s dreams?

Step 5: Record what it sounds like.

Step 6: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

More on this 181st Disquiet Junto project (“Imagine your favorite instrument is dreaming while it sleeps — what does it sound like?”) at:

http://disquiet.com/2015/06/18/disquiet0181-instrumentaldream/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/


while my guitar gently sleeps (disquiet0181-instrumentaldream)

https://hearthis.at/sevenism/refocus-interdependence-fx-v2-disquiet0182-divergeconverge/

I wanted to do something simple where the sound of the variations was clear - it came out simpler than i was expecting (largely due to time constraints). I was thinking of the concept in terms of interdependence - how the samples all depend on each other as does the layering fx. 

it's meant to be listened to as a meditation where the bowl refocuses you on the present but also challenges your expectation of what the bowl will sound like and thus help accept what's going on.

I recorded the sound of my meditation bowl with a dictaphone so that it picked up the sounds of my meditation (basically the ticking clock) so the bowl and the tick provide the basis. I then looped this in audacity and pitched the sound down by 7% for a few iterations (then after the 1/2way mark it gradually goes back to the original pitch) then i vamped with a note on my kalimba in time to the tick (although this was way quieter than i wanted)

Mixed down into live which weirdly stretched the sample by ~125% but i was in that 'accept the present moment' state so went with it, then i cued up some guitar fx in podfarm so each bell gets more screwed (echo platter>'lux spring>analog square chorus>rez synth>double bass) until the middle and it goes back to 'normal'

Even when bypassing the fx it still really altered the sound so i bookended the final track with the original meditation sounds. 

this explanation makes it all sound far more complex.. 'something simple' pfft! 
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Disquiet Junto Project 0182: Diverge Converge
Do a rendition of Ethan Hein’s laptop orchestra score by yourself.

Step 1: The following is Ethan Hein’s score for laptop orchestra. You will record a version that you will do by yourself — an orchestra of one:

Each performer loads a short, shared sample. It should have a distinct attack and decay, for example a bell or gong. It can be pitched or unpitched, musical or unmusical.

Each performer triggers the sample repeatedly, either as a steady loop or at any arbitrary time interval.

After a few repetitions, each performer manipulates the sample as they see fit, via pitch shifting, time stretching, filtering, or other effects. Transformations should be gradual and clearly perceptible.

Once the entire ensemble is playing altered versions of the sample, the performers begin to undo their manipulations, preferably in the reverse order that they were originally applied.

When all performers have resumed playing back the original sample, the piece ends.

More on this 182nd Disquiet Junto project (“Do a rendition of Ethan Hein’s laptop orchestra score by yourself”) at:

http://disquiet.com/2015/06/25/disquiet0182-divergeconverge/

The piece is based on Ethan Hein’s score, more on which here:

http://www.newmusicbox.org/articles/brahmss-third-racket/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

re.focus {interdependence fx} v2 (disquiet0182-divergeconverge)

 I used Spin Cycle by High Tunnels (https://soundcloud.com/hightunnels/spin-cycle-disquiet0160-oneminutepastmidnight?in=disquiet/sets/disquiet0160-oneminutepastmidnight) for this week's project. i really like ambient hidden in loads of noise and that's what i've gone for here.. although i think the synth could've been even lower in the mix.

the synth is meant to sound like a silk shirt going round the washing machine, in the dead of night, i used a phaser mod for that sense of it going round, using computer keyboard as midi controller typing the letters s i l k ('i' on the keyboard didnt make a sound tho)

original picture remixed using ImageGlitcher: http://www.airtightinteractive.com/demos/js/imageglitcher/

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Disquiet Junto Project 0183: Stereo Midnight
Insert something that plays across the stereo spectrum in an after-dark field recording.

This project is the fifth in an ongoing occasional series that focuses on late-night ambience. Collectively these nocturnal endeavors are being called “One Minute Past Midnight.” No one’s work will be repurposed without their permission, and it’s appreciated if you post your track with a Creative Commons license that allows for non-commercial reuse, reworking, and sharing.

The primary goal of this project is to explore techniques to insinuate sound in a pre-existing field recording. First, select a track from one of the initial three projects in this series: #0160 from January 22, 2015, #0163 from February 12, 2015, and #0170 from April 2, 2015. All three of these previous projects involve field recordings made of the sound one minute past midnight:

http://disquiet.com/0160/
http://disquiet.com/0163/
http://disquiet.com/0170/

More on this 183rd Disquiet Junto project (“Insert something that plays across the stereo spectrum in an after-dark field recording”) at:

http://disquiet.com/2015/07/02/disquiet0183-stereomidnight/

More on the Disquiet Junto at:

http://disquiet.com/junto/

More on the One Minute Past Midnight series at:

http://oneminutepastmidnight.com/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

full piece

High Tunnels - Spin Cycle {sevenism silk wash cycle} (disquiet0183-stereomidnight)

https://hearthis.at/sevenism/oneeightfour-disquiet0184-setsofbars/
This is weird: i recorded some parts in live 8 on acidrack through podfarm then exported as wav to more easily play around with in audacity.. but what was outputted was not what i recorded and then live just crashed so i lost everything.. i dunno what happened, dunno where the 1-bar went, or where all the echo came from.. but hey the segments are combined at random and i like how it's come out!

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Disquiet Junto Project 0184: Sets of Bars
Explore the relationship between segments that consist of 1 bar, 8 bars, and 4 bars.

This week’s Junto is project 184 in the series. We’ll explore the relationship between segments that consist of 1 bar, 8 bars, and 4 bars.

Step 1: Record three very short pieces of music: one that is 8 bars long, one that is 4 bars long, and one that is 1 bar long.

Step 2: Create an extended sequence of those segments that combines them at random. The overall total length is recommended to be between one and two minutes.

Step 3: You have a pair of options here:

Option A: Add one or two additional layers of sound/music that play off the sequence.

Option B: Develop your own rules/system (example: start an 8-bar tone each time the 1-bar segment plays).

More on this 184th Disquiet Junto project (“Explore the relationship between segments that consist of 1 bar, 8 bars, and 4 bars”) at:

http://disquiet.com/2015/07/09/disquiet0184-setsofbars/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this post by Vladimer Shioshvili and used thanks to a Creative Commons license:

https://flic.kr/p/dEE5RJ

(one)eightfour (disquiet0184-setsofbars)

so, weird synchronicity again; this track https://soundcloud.com/sevenism/summer-storm-memory i did the other day fits the bill perfectly it was about a childhood memory of a summer storm. rather than just add that though i used the same method so it's kind of like a part 2

i remembered when i was a kid a bunch of at a birthday party in our garden were jumping on my poor dad.. at the time it was so much fun but i'm guessing it wasnt for him!

i associate the harmonica with dad, its the first instrument i think i fell in love with and dad was gonna give me his harmonica a few yrs back but it's lost somewhere, but he got me a new one which can hear on here.. so that represents dad.. then i slowed it down and blurred it righht out for the passage of time feel

then the other sounds are a guitar with loads of reverse delay; that's us bothering him, again blurred a bit.

then like summer storm i recorded to tape and then back onto pc via walkman, i like the warp at the start and the wow n flutter but not enough hiss!

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Disquiet Junto Project 0185: Memory Music
Summon up a memory, and then summarize it in sound.

This week’s Junto is project proposed by Robert Thomas, a longtime participant. Having proposed the project, he’ll also listen to and comment on various posted tracks as the project unfolds.

A bit about him: Robert Thomas creates procedural music and sound systems. In 2010 he worked on Inception the App (5 million downloads), while at RjDj. He has worked with Hans Zimmer, Imogen Heap, Junkie XL, Air, Carl Craig, Jimmy Edgar, and Bookashade. His current projects are systems for VR, AR, health, meditation, and AI/robotics.

These are the steps for this week’s project:

Step 1: Remember a key moment in your life. It could be anything at any age.

Step 2: Conjure the sound of that moment in your mind, how you remember it, how you have come to remember it.

Step 3: Recreate that sound and feeling through sound design and music.

More on this 185th Disquiet Junto project (“Summon up a memory, and then summarize it in sound”) at:

http://disquiet.com/2015/07/16/disquiet0185-memorymusic/

More on the Disquiet Junto at:

http://disquiet.com/junto/

This project was proposed by Robert Thomas, more from whom at:

http://dizzybanjo.com/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

summer : impermanence (disquiet0185-memorymusic)

*full track https://hearthis.at/sevenism/what-my-name-is-disquiet0186-myname/ *

Lickfold.
No not lickford, nickford, pickfood.. lickfold.. l-i-c-k-f-o-l-d.
got a lot of grief about my surname at school, but i like it now, it's unusual and dad's traced it back to the 13th century!

the music is composed only from the sample of me saying lickfold
track 1: my name slowly faded out (pitched to 77%)
track 2: paulstretched 1000%
track 3: track 2 cloned, pitched up 400%, phased
track 4: track 2 cloned, sped up x2, repeated
track 5: track 4 cloned, sped up x2, repeated, 2nd half tremelo'd and echoed

oh yeah the artwork was done with weavesilk.com writing my surname.. looks like me going into an mri scanner!


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Disquiet Junto Project 0186: My Name
Explore the sonic contours of a word you’ve spelled out loud frequently: your name.

These are the steps in this week’s project, which is a micro-exploration of the techniques employed by the composer Scott Johnson. It’s also about various spectra of repetition.

Step 1: Record the sound of you spelling your own name. Best to do just one word, either your first name or last name — whichever you’ve been more likely to enunciate clearly over the years.

Step 2: Slow the recording just a bit, to maybe 75% of the original speed. Adjust to your own taste, but don’t slow it too much: Your name should still be “audibly legible.”

Step 3: Listen very closely to the segment. Note the melodic shape, the rhythm, the inherent grace moments, other granular aspects specific to how you say your name.

Step 4: Record a short piece of music that emulates those shapes, that rhythm, those grace moments, and so forth.

Step 5: Set a loop of the newly composed piece of music over a loop of you repeating your name. Repeat for between 30 seconds and a minute.

Step 6: Go back and tweak the composed music over the length of the work.

Step 7: Set it so that the volume of you saying your name decreases, so that by the end of the length of the piece your name is no longer audible, with just the music remaining.

More on this 186th Disquiet Junto project (“Explore the sonic contours of a word you’ve spelled out loud frequently: your name”) at:

http://disquiet.com/2015/07/23/disquiet0186-myname/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

what? my name is.. (disquiet0186-myname) (shortened)

there was a blue moon the other day (two full moons bookending the month) the fading in and out is how i represented this.

found this sample on an old tape.. looped it ~a minute then cloned it a couple of times pitched one up 100% and one down to 82 hz.. then had the samples fading in and out pretty randomly

☾ O ☽ ☾  ☽ ☾ O ☽ ☾ O ☽ ☾ O ☽ ☾ O ☽ ☾ O ☽ ☾ O ☽ ☾ O ☽ ☾ O ☽


Disquiet Junto Project 0187: Three Strands
Shift between three renditions of the same melody.

Step 1: Choose a simple melody/song/rhythm of your own creation, or that is in the public domain (or that is available thanks to an appropriate Creative Commons license).

Step 2: Record yourself performing the melody/song/rhythm from Step 1 three times, each time with a different instrument or set of instruments. Each of the three resulting tracks should be the same length, at least a full minute. (A single track can be a concatenation of multiple copies of the same recording of the segment — you don’t have to play it straight through for the full minute.)

Step 3: Make a new recording of the three tracks playing simultaneously. The only thing you can do throughout is shift between the tracks, playing either one of them, two of them, or all three of them at the same time. You can shift every few bars, or at a granular level, or anywhere in between — either with a concerted rhythmic purpose, or at random. The decisions you make about these shifts constitute the core compositional decisions you’ll make for this project.

More on this 187th Disquiet Junto project (“Shift between three renditions of the same melody”) at:

http://disquiet.com/2015/07/30/disquiet0187-threestrands/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

blue moon (disquiet0187-threestrands)

for me complexity is a conceptual endeavour, it's more about the process than the outcome. at the moment, i see complexity as an integration of disparate elements: subjective-objective, creative-analytical, individual-communal, present-past etc. i'm aware that every piece of music i do follows on from another, they are related to each other in some (small?) way. working intuitively allows this to come out i think, but in addition i always combine conscious conceptual elements from previous efforts - my hope is that my soundcloud timeline provides a natural progression track to track. 

i've been working a lot with samples on my last few tracks, so i didn't add anything else. i just went through and isolated small sounds i liked then stretched them and blended in over the course of track (like in sleeping church) but here i was more interested in getting a balance between texture and frequency. i've been working with dronefx on my mixcloud pieces so i used that to generate some note progressions and changed the pitch of the low end sounds. i wanted to make an ambient piece that gradually develops with more texture (again like in all my recent pieces) and i used the concepts of the last two disquiet projects to complement this: i recorded the piece to tape as in summer:impermanence (& fortuitously coz it was the same decrepit old tape a little snippet of that track comes through right at the start!) then i faded between the tape version into the 'clean' version as the track progresses (like in last weeks project).

i wanted the finished piece to sound completely different to the source but still retain something of the spirit of it. i tested this by fading in and out my favourite section of the original  right at the end and i think it works pretty well.
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Disquiet Junto Project 0188: Complex Complex
Take a provided track and make it more complex.

This project was proposed by Guy Birkin and Jay Bodley (aka Sun Hammer). It extends the thinking that went into their album Complexification, released by the record label Entr’acte. (http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/)

These are the steps for this project:

Step 1: Pick one of the two tracks at the following URL: https://goo.gl/tN4Oit.

Step 2: Modify that one track in any way, using as much or little of it as you like, to make a new piece that sounds “more complex” than the original. You may add other sounds. (Note: You are free to use any definition or measure of “complexity.” You should be sure to describe your process and how it “increases” the complexity of the original track.)

Background: The album Complexification by Guy Birkin and Sun Hammer “explores musical complexity through a collaborative process based on a set of rules.” Those rules involved the two musicians swapping successive copies of a track in order to make it progressively more “complex.” For their purposes, they defined “complexity” as follows: “In this project, complexity is understood in terms of the quantity and variety of musical elements or patterns. The result is two parallel threads of music, each representing a progression of increasing complexity.”

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:

http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/


hidden complex (summer mix) (disquiet0188)

https://hearthis.at/sevenism/appaleggio-test-disquiet0189/
Not alot of time, just off for the weekend.. this was meant as a test but i liked how silly it sounded and my girlfriend's been bouncing round the flat listening to it!

my initial thinking was i wanted it to sound like an arpeggio. i played some notes on my mountain dulcimer then in post looped them every .5 seconds then halfway every second.. i quantized a little but kept the separate notes close to where i played them initially. then mixed down the recording and for the second half uploaded to bandcamp and had it playing in five tabs concurrently to get that crazy delay

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Disquiet Junto Project 0189: Tone Layer
Create a dense stack of attack-free tonal material from one audio source.

This project involves layering loops, or a loop of layers. It’s preferable that you do so with live looping, allowing the layers to accrue in real time. However, if live looping is not a capacity of yours, then feel free, certainly, to layer them in Audacity or by some other means.

These are the steps:

Step 1: Choose an instrument that can create extended tones.

Step 2: Record a short loop of a single held tone on that instrument. Use a volume pedal or other tool to eliminate the attack at the start of the tone.

Step 3: Create many more such loops, all with the same instrument, and layer them atop the original loop.

Step 4: Record a document of these layered loops lasting approximately 1 minute.


More on this 189th Disquiet Junto project (“Create a dense stack of attack-free tonal material from one audio source”) at:

http://disquiet.com/2015/08/13/disquiet0189-tonelayer/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

appaleggio test (disquiet0189)

In a nice synchronicity i'd already halfway completed the project before it was announced: i'd done an extended version of https://soundcloud.com/thereflectors/c-swells where i'd looped the track a few times (and added a bit of echo n blur in the middle) so that i could listen to it a bit longer

had it playing while i went through last week's tracks and it mixed well with https://soundcloud.com/benn-demole/swallowed-disquiet0189-tonelayer i liked the added bass and incidental sounds, so took a loop at the end of that and had that faded in and out throughout

for the glue i had the mix playing in the next room while i played along on my old technics electric piano and recorded through the mic on my mp3 player.. the idea was that some syncopation would blur the phasing a bit. unfortunately the recorder picked up the sound of me hitting the keys really loudly, and i didnt feel like redoing it so just had it lower in the mix but the clatter kind of helps a bit

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Disquiet Junto Project 0190: Missed Connections
Set two disjointed loops atop each other, and then add sonic glue.

Last week’s project involved using loops to accrue layers. This week’s project involves layering loops. You needn’t have participated in last week’s project to participate in this week’s.

These are the steps:

Step 1: Choose two tracks from last week’s Disquiet Junto project. Be sure to use tracks that include a license that allows for non-commercial reworking. If you’re not sure, either choose a different track, or inquire with the musician. the project is here:

https://soundcloud.com/disquiet/sets/disquiet0189-tonelayer

Step 2: From each of those two tracks, select one loop-able segment. Be sure the segments are of different lengths.

Step 3: Create a long string of each of the two loops from Step 2 by repeating them over and over. That is: make one long string of AAAAA… and make one long string of BBBBB…, where A and B are the two loops. (That is: Do not go ABABAB.)

Step 4: Layer the two tracks resulting from Step 3 for a single track of about one to two minutes in length.

Step 5: Add one element of your own to the result of Step 4 that serves to combine the two disparate loops into one composition.

Step 6: Record a document of these layered loops lasting approximately one to two minutes in length (longer is certainly fine).

More on this 190th Disquiet Junto project (“Set two out-of-sync loops atop each other, and then add sonic glue”) at:

http://disquiet.com/2015/08/20/disquiet0190-missedconnections/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Westy Reflector / Benn DeMole - C Swellowed (disquiet0190)

i was taking pictures of the moon thinking of this project how with the cloud going over the reduced luminescence made it paradoxically clearer for the camera, and i wanted to get that sense of the clouded instruments coming into focus while at the same time blurring

we went to a wedding yesterday and i wanted to sample the church organ drone but he was a bit too jazzy (and also i mightve got told off) so i settled for one of the instruments on live 8 then it goes into cello (http://www.philharmonia.co.uk/explore/make_music/cello) as i was humming in the steam room at the gym and the resonant frequency sounds a bit celloesque, so then my voice blends in. after that is 12 string guitar and then piano then my girlfriends voice (i'm not gonna pretend theres a narrative for those)

i cheated with blending them in, i just used the a 4 sec time resolution on paulstretch to blur them together then repeated that blurred in more.   

eeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee

Disquiet Junto Project 0191: Held Chord
One chord to rule them all — on several instruments.

These are the steps:

Step 1: Choose a chord you can play on several instruments. You can choose any chord you’d like.

Step 2: Make recordings of yourself playing that just chord on several instruments.

Step 3: Edit those individual recordings into one long continuous track, in which the chord slowly (and smoothly as possible) changes from one instrument to the next. The complete length of the finished track should be about one minute.

Step 4: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This assignment was made in the afternoon, California time, on Thursday, August 27, 2015, with a deadline of 11:59pm wherever you are on Monday, August 31, 2015.

Length: The length of your finished work should be approximately one minute.

Upload: Please when posting your track on SoundCloud, only upload one track for this assignment, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0191-heldchord” in the title of your track, and as a tag for your track.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track, please be sure to include this information, and link to (and identify) the two SoundCloud pages for the source audio you selected:

More on this 191st Disquiet Junto project (“One chord to rule them all — on several instruments”) at:

disquiet.com/2015/08/27/disquiet0191-heldchord/

More on the Disquiet Junto at:

disquiet.com/junto/

Join the Disquiet Junto at:

soundcloud.com/groups/disquiet-junto/

clouded moon (disquiet0191)

i often listen to the little clock in the spare room when i'm meditating; how it sounds slightly different with each tick; and i like listening for the rhythm of different clocks ticking around the house.

the track is made only from a clock sample. i recorded the sound of the clock ticking and incidental sounds for a couple of minutes, and that forms the backbone. then in cecilia5 i made 4 different rhythms - some repetitive, some chaotic (one of the beats i played with the frequencies in real time). i paulstretched a single tick 5000% for a nice drone, then cloned that added tremolo and pitched down for some low-end. i ran the original sample through a load of echo fx in podfarm2. i used the waveguide models module in cecilia5 for some fuller sounds (although i don't know if that 'adds' anything to the sample.. don't really understand what that does.. anyone?)

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Disquiet Junto Project 0194: Clock Play
Record the sound of a clock and make something playful and sweet out of it.

Sometimes Junto projects have very detailed rules, and other times the rules are, true to very first Junto project, simple and open-ended. This week’s project is the latter. (Thanks to Brian Biggs for the timely creative nudge.)

Step 1: Record the sound of a clock and make something playful and sweet out of it. (You can also use pre-recorded sounds, like those at freesound.org, if you prefer.)

More on this 194th Disquiet Junto project (“Record the sound of a clock and make something playful and sweet out of it”) at:

http://disquiet.com/2015/09/17/disquiet0194-clockplay/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/


little clock (disquiet0194)

*this is just an excerpt now to save space. listen here: https://www.twine.fm/sevenism/ctvf00/progression-disquiet0195*

recorded a guitar drone on 12 string slowed down to make longer.
gentle, verdant, breezy at the start
more complex, integrated, communal in the middle
industrial feedback tones at the end
...............................................
Disquiet Junto Project 195: Chinasystem Soundsystem
Make music for a Caochangdi Village National Day party.

Caochangdi is a Chinese village that is home to many artists, including Matt Hope and Naihan Li. In the afternoon and early evening of Thursday, October 1, which is National Day in China, there will be a party in Caochangdi utilizing the unique and sizable Laoban Soundsystem. Laoban is fully Creative Commons hardware, and was developed by Matt Hope. The Laoban Soundsystem crew has asked the Junto to create music for the party, which will run from 2pm to 7pm, that means our goal is 5 hours of music.

Please consider setting your track for downloadable, as streaming at the party may not function smoothly, because the Internet in China is heavily filtered, which means downloading of the track needs to happen before the event to insure proper playback.

Step 1: You are creating music for a long party and a big sound system. Keep this in mind. If possible, make a track that lasts about 10 to 15 minutes long.

Step 2: Create a track that moves through three stages:

The first stage should be brief and invoke sounds related to agriculture.

The second stage, the longest of the three stages, should invoke sounds related to artistic production and communal living. Slowly transition from the first stage to the second stage.

The third stage should begin abruptly and invoke rapid industrialization.

More on this 194th Disquiet Junto project (“Make music for a Caochangdi Village National Day party”) at:

http://disquiet.com/2015/09/24/disquiet0195-chinasoundsystem/

Many thanks to Fabricatorz for encouraging this 195th Disquiet Junto project:

http://fabricatorz.com/

The event will be at:

http://harks.gallery/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

More on Caochangdi

https://en.wikipedia.org/wiki/Caochangdi

now hear this

progression? (disquiet0195)

https://hearthis.at/sevenism/zabriskie-point-disquiet0198/

I was looking at a photo of zabriskie point thinking about this project. i didnt want the overture to give too much away, i wanted it reversed to lead up to the first track but that wasnt enough; then i was looking at how the rocks are intricate and somehow separate but fit as a whole too - and i realized that using the overtures themselves would give another degree of separation!

So i listened through the junto tracks so far and recorded a little of every one that i liked (sometimes a couple of sections) then i reversed it, blurred into itself 25 seconds (with paulstretch time resolution) and did some leveling.

this track contains portions of (in reverse order):
https://soundcloud.com/tuonela-1/thoughtlesson-disquiet0198-overtureremix
https://soundcloud.com/user-440651706/yellow-salamandr-disquiet0198-overtureremix
https://soundcloud.com/asoupofnettles/free-thought-disquiet-junto-project-0198-overture-remix
https://soundcloud.com/boobsieallonsy/the-zambriske-overture-disquiet0198-overtureremix
https://soundcloud.com/tobymoz/zabriskie-overture-disquiet0198-overtureremix
https://soundcloud.com/luca-longobardi/from-the-book-of-silence-disquiet0198-overtureremix
https://soundcloud.com/an-imaginal-space/overtureremix
https://soundcloud.com/audio-obscura-music/0198-disquiet-junto-by-audio-obscura
https://soundcloud.com/bendrobinson/disquiet0198-overtureremix
https://soundcloud.com/kuromiya-hideyuki/thoughtless-track0disquiet0198-overtureremix

/\ /\ /\/\ /\ /\//\ \/\ /\ /\ /\/\  /\ /\ /\   /\ /\ /\ /\ /\ 

Disquiet Junto Project 0198: Overture Remix
Create an overture for a full-length album.

Thanks to Lee Rosevere (twitter.com/leerosevere) for proposing the source audio for this project.

This week you’ll produce an overture for an album. You’ll do so by culling key representational material from each of the five tracks that comprise Chris Zabriskie’s album Thoughtless.

Step 1: Download and listen to the five tracks of Chris Zabriskie’s album Thoughtless, available at this URL:

http://freemusicarchive.org/music/Chris_Zabriskie/Thoughtless

Step 2: Cull a representative segment from each of the five tracks.

Step 3: Create an overture to the album by combining those segments into one standalone piece of music.

More on this 198th Disquiet Junto project (“Create an overture for a full-length album”) at:

http://disquiet.com/2015/10/15/disquiet0198-overtureremix/

The source audio for this project is the album Thoughtless by Chris Zabriskie, more on which here:

http://freemusicarchive.org/music/Chris_Zabriskie/Thoughtless

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Zabriskie Point (disquiet0198)

running through live 8, slowed down tempo. really had to resist using paulstretch.. guys you know of any paulstretch anonymous groups?
fx: ambient formant sweep --> hi freq stereo ambience --> chorus fuzz --> guitar space --> six string ambience
increased the chorus fuzz modulation throughout and decreased the six string ambience amount.. playing around in realtime recorded in audacity

oh whoops i didnt read the bit about not making it unintelligible.. well at least it is just his voice!

really wanted to amp up the creepiness for halloween

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Disquiet Junto Project 0200: Kadrey Score
Create a score to a Richard Kadrey short story — using his own voice as source audio.

Richard Kadrey is the New York Times bestselling author of the Sandman Slim supernatural noir books. The eighth book in the series, The Perdition Score, will be out in July 2016. Some of his other books include The Everything Box, Metrophage, Butcher Bird, Dead Set, and the graphic novel Accelerate. Sandman Slim was included in Amazon’s “100 Science Fiction & Fantasy Books to Read in a Lifetime.” More from Kadrey at richardkadrey.com, facebook.com/richard.kadrey, and twitter.com/Richard_Kadrey.

These are the 5 steps in the project:

Step 1: The author Richard Kadrey (Sandman Slim, Metrophage) has recorded himself reading seven separate one-minute segments of a short story that can be listened to in any sequence. Choose a number from 1 to 7. The tool at the top of this page is useful:

http://www.randomnumbergenerator.com/

Step 2: Download the numerical track from this following playlist. The tracks are listed from “MUDROSTI 1” through “MUDROSTI 7.” Download the one that correlates with the number resulting from Step 1 of this project.

https://soundcloud.com/disquiet/sets/richard-kadrey-mudrosti-junto/s-H7sas

Step 3: Create a score to accompany Kadrey’s reading of his own short story in the track that you got in Step 2. Primarily use Kadrey’s own voice as the source material for your score — bend it, shape it, extract from it, and burnish it to your will. Additional sonic elements, both musical and foley, are welcome, but a substantial percentage of the sound should be from Kadrey’s own voice. Also: keep Kadrey’s own reading audible and inteligible; don’t slow or speed or otherwise edit it. Your score should accompany his reading, not thoroughly supplant it.

Download: Due to Kadrey’s generosity and the Creative Commons nature of his source material, you should use the following license for your work and make your work available for download:

http://creativecommons.org/licenses/by/4.0/

More on this 200th Disquiet Junto project (“Create a score to a Richard Kadrey short story — using his own voice as source audio”) at:

http://disquiet.com/2015/10/29/disquiet0200-kadreyscore/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/


Disquiet Junto projects

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