For Disquiet Junto 0543. The Assignment: Share a tip from your method toolbox. Also shared version of this over on Weekly Beats. 
A lot of this track was made using a technique I love: taking a piece of audio then using the Ableton Push 2 and the Simpler device to retrigger, chop manipulate and play around with the sample to create something new. There are many ways to manipulate samples, but I like this method because it's fast, I can improvise musically without a lot of fussing around, and I can do it fully on the Push hardware, no computer or mouse needed. Simpler is simple, and the 64 pads and 8 knobs on the Push 2 make playing with samples fun, fast and easy. Happy accidents occur, and things usually sound to my liking with minimal fussing about, so I can just flow and have fun.
Another attribute I like to add to songs are my own voice sounds, but heavily altered since I'm not much of a  traditional singer. Bonus points when the voice can turn into perscussion or another instrument. I often take these voice recordings and chop and play with them in Simpler as described above. The intro and middle of this song has some of my early experiments with a talkbox pedal. It's harder than it looks. And kind of a wet mess. But I'll keep playing with it. Used the Circuit Monostation as the instrument into the talkbox. So not sure if talkbox will turn into a favorite method for voice manipulation, but I know I'll keep messing around with vocals sounds.

More on this 543rd weekly Disquiet Junto project — Technique Check (The Assignment: Share a tip from your method toolbox) — at: https://disquiet.com/0543/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0543-technique-check/

feel what you - need - what you feel [disquiet0543] [Weekly Beats 19]

28Oct22

After a 2 year gap, here's part 8 

Here's Part 1 to 7
https://soundcloud.com/boson_spin/sets/the-man-from-macmentomea

:D

The man from Macmentomea [part 8]

Seramind - On A Cold Morn (naviarhaiku461) [Ambient, Dark, Drone, Electronic, Illbient]

Link: https://www.naviarrecords.com/2022/11/02/naviarhaiku461-the-sound-of-rain/

naviarhaiku461 – the sound of rain

the sound of rain
on a cold spring morn
the town is quiet

Craig Lincoln is a poet who enjoys the challenge of writing in many forms of poetry. He is the author of two poetry collections: A Mind’s Eye View Come Talk With Me, and Dance Macabre.

His poems have been featured in writing magazines such as The Curious Record, Scope Magazine, Readers Carnival, and on various poetry sites he is a member of. He has also been featured in poetry anthology collections such as Change of Scenery, They Shall Not Grow Old, Northern Lights and Brio.

He has had his haiku (his particular passion) published in 3 editions of the Yamadera Basho Memorial Haiku collections.

Seven days to make music in response to the assigned haiku: to participate visit https://www.naviarrecords.com/about/naviar-haiku

Deadline: 9th November 2022

haiku by Craig Lincoln https://twitter.com/Clpoetry

picture by Vincent Camacho https://unsplash.com/@joyousdevil

Visit my other pages:

Official: http://www.seramind.de
Spotify: https://open.spotify.com/artist/22xH66OU00shKM5kcwbAeK
SoundCloud: https://soundcloud.com/seramind
Discogs: https://www.discogs.com/artist/4709745-Seramind
Bandcamp: https://seramind.bandcamp.com
MixCloud: https://www.mixcloud.com/seramind
YouTube: https://youtube.com/@seramind
Facebook: https://www.facebook.com/seramind
YouTube: https://www.youtube.com/@seramind

On A Cold Morn (naviarhaiku461)

9Nov22

My naviarhaiku462 submission;
https://www.naviarrecords.com/2022/11/09/naviarhaiku462-icarus/
:D

Icarus [naviarhaiku462]

This track was created for the Naviar Haiku group.
463 week haiku
https://www.naviarrecords.com/2022/11/16/naviarhaiku463-the-fall/

2022-11-17

The Fall  ( Naviarhaiku 463 )

https://caterpillarrec.bandcamp.com/album/transparent-forms?fbclid=IwAR2MDtUAVEyTzpVchoR3fwAMPJ5VHkhc6Qsdyf_xPuVaN_SZn_5DltuNFw0

Transparent Forms - Nick Ashwood - Cat 010 

Composed in 2022 for Microfest, an annual microtonal festival hosted by Kraig Grady and Michael H Dixon. 

Transparent Forms is Nick’s first group composition following on from his 2020 solo piece Unfolding/Overlay, (Inexhaustible Editions 027). Amanda Stewart wrote in the liner notes to that: “Enfolded in the shifting tones, our ears are at the edge of themselves.” With this new work, he continues this interrogation into the edges of harmonicity and perception. Frequencies from bowed guitar, flute and clarinet burst away from any notion of a stable lattice to reshape our understandings of intervals and chords, and our listening is continually surprised and delighted by the 'tastes' and 'colours' that are revealed. 

The instruments dissolve into each other to create an unrecognisable timbral unity where melody emerges from harmonic clouds.
credits
released December 2, 2022 

Laura Altman - Clarinet 

Jim Denley - Flute 

Nick Ashwood - Acoustic Guitar 

Recording at Tempe jets by the group, Tuesday 14th June 2022 
Mixed by Jim Denley

Transparent Forms

Original song using KORG Gadget2.
Just improvisation.

Noname

This track was created for the Naviar Haiku group.
469 week haiku
https://www.naviarrecords.com/2022/12/28/naviarhaiku469-new-years-day/

2022-12-29

New Year’s Day  ( Naviarhaiku 469 )

TO REBUILD GAZA

You Unlocked The Final Chapter

Now then The End is Near

THE END IS NEAR

A Waste Land Companion is, as its title implies, an addendum to Boris Rogowski‘s
album The Waste Land which was released in February 2023 on Piano and Coffee
Records. A meditation on the infamous eponymous 1922 poem by T.S. Eliot, The
Waste Land traces its psychological journey through a barren world in search of lifegiving
water as well as its physical journey through London on the zenith of
Modernism.

During the recording sessions for the album—whose sound is characterised by the
interplay between a string quartet, flute and a collection of specifically created,
deeply warped and tape-weathered samples—over 20 pieces were recorded.
Rogowski had originally intended to use all of them in chronological order, beginning
with the famous part about April being the „cruellest month“. However, it turned out
that a shorter playlist and a strictly musical order worked better for the album.
Rogowski decided to focus on the string-centred pieces to give the album a dreamlike,
hypnotic pull. However, as he valued the shorter, piano-based pieces just as
much, the idea for a companion (mini) album was born almost immediately.

It was a most sensible decision: Chamber gems like „The Hyacinth Girl“ and „A
Wicked Pack of Cards“, mixing English folklore with nods to Richard Wagner’s Tristan
and Isolde, might have gotten lost between the dark, monolithic soundscapes of the
album. Here, however, framed by works for solo piano and harmonium, they are
allowed to shine. A Waste Land Companion begins and ends with two piano pieces
only loosely connected to T.S. Eliot’s poem: „Dear Jessie (to Jessie Laidlay Weston)“ is
an ethereal miniature in reverence of the brilliant English medievalist whose book
From Ritual to Romance, a historical examination of the King Arthur legend, greatly
influenced Eliot while working on The Waste Land. „Universe on a shoestring“ is even
serener, a kind of exhalation after a long and arduous journey. It was the last piece
Rogowski composed during his concluding writing session in the mountains of the
island of La Palma. Here, close to the GTC, the world’s largest optical telescope, the
universe seemed closer than anywhere else on earth—and the grim world of The
Waste Land already a distant memory.

Bandcamp

Jerusalem Athens Alexandria Vienna London Unreal

Almost all tracks are free to download and covered by a Creative Commons license. Collaborations / Remixes are welcome so feel free to experiment - no need to get my permission first. Just send me a link to your track when you're done :)

I love listening to & creating ambient, dark ambient, avant-garde & experimental electronica (and the occasional beatscape). I have no professional aspirations  - I just really like creating music / manipulating sounds. It's my way of relaxing after a hard day at the office. All my tracks are produced using monitoring headphones (Audix A140) so I recommend that you listen to my music through headphones. My DAW of choice is FL Studio. I also use Reason every now & then. 


To the artists I follow; I do my best to try to listen to as many of your tracks as possible each night (I listen to each track all the way through - you went through the effort to create a track so you deserve to have it heard in full). If I miss a recent upload of yours, please forgive me...

Thank you for taking the time to visit my little corner of the soundcloud.

Icarus [naviarhaiku462]

Stan Magendanz

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