Campos - Nieuwe Maan

Disquiet Junto Project 0608: Nature-to-Text
The Assignment: Using a speech-to-text tool, turn a field recording into instructions for a composition.

More on this 608th weekly Disquiet Junto project, Nature-to-Text (The Assignment: Using a speech-to-text tool, turn a field recording into instructions for a composition), at: https://disquiet.com/0608/

Some Finches (disquiet608)

Disquiet Junto Project 0611: Music That Listens to Itself
The Assignment: Record a piece of music that repurposes itself as it proceeds.

Inner ear - disquiet0611

Disquiet Junto Project 0612: Drum Vector The Assignment: Walk the listener through variations on the same percussive instrument.

More zither.
When recording with a contact microphone, the different parts of the zither — the wooden body, the metal pegs, the strings; all of them hit, scraped, scratched, bowed and plucked in different ways — can produce a wide variety of quite striking, percussive sounds. From small and pretty, to huge and menacing. Contact mics are great at making relatively small objects sound big, which combines well with the fact that the zither strings act as resonators, so sounds get a very long tail: like a tuned reverb.

As the prompt suggested, I made a couple of improvised recordings, trying to get a bunch of different sounds out of the setup. Most of them are loops consisting of several layers. One recording used a sampler where different zither sounds were loaded into memory and then played using a step sequencer. I used some relatively straightforward software effect chains for audio processing: combinations of compression, saturation, delay, reverb. I used them mostly in a static way. That is to say: my playing was focussed on the physical instrument and the various techniques of playing it, rather than on audio mangling.

For the final piece, I edited and arranged the different recordings. I liked the notion of ‘moving through space over the course of time, and encountering the sounds’ as suggested in the prompt, so making everything sound as if it could have been played in a single space was the main objective;  playing with timing, loudness, filtering, spatial effects, stereo width and stereo positioning. Interesting challenge!

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/

Hit me with your rhythm whisk (disquiet0612)

The Assignment: Do something you’ve been meaning to do.

Thinking about things I’d been meaning to get around to, I realised that perhaps the biggest was to take some time to clean up and reorganise the corner of my home that I use most for music making.

So, that’s what I did. 
I packed up stuff that I don’t use so much. I gave the things I do use often  — or that I’d like to keep close, because they inspire me — a better, more prominent, more natural place. I did some woodworking to create custom storage solutions, as well as some extra surface area, allowing me to more easily switch between (or combine) different instruments and ways of playing.

Since this took a fair bit of the weekend, and the results are of cleaning and reorganising are not themselves immediately musical, I figured that having a musical entry for this week was probably not going to happen. But then tonight I had a bit of spare time and decided to do a little improvisation using three elements I wasn’t really able to combine very easily before my reorganising effort:
1. My home grown software matrix routing setup (of which I ended up using only a delay/reverb effects chain and a granular effects chain)
2. A (semi modular) synth as input to the matrix
3. A musical saw as input to the matrix

The entire recording of the improvisation was around 20 minutes. I took a portion of around 3 minutes that I found interesting and chopped off the rest. Bit of a fade in and fade out and a bit filtering in the beginning.

Some Space - disquiet0613

Disquiet Junto Project 0614: Alternate Route
The Assignment: Do something you often do, but differently.

Playing acoustic instruments into a system of effects is a thing I’ve been doing a lot. Usually I do this in an improvisational, exploratory way: having only a rough idea of what I want to start off with, and then just seeing (actually: listening) where the music will take me.
Something I’ve been thinking about is using this way of playing in a context where at least some of the material is composed, thought out before hand.
So I used the prompt to do a bit of experimenting in this area.

The piece I made uses Erik Satie’s Gnossienne 2 as its main material. 
My idea was to dissect that piece into its component parts, then play and explore around those separate parts and in the end stitch the recordings together into something that would stay true to the original score. A sort of rearrangement.
In the end I had to abandon that idea. Lack of time mostly. And also, I thought it worked better to give some of the non-melody parts a bit more space.

The instruments used are piano (actually: sampled piano), kalimba, duduk, zither. And I used mainly three effects chains: one centred around saturation (on the duduk), one around using lfo’d panning - and a bit of distortion - as a sort of tremolo effect (on the zither), and one around using reverb with varying room size - giving a sort of tape warble feel - (on the whole mix).

I can see some potential for this way of working with composed material (also using my own compositions), though using composed material while still retaining the notion of the music arising in the moment of playing (that is: without requiring a lot of editing), is a different matter.

More on this 614th weekly Disquiet Junto project, Alternate Route (The Assignment: Do something you often do, but differently), at: https://disquiet.com/0614/

Gnossiennesque - after Satie Gnossienne 2 (disquiet0614)

Disquiet Junto Project 0621: The Leftovers
The Assignment: Use recently discarded material to make something new.

The track was made by combining three recordings found on my tablet. All of them from somewhere in the past year.
1. Sparrows on the roof. I sleep directly under a roof where sparrows nest. In the nesting season I sometimes stick a pair of small omni microphones out of the window to try and capture the amazing racket they produce. In this particular one, I recorded them through a delay, leading to some impressive tweeting buildups.
2. A piano (of sample library kind) played through effects. This was probably made while exploring some effects chain. Not entirely sure anymore how I set it up, but probably some feedback routing going on, and some sort of distortion.
3. A recording of me practicing musical saw (very basic note sequences, focussing on bowing technique in order to minimise the scratching noise that saw playing tends to produce.

These recordings were layered and edited in a DAW and then complemented by some synth bass.

More on this 621st weekly Disquiet Junto project, The Leftovers (The Assignment: Use recently discarded material to make something new), at: https://disquiet.com/0621/

621 - Elegy (on a Thursday morning) - Disquiet0621

The Assignment: Create a sonic diary of the past year with a dozen (or more) super-brief segments.

I made quite a lot of test recordings this year when trying out - and improving - my improvisation setup: acoustic instruments into digital effect chains that can be routed and rerouted on the fly using a matrix mixer. Those recordings don’t really stand on their own, but as super short segments they often work. 
So this 2023 diary consists mostly of those snippets. And since they’re often quite sparse, I figured they might work well as a mashup (instead of a series of clips back to back as the prompt suggested).

More on this 626th weekly Disquiet Junto project, Audio Journal 2023 — The Assignment: Create a sonic diary of the past year with a dozen (or more) super-brief segments — at: https://disquiet.com/0626/

Audio Journal 2023 (disquiet0626)

The Assignment: Record the sound of ice in a glass and make something with it.

An attempt at a somewhat more composed -- i.e. less improvised -- piece. I always underestimate how much time that takes me, so in the end this feels more like a fragment, a sketch, of a somewhat longer piece.

More on this 627th weekly Disquiet Junto project, Just Ice Society — The Assignment: Record the sound of ice in a glass and make something with it — at: https://disquiet.com/0627/

A toast (disquiet0627)

Disquiet Junto Project 0628: Alchemical Brothers
The Assignment: Explore an aspect of the ancient occult science using music.

Ugh… I had a lot of ideas about alchemy, sound, music, art these last few days. Many thoughts that refuse — as I now try to put them to paper — te gel into some sort of coherent whole. 
Thoughts about how contemporary electronic music is the most ‘alchemic’ of musical traditions - focussed as it is on mutation and transformation of timbres, rather than on combining various unchanging parts -- as someone composing for orchestra would do. About timbral transformation as rather fundamental for how I approach many of the things I make. About how sound has this ‘Proustian' quality of making us remember places, people, events, in fundamentally different ways than the way that for example telling a story triggers memories. About how art can use sounds and their effect on memory to transform our attention in our (daily) lives, separating our perception from the many layers of thought, expectation, ideas, stories, meanings we attach to them. About how filter coffee machines can sound like a fairytale alchemist’s laboratory…

Anyway, here’s the piece. It uses a software audio device I programmed to remove/separate the first 8 partials of a sound. Basically, what it does is use pitch detection to set the frequencies of a series of notch filters. It’s rather crude and far from perfect, especially if you use it with polyphonic material. This leads to some interesting sonic results. Playing zither into it will make it sometimes sound like a cymbal. And mixing the transformed and dry sound of a piano, produces some quite interesting sounds: a bit like the instrument was run through a bandpass filter, but with some unusual timbral effects.
I combined these processed instruments with processed (granular delayed) field recordings from my usual morning routine: making coffee. It’s a bit of a gift to future me (and my housemates), perhaps hearing this little sketch some years into the future and remembering the house, and these mornings when all is still (and these days cold and dark).

More on this 628th weekly Disquiet Junto project, Alchemical Brothers — The Assignment: Explore an aspect of the ancient occult science using music — at: https://disquiet.com/0628/

Coffee ritual (disquiet0628)

Disquiet Junto Project 0629: Jigsaw Logic The Assignment: Break a piece of your music and put it back together again.

This week’s prompt reminded me of a piece by Gregory Whitehead: Zigurrat. I heard this a long time ago on the (sorely missed) DJ/Rupture radio show Mudd Up (WFMU: https://wfmu.org/playlists/DR). 
Even amongst the left field Hiphop, contemporary Cumbia and Egyptian underground bass music, Whitehead’s abstract cut-and-paste (literally, physically cut-and-paste: the piece is from 1984) sound art was an oddity. A short (religious? Islamic?) text is recited and looped; and slowly bits of the text are replaced by bits of noise and fragments of field recordings until after a number of loops, nothing of the original remains.
I found this piece both boring (it takes around 4 minutes but it feels much longer) and utterly mesmerising. 
https://staalplaatlabel.bandcamp.com/track/zigurrat

Also, some time ago I was working a bit with the FluCoMa library of audio tools (in Max; there’s also a SuperCollider implementation), trying to make a sampler that would automatically slice and play back audio on the fly within my DAW. 
I have a sort of working prototype, which is pretty amazing, but I’m not 100% satisfied with how it works. FluCoMa offers different algorithms for generating different kinds of data about audio, and it’s not self evident -- to me at least -- which would work best in the specific context I’m interested in (electro-acoustic improvisation).
So, I’ve been thinking about making a little setup that would allow me to experimentally, playfully mess with these algorithms in order to get more familiar with them.

So... the piece I made is basically  the first run (actually: second — the first run produced something absolutely unlistenable) of a proof-of-concept: a Whitehead machine, or something along those lines.
You input a piece (loop) of music which is automatically sliced at the transients. Then the loop is played back and at the start points of the slices, the algorithm looks for a similar sounding slice from a selection of additional musical fragments. 
So, the ‘pieces of the puzzle’ of the original loop are covered by slices from other recordings, so to speak. And of course, you can also reverse the process to make a reverse-Whitehead: slowly uncovering the original pieces by removing the slices that cover them.

More on this 629th weekly Disquiet Junto project, Jigsaw Logic — The Assignment: Break a piece of your music and put it back together again — at: https://disquiet.com/0629/

Reverse Whitehead (disquiet0629)

The Assignment: Count your tools in advance of employing them.

The assignment prompted some — almost philosophical — questions about what I would consider a tool, or a piece of equipment, in my music making practice. 
I often work with complex effect chains in software, using different devices and plugins as building blocks for devices that I work and interact with — by means of custom-coded control mechanisms — as if they were a single, coherent thing. So would I consider such a device chain as a single piece of equipment? Or multiple pieces? Who decides what makes a thing a thing? The manufacturer? The user?
Trying not to get stuck (again) in overthinking, I opted — rather arbitrarily — for the manufacturer point of view: if it’s packaged as a thing, then let’s say its a thing.

For the piece, I was thinking I’d like to try and make something using a duduk I’d recently bought. The range of the duduk is somewhat limited (octave + 2 notes), so I thought I’d extend that range by using a granular delay effect that also does pitch shifting. 
So the piece would consist of two main pieces of equipment: duduk and granular delay. 
However, taking into account recording equipment, the DAW and some “utility” effects, I figured I’d definitely need a bunch more to actually make the piece. So I set 10 as a limit: this seemed doable, while still presenting something of a challenge. Which it did. I had to forego EQ (though using some filters inside other devices) and a dedicated limiter (re-using a compressor). Interesting… 

So here’s the list of 10:
Duduk, microphone, audio interface, headphones, DAW, granular delay, compressor, reverb, pitch shifting/stretching algorithm baked into the DAW, tuning device (duduk is quite hard to play in tune, especially for a novice like myself; having visual feedback of the frequency I was blowing was much needed).

Ten for Two (disquiet0630)

The Assignment: Take one held tone and make it dance slowly.

This one turned out rather odd, uneven, unfinished, ugly. One of those tracks that I might listen to in a couple of months time and really love, or really detest. 
All of the sounds are originate in recordings of me playing duduk. Starting off with a long note that is looped, and then sent through effects chains (one with some granular stuff and feedback, one with rhythmically opening and closing gates, one with a large reverb. 
Recordings of sustained notes and me tapping the body of the flute are chopped and used as percussion/beat with a rhythm in 7/8.
I made a bunch of improvised recordings and then pasted them together to form the final piece.

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/

Silent Blow (disquiet0631)

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)

Disquiet Junto Project 0636: Left (1 of 3)
The Assignment: Record the first third of a trio.

My idea for this first part of the trio was to create something that sounded like a single acoustic instrument, while sounding like no known instrument.

The piece was basically made with a home made version of the Vietnamese Dan Bau instrument, which I played with a bow (non traditional). I selected some recordings that sounded interesting and re-recorded those played back through a software effects chain with a resonator (physical model of a pipe) and a feedback mechanism. I played this feedback-resonator-device using a 3D midi control surface, mapping the many parameters of the physical model and feedback mechanism to the 3 of the controller by using a technique called preset morphing. Finally, I collaged several recordings together to get the final piece, trying to leave room for contributions of others — i.e. sparse arrangement, minimal stereo image, hold back on reverb.

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/

The Creature From Left Field (disquiet0636)

The Assignment: Record the second third of an eventual trio.

Used the track Four Variations for Left by Jim Lemanowicz: https://soundcloud.com/blisterpop/four-variations-for-left-by-jimmy-lem-disquiet0636?si=34834046ea474be7810d00b8e10455c0&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

More on the 637th weekly Disquiet Junto project, Right (2 of 3) — The Assignment: Record the second third of an eventual trio — at https://disquiet.com/0637/

Four Variations tied together - with Jim Lemanowicz (disquiet0637)

Soda Kick variations (disquiet0642)

Disquiet Junto Project 0651: Why Compute?
The Assignment: Respond to a prompt from George E. Lewis.
Lewis asks, “Why do we want our computers to improvise?”

Interesting question! Sparked several lines of thought.
I’d been thinking quite a bit about self directed (improvising) musical systems lately. Inspired both by my own incorporation of forms of ‘machine listening’ into my setup (using the FluCoMa toolbox) and also by the so called ‘cybernetic’ feedback systems discussed in this thread on Lines: https://llllllll.co/t/cybernetic-music-roland-kayn-feedback-systems/40635. 

So far, I’d been using the FluCoMa analysis tools mostly on incoming audio: detecting pitch, transients and several spectral properties of incoming signals to then do stuff ‘downstream’. It struck me that using these analysis tools on the outgoing sound and then controlling things ‘upstream’ it should be possible to set up self-stabilizing systems that the mid 20th century cyberneticians were so fond of.
So I’ve begun some tests to see what the tools I’d use for this might look like. Still a bit too early to actually make music with, though. 
So the piece I’m sharing here is does not use any algorithmic or stochastic mechanisms. But in other ways it does do things that are for me at the heart of why we might want our computers to improvise. That is: allowing our machines more agency in the practice of composing, improvising, playing, can make that practice more interesting and rewarding for us, the human composers, improvisers, players. On the one hand, having our machines surprise us somewhat as we interact with them, stimulates our curiosity and creativity: how do we respond in a meaningful, musical way to such surprises. And on the other hand, sharing agency takes some of the burden off our often somewhat fragile and self-critical ego’s in the creative process: the challenge becomes a bit less ‘to create an amazing masterpiece from nothing’ and a bit more ‘to respond to whatever is there’.
So even though in my piece the computer doesn’t really, really improvise, there is plenty of stuff in place that gives the machines some agency (special, complex mapping of effects parameters; looping of audio and effects parameter values; even a bit of feedback routing in a somewhat ‘cybernetic’ way). As a result, I’m never entirely sure what my playing (my musical gestures) will produce. The result feels like a mutual exploration of human and machine within the piece.

More on the 651st weekly Disquiet Junto project, Why Compute? — The Assignment: Respond to a prompt from George E. Lewis — at https://disquiet.com/2024/06/20/disquiet-junto-project-0651-why-compute/

The Dance Of Agency (disquiet0651)

Disquiet Junto Project 0654: Just Notation The Assignment: Interpret a graphic score by Franziska Baumann.

Looking at the graphic score for True Glimpses 1, several things struck me. 
First and foremost: the way the score does engage with elements of traditional notation — there’s the five line stave and there are notes — yet uses them in such a way that what traditional notation provides — exact timing and pitch of what is played — is in no way available. This seems like a very deliberate choice: it would have been quite easy to simply omit these elements if a piece is not meant to engage with any sort of traditional harmony, melody or rhythm.
The second thing that struck me was that there is a clear structure: 5 x 7 parts of — more or less — equal size that mostly do not seem to overlap. Also, each of them is unique: there are no obviously repeating patterns, or parts of patterns here. As for the character of the music, it seemed to me that the music would have be rather chaotic and rather in-your-face.

Trying out some things, different setups, I landed on the idea of using a couple of audio effects in series with acoustic instruments as inputs: a gate (to create short staccato snippets); a delay (to multiply those snippets); a pitch-shifter (to create different pitches from a single input) and then to combine them using feedback-routing, so that the outputs of one effect would feed back as input into other effects, creating unpredictable musical patterns as outcome; patterns that, while still originating (and retaining some aspects of) traditional pitch and timing, at the same time would have become ‘unstuck’ from their origins, would escape from the stave, so to speak.

Through trial and error, I collected a bunch of somewhat chaotic and in-your-face bursts of music/noise that I then ordered and combined to form the (5 x 7) short bits of the piece.
In the end, I opted for 3 x 7, due to time constraints in working on the piece, and also because I had some doubts whether the piece would really sustain interest beyond the 2,5 minutes that it is now.

More on the 654th weekly Disquiet Junto project, Just Notation — The Assignment: Interpret a graphic score by Franziska Baumann — at https://disquiet.com/0654/
Image: Graphic score by Franziska Baumann for her composition True Glimpses 1

21 Splinters (disquiet0654)

Disquiet Junto Project 0664: Mother Beat The Assignment: Record a piece of music in 29/16 time.

The main part of the piece consists of 4 x 7 beats, with an extra one at the end of each cycle, to make 28 + 1 = 29. 
I guess it’s really more 29 1/8th notes than 1/16th notes, but well… artistic license, I suppose.

I tried a bunch of things before settling on the groupings of 7:  3 x 3 x 3 + 2, as well as 6 x 5 - 1. But nothing turned up that felt like it made sense… nothing grooved.
With the 4 x 7 +1 I think the fact that it’s 4 measures, helps to guide the ear towards perceiving some sort of groove. Also, playing the 7 beats with a 4 + 3 feel, made the end of the cycle (with the extra beat) feel like a bit of 4 + 4. 
A bit of sleight of hand… but then, a lot of things in music have an element of sleight of hand: tempo changes, key changes, secondary dominants, to name a few.

One of the 6 x 5 - 1 bits that I experimented with had a somewhat similar pattern as the 7 x 4 + 1, so I added a section that has both ways of doing 29 beats playing simultaneously: the synth continuing the 4 x 7 +1 while the piano does a few rounds of 6 x 5 and then a transition to wrap things up that makes the whole thing match up again. The idea was that as a listener you could switch between your attention between the two ways of playing a sequence of 29 beats. It doesn’t really work that way in practice: the 5 beat motifs are just too dominant. But a fun experiment none the less.

More on the 664th weekly Disquiet Junto project, Mother Beat — The Assignment: Record a piece of music in 29/16 time — at https://disquiet.com/0664/

Disquiet Junto

Mother Beat (disquiet0664)

Disquiet Junto Project 0665: Clicks + Cuts Music Factory
The Assignment: Record a track in honor of the late Achim Szepanski.

One of the things that stood out to me in the music on the first Clicks_+_Cuts compilation from Mille Plateaux, was how in several pieces shifts in foreground and background are used as the main source of musical development. Parts that start in the background move to the fore, while others that were in the centre move to the periphery.
In the piece I made, I've tried to centre this approach. it consists of three main layers, a kick/bassdrum layer, a percussion layer and layer of slowly moving tonal material (mostly swells). The source material for these layers was made using a zither played in a variety of ways (harmonics, extended technique etc) and treated in real time (as I was playing) with various digital effects 
Subsequently, I mixed the layers and used mainly delays, reverb and filtering, as well as stereo processing, to draw the listeners attention to the different layers, creating shifts in foreground and background.

More on the 665th weekly Disquiet Junto project, Clicks + Cuts Music Factory — The Assignment: Record a track in honor of the late Achim Szepanski — at https://disquiet.com/0665/

Chiaroscuro (disquiet0665)

Disquiet Junto Project 0666: Beauty and the Beast
The Assignment: We’ve hit a devilish numerical milestone. Do your thing.

I thought of an improvised piece of music for 3 players where each of them is dependent on the others for the improvisation to ‘work’, but each is also likely to want to grab just a bit more of the spotlight, making their part just a little bit more prominent than the others. Resulting — as each reacts to the others seeking attention by trying to get even more attention — in the ruin of the piece. A 'tragedy of the commons' for music, so to speak. 
Since I had to be all three of the players, I recorded the parts, 2 synths and a zither with effects, separately. I used several takes: each time removing the previous take of the instrument and keeping the most recent takes of the two others. And then re-recording while trying to make the new part slightly more prominent than the other two instruments. Etc etc.
This did indeed quickly ruin the piece, as expected. In order to make it somewhat listenable, I tonight started editing some parts… and then some more… and ended up totally re-assembling the piece from the raw materials, turning it into something new: something 	more angry and aggressive than I had expected, than I had intended.

More on the 666th weekly Disquiet Junto project, Beauty and the Beast — The Assignment: We’ve hit a devilish numerical milestone. Do your thing. — at https://disquiet.com/0666/


A tragedy (disquiet0666)

Disquiet Junto Project 0668: All Right Then, Keep Your Secrets
The Assignment: Bury a secret sound until it is no longer identifiable.

Experimentation and  improvisation using various (software) effects chains, to turn the secret source sound into a variety of tones and textures. 
And then editing and layering.

More on the 668th weekly Disquiet Junto project, All Right Then, Keep Your Secrets — The Assignment: Bury a secret sound until it is no longer identifiable — at https://disquiet.com/0668/

Keeping My Secrets (disquiet0668)

Disquiet Junto Project 0675: Arc of the Drone
The Assignment: Record a drone that goes from simple to complex to simple.

A drone based on a recording of a trill played on duduk. The drone starts out simple, but then morphs into a cluster (4 notes each a half step above the previous, and playing the trills). 
Towards the end the notes come together again, but now centering on the top note of the cluster.

Some effects, obviously, trying to accentuate the overtones.

More on the 675th weekly Disquiet Junto project, Arc of the Drone — The Assignment: Record a drone that goes from simple to complex to simple — at https://disquiet.com/0675/

Drone Of Arc - disquiet0675

Disquiet Junto Project 0689: Supporting Players The Assignment: Elevate the presence of your non-instrument equipment.

In my improvisation setup, using acoustic instruments with electronic effects chains, I prefer using a contact microphone. This prevents unwanted audio feedback (sound from the speakers feeding back into the microphone. But it can lead to issues with accidentally bumping against the table that the instrument is on, or touching the cable of the contact mic (which is extremely sensitive to handling noise). One of the effects chains I use a lot, uses transient detection to trigger recording to a buffer in a granular synth, and doing pitch analysis to allow tuned audio effects (like a tuned resonator in a feedback path). Accidentally brushing the mic cable can then lead to some unexpected results… which I often find rather pleasing, actually.
So for this piece, I wanted to give the granulated mic cable brushes and table bumps centre stage, playing a bit of duduk as a background layer.

More on the 689th weekly Disquiet Junto project, Supporting Players — The Assignment: Elevate the presence of your non-instrument equipment — at https://disquiet.com/0689/

Campos - Book of Disquiet

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