This instrument is incredible - great drone sound

If a Tree Falls

afterglow

Best Friends

exorcist 2 the heretic

Impt NFT

a stolen life

NEW: BBC Radio 1 (October 1991) - Special Presentation With Jon Wolfert - JAM Creative Productions

Future People 2823

agebrush law

Blue Light

Calling-

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 Tumbling Ocean (NaviarHaiku525)

Instructions: Take one held tone and make it dance slowly.

I took a sine wave at C3 and made it dance slowly, and later, less slowly.

C3 Slowdance [disquiet0631]

Off Behavior

That

tragmadat - full c drone sound

Ten for Two (disquiet0630)

Campos - Book of Disquiet

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SAMPLAIR

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