This instrument is incredible - great drone sound

Kit: Logic Pro X, Animoog Z, Gauss Field Looper, Odyssei, Moog D & Werkstatt-01, Sector, uKorg, GarageBand..
Acknowledgments: Audio samples from “For, In Your Tongue, I Cannot Fit” (2017–18) by Shilpa Gupta
Cover Art: “Exodus” by Zak Ove (2010) - distorted view

From within... (XL3)

1 hour flip.
Original Tracks - https://youtu.be/Loevs0qwc8k https://youtu.be/0QJKCCsm3cw
MOSNAR DET - Remixing, Drum Programming, Jump Scares

Loop Diggers Speed Challenge 86 Halloween 22 - B A R K S _ I N _ R E V E R S E

A reworking of our first ever recorded song {originally on an MT-50 tape multitrack)

𝟡𝔸𝕄 ℂ𝔼𝕋

Vietnam In the Morning / 2023

[disquiet0601] No Dice

Doug Seidel https://soundcloud.com/douglasmseidel: bass, guitars, organs, saw blades, other stuff

todd: bass, drums, percussion, semi modular, voices, words

words:

I froze at the podium 
blinky blinky in my turtle shell
i got the hot wax anemia short circuit 
i almost fell
she asked me how can you live without sunlight
we turned our heads and we agreed
you tell me now the weeds we pulled out were stuck in tight
i said the recent rains made them easy to pull
she pulled up in a quick way and rolled down her window
I dropped the flowered bag in there and then she was gone
there is a scrungie on a fish 
there is a scrubber on that fish
you are delightful as a wish and I’m glad you’re gone
she asks how an you live without sunlight
we turned our heads and we agreed
frozen at the podium 
blinky blinky in my turtle shell

recent rains

Multlayer performance by Jeff Gburek and Karolina Ossowska. Compositional framework generated by JG -- process derived from feeding a fire place while playing frame drum, cymbals and singing bowls so that the sounds of kindling, shovelling ash and other actions blend with the playful dance or organizing the burn. Karolina Ossowska improvised 3 violin tracks to accompany the stem sounds. These violin sounds (col legno battuto, flageolets, pressurized bow-drags) were reconfigured, splintered with various time-line offsets but remain organic and never subjected to any granular convolutions. Sounds from shortwave radio SDR create a kind of cantus firmus reflecting yet again the ionosopheric morphing layers of the planet in geomagnetic warped transitions as expressed by signals bounced into open radios tuned between stations on the floor. Work in progress/regress, clearly. I am reminded of a recent conversation whereine I paid homage to the nature mystic and great Romanian-born architect of chaos theory music, Iannis Xenakis.

Witch Hazel Gathering

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/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0627-just-ice-society/

Disquiet0627 2024 - 01 - 06 1116

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)

BTR 1m2 Surgery

Written by Val Akey and Szabolcs Kontra.
Val Akey: drums, bass, keys programming in DAW (mix and master);
Szabolcs Kontra: plays rythm guitars, lead guitars.

Many thanks Szabolcs for your wonderful guitar playing and your contribution!!!
Please visit: https://soundcloud.com/kontra-sz

Release date: 17 March 2020

Ten for Two (disquiet0630)

Campos - Book of Disquiet

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