disquiet contributions

Disquiet Junto Project 0068: deriv.deriv.cc

More on this 68th Disquiet Junto project, the intent of which is to draw attention to the benefits of a Creative Commons license allowing for derivative works, at:

http://disquiet.com/2013/04/18/disquiet0068-deriv/

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

This track is composed from material extracted from three pre-existing tracks (“The Find Beauty, Even in the Mundane,” “Immaterial Girl,” “Libertarian Entertainment Automaton”) by C. Reider, all of which were released on the album The Conjuncts on the deriv.cc netlabel, and were themselves derived from the following: “Garden City” and “Ventilation” from Tulse Hill by Hannah Marshall; “LichenWall” from Gardening by Steve Moyes; “Eighteen Events” from Not One Nor by Daniel Barbiero; “Awkward Customer” from [m2012/30-09] by Restive; “cues two three” and “cue six” from Cue Sheet by Sighup; “Sending Dreams to She Downstream” from Pocket Suite by He Can Jog; “The Palsgraf Scale” from Weights and Measures by Gurdonark; “Bonus Track” from Pale by Leo Bettinelli and Pol Nieva; “Haunted Grace” from Haunted Grace on SoundCloud by Jess Lemont a.k.a. Be A Waterwolf; “Ochiita” from Gently Annoying by Xesús Valle; and “Once More With Intellect” from [m2012/30-09] by Restive.

Disquiet Junto Project 0068: deriv.deriv.cc

For the Disquiet Junto project:

http://disquiet.com/2012/12/13/disquiet0050-morsebeat/

"This week’s project explores invokes Morse Code for its rhythmic content. The instructions are as follows: Select a word or phrase. Encode that word or phrase by the Morse method. Record a rhythmic foundation in which the dash is represented by a long beat and the dot by a brief one. Use that rhythmic foundation as a loop for the length of your track, at the speed you desire — speed can vary over the length of the recording. Record accompanying drone/melodic material that takes the underlying rhythm as its compositional foundation."

Translated the basic phrase "never again" into morse code. Then assigned (essentially arbitrary, for the sake of rhythm) time values to the characters {dot = 1 beat, dash = 2 beats, space-inside-character = 1 beat, space-between characters = 2 beats}, used simple MIDI to "draw" the rhythm.

Then a brassy softsynth with resonance set to match was put on top. Several processed/treated low-register instruments floating throughout.

Used Logic Pro and Audacity.


never again [disquiet0050-morsebeat]

Downloaded the three original tracks and converted into wav (with Audacity).  Used Ableton Live to create six core sounds/loops (two from each original piece) and treated/processed them for pitch, texture, etc. Then basically played the resulting Live set (using two Korg nanoKontrollers) with the available sounds.

Some minor edits done afterwards (small volume adjustments throughout, removed a few bars to fit under 5 minutes, put a limiter at the end before rendering), but this is basically the Live set, as "played".

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This Disquiet Junto project was done as a celebration of the efforts of the Bump Foot netlabel, and to support its employment of licenses that allow for derivative works. These Junto netlabel remix projects are intended to promote reworking as itself a means of music distribution. This track is comprised of three pieces of music, all originally released on Bump Foot: "Bongo" off the Aguas Tonicas album titled Los Desposeídos, "Broken Robots" off the Gridline album titled Red Music, and "The Cat in the Ocean" off the Pics Frunk album titled Low Voltage. More on the Bump Foot netlabel, and the original versions of these tracks, at www.bumpfoot.net/. ;

More on this 52nd Disquiet Junto project at:

disquiet.com/2012/12/27/disquiet0052-bumpcc/ ;

More details on the Disquiet Junto at: Groups – Disquiet-junto

The boatman's dream [disquiet0052-bumpcc]

Recorded about 20 seconds of ice tumbling around in a 12oz pint glass using an iPhone.

Used Ableton Live to slice out various segments, treated and processed those to end up with a total of six distinct 'voices'.  Played the resulting set in Live with Korg nano-Kontrollers.

Used Audacity to process the rendered result and convert to FLAC for upload.

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Disquiet Junto Project 0053: Ice for 2013

Happy new year! This week’s project is as follows:

Please record the sound of an ice cube rattling in a glass, and make something of it.

Background: Longtime participants in, and observers of, the Disquiet Junto series will recognize this single sentence as the very first Disquiet Junto project, the same one that launched the series on the first Thursday of 2012. Revisiting it a year later provides a fitting way to begin the new year. A weekly project series can come to overemphasize novelty, and it’s helpful to revisit old projects as much as it is to engage with new ones. Also, by its very nature, the Disquiet Junto suggests itself as a fast pace: a four-day production window, a weekly habit. It’s beneficial to step back and see things from a longer perspective.

Deadline: Monday, January 7, 2013, at 11:59pm wherever you are.

Length: Your finished work should be between 2 and 4 minutes in length.

More on this 53rd Disquiet Junto project at:

http://disquiet.com/2013/01/03/disquiet0053-ice2013/

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

the ice factory [disquiet0053-ice2013]

Downloaded the two source pieces, loaded them into Audacity and sliced out a few notes or note-runs, essentially at random. (Beautiful pieces, felt a bit unnatural to splice them like this).

Out of this pool chose nine, five from 'Do', four from 'Re'. Loaded these into Ableton Live. So as not to offend Re, chose four additional (very small) snippets from that to build the background noises. Seemed fair: 'Re' loops, 'Do' doesn't. Transposed and/or added effects as needed, and assigned triggers to pads on a Korg nanocontroller.

Allowed myself a bit to find out which-went-with-whatsit, hit record and improvised for a little over four minutes.

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Disquiet Junto Project 0055: Two Screws

This week’s project involves a shared set of source material. The source audio is the free solo piano album ‘Screws’ by Nils Frahm.

Frahm, who’s based in Germany, posted the nine-track album of short solo works for free download while he was recuperating from busting one of his thumbs. He subsequently created a site to house all the remixed/reworked versions that admirers sent to him, as well as the videos and other responses that he received.

For this project you will take two of the source tracks — “Do” and “Re” — and create a new track from them, in the process creating a work for two pianos.

Source Audio: You can download the files as sets of MP3 or AIF audio:

http://public.erasedtapes.com/screws/ERATP046NilsFrahmScrewsmp3.zip
http://public.erasedtapes.com/screws/ERATP046NilsFrahmScrewsaif.zip

Or download the individual file directly from their links here:

https://soundcloud.com/erasedtapes/sets/nils-frahm-screws

You can only use those two Frahm tracks as audio source material for your track, and you cannot add anything other sounds, but you can transform the two Frahm tracks as you please. In the end, though, the sound of a piano should be evident.

More on this 55th Disquiet Junto project at:
http://disquiet.com/2013/01/17/disquiet0055-twoscrews/

More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

More on the Frahm project at:
http://reworked.nilsfrahm.com/


splice nine [disquiet0055-twoscrews]

A somewhat disturbed woodpecker decides that it can control the flow of time itself. It takes a little over two and a half minutes, but it does eventually manage to summon the original once-per-second tick sample.
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Found a battery-powered mantle clock in the house that had a discernable tick. I have no contact/piezo mics handy, so put the clock on a stool and recorded with an SM57 running through an RP355 guitar pedal with all the effects/amps turned off (easiest way to sample the tick).

Loaded into Audacity. Did one stage of minimal noise filtering to get rid of some hiss. Then generated eight basic variants of the initial tick. From there on it's Ableton Live.
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Disquiet Junto Project 0056: Matter of Time

This week’s project requires you to make a field recording to serve as the source audio. These are the steps:

Step 1: Locate a clock that has an audible, even if very quiet, tick to its second hand. A watch or other timepiece is also appropriate to the task.

Step 2: Record the sound of the clock for at least 30 seconds, and do so in a manner captures the sound in the greatest detail. A contact mic is highly recommended.

Step 3: Adjust and otherwise filter the recording to reveal the various noises that make up its tick. The goal is to get at the nuance of its internal mechanism.

Step 4: Create an original piece of music employing only layered loops of that sound. These layered loops can individually be transformed in any manner you choose, but at least one unaltered version of the original recording should be included in your piece.

Deadline: Monday, January 28, 2013, at 11:59pm wherever you are.
Length: Your finished work should be between 2 and 5 minutes long.

More on this 56th Disquiet Junto project at:
http://disquiet.com/2013/01/24/disquiet0056-matteroftime/

More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/




woodpecker summons time [disquiet0056-matteroftime]

I received the weekly Disquiet Junto just as I was sitting down this morning for my daily music-making session, so I decided to work on it straight away. Happily, it all came together pretty quickly (unlike last week's Junto, which I tried to contribute to, but didn't end up with any result worth posting).

I took each 20 second section, slowed them right down, pitched the Libertarian Entertainment Automaton track right down to create a cavernous bass tone, and used Absynth 5 to bring out some of the tones within each of the pieces. I also filtered out certain frequencies, especially in the Find Beauty track, and sped that track up a bit to create a subtle background rhythm. There's some reverb, and delay, especially on the main pads (which come from the Immaterial Girl track).

Because of neighbours, I can never turn up my monitors too loud - so if the bass tones are too powerful, please let me know and I'll re-upload the exact track aside from lowering the volume on the bass. Sounds good on headphones, but that's not a great way to do mastering!

Happy with this track, did it pretty quickly, and left mistakes in without polishing it.

--- background ---

More on this 68th Disquiet Junto project, the intent of which is to draw attention to the benefits of a Creative Commons license allowing for derivative works, at:

http://disquiet.com/2013/04/18/disquiet0068-deriv/

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

This track is composed from material extracted from three pre-existing tracks (“The Find Beauty, Even in the Mundane,” “Immaterial Girl,” “Libertarian Entertainment Automaton”) by C. Reider, all of which were released on the album The Conjuncts on the deriv.cc netlabel, and were themselves derived from the following: “Garden City” and “Ventilation” from Tulse Hill by Hannah Marshall; “LichenWall” from Gardening by Steve Moyes; “Eighteen Events” from Not One Nor by Daniel Barbiero; “Awkward Customer” from [m2012/30-09] by Restive; “cues two three” and “cue six” from Cue Sheet by Sighup; “Sending Dreams to She Downstream” from Pocket Suite by He Can Jog; “The Palsgraf Scale” from Weights and Measures by Gurdonark; “Bonus Track” from Pale by Leo Bettinelli and Pol Nieva; “Haunted Grace” from Haunted Grace on SoundCloud by Jess Lemont a.k.a. Be A Waterwolf; “Ochiita” from Gently Annoying by Xesús Valle; and “Once More With Intellect” from [m2012/30-09] by Restive.

Even immaterial entertainment [disquiet0068-deriv]

Disquiet Junto Project 0068: [disquiet0068-deriv]


Like Justin Buckley I was feeling creative when the disquiet email arrived, so I got straight into it.

I wanted to do my usual stretch/atmospheric/drone/ambient thing, but with a difference, so each track got a radically different treatment.

First up, the section of “Libertarian Entertainment Automaton” was actually compressed by increasing its tempo (down to about 7 seconds), then cloned over and over to produce a warbling, glitch “rhythm” track. This was then double-tracked and each was given different values of echo and delay, the second also being pitch altered down a full tone as well as being moved out of phase.

The “Immaterial Girl” section was doubled, with the second half reversed, then stretched at high resolution so it produced a balanced "palindrone"; the end of this was given a sliding time shift, producing that fading organ-like tone you hear at the end.

The “The Find Beauty, Even in the Mundane” excerpt was simply given increased tempo, which broke it up into a jagged drone. This was cut into sections and laid in different tracks, each being treated with different harmonic and delay plugins. The final offcut was stretched as a deep, underlying  and uneven drone resembling a ram’s horn.

Then a couple of short sections of a few seconds were extracted and stretched to add a metallic buzz at each end, separated by an octave.

Then I had dinner and a couple of drinks, which explains the awful title, which was originally <i>Deriving Miss Delay-sey</i>.

The picture was obtained by putting the track title into Google images. Gotta love the net…

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This is a shared-sample project. Create a single new piece of music by employing the selected material (see below) of each the following three tracks. All three were initially released on the new netlabel deriv.cc, and were posted to the Internet with a Creative Commons license encouraging derivative reworking. In fact, the impetus for the label, which was founded by C. Reider, was to draw attention to the intrinsic benefits of allowing for derivative works. Like deriv.cc, this project — one in an ongoing series of netlabel remixes undertaken by the Disquiet Junto — is intended to address the unfortunate popularity of “ND” (i.e., “no derivatives”) licenses among netlabels. Please only use the following material in your piece; you can transform in any way you choose, but do not introduce any new source material.

1: The final 20 seconds of “The Find Beauty, Even in the Mundane”:

http://deriv.cc/stream/d1/02.ogg ;

2: The first 20 seconds of “Immaterial Girl”:

http://deriv.cc/stream/d1/04.ogg ;

3: The portion of “Libertarian Entertainment Automaton” that runs from 1:10 to 1:30:

http://deriv.cc/stream/d1/06.ogg ;

Deadline: Monday, April 22, 2013, at 11:59pm wherever you are.

Length: Your track should have a duration of between two minutes and five minutes.

More on this 68th Disquiet Junto project, the intent of which is to draw attention to the benefits of a Creative Commons license allowing for derivative works, at:

http://disquiet.com/2013/04/18/disquiet0068-deriv/

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info

(This an mp3 - if you'd like a higher res format to play with, message me and I'll send a wav to you)

Deriving Mister Lazy [disquiet0068-deriv]

for my hometown Boston. Strong.

a sense of dark foreboding haunts hiss and static reminiscent of police scanner chatter underpinning an unsettling, unquantified percussive sense of headlong propulsion pulling you reluctantly along while an overarching distant tolling calls to repressed memories...

wanted to create something to reflect the anxiety and apprehension most of us are feeling during the lockdown. all three original pieces are effected and filtered, used once in their entirety and then spliced and looped.

shelter in place (requieum for a city) [disquiet0068 - deriv]

a morning of clipping & looping & dragging & faffing. Different fading systems & arbitrary eq-ing. I became obsessed with candy & rumbling at various stages between  the slowing & speeding in Audacity & then in Fruityloops; i fiddled incessantly with granular delay in Audiomulch. i fear it ended up gloomier than it was meant too, something to do with resolution i guess & an affection for tar-like textures &pacing.

 / / /

When posting the track, be sure to include this information:

More on this 68th Disquiet Junto project, the intent of which is to draw attention to the benefits of a Creative Commons license allowing for derivative works, at:

http://disquiet.com/2013/04/18/disquiet0068-deriv/

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

This track is composed from material extracted from three pre-existing tracks (“The Find Beauty, Even in the Mundane,” “Immaterial Girl,” “Libertarian Entertainment Automaton”) by C. Reider, all of which were released on the album The Conjuncts on the deriv.cc netlabel, and were themselves derived from the following: “Garden City” and “Ventilation” from Tulse Hill by Hannah Marshall; “LichenWall” from Gardening by Steve Moyes; “Eighteen Events” from Not One Nor by Daniel Barbiero; “Awkward Customer” from [m2012/30-09] by Restive; “cues two three” and “cue six” from Cue Sheet by Sighup; “Sending Dreams to She Downstream” from Pocket Suite by He Can Jog; “The Palsgraf Scale” from Weights and Measures by Gurdonark; “Bonus Track” from Pale by Leo Bettinelli and Pol Nieva; “Haunted Grace” from Haunted Grace on SoundCloud by Jess Lemont a.k.a. Be A Waterwolf; “Ochiita” from Gently Annoying by Xesús Valle; and “Once More With Intellect” from [m2012/30-09] by Restive.

rainbow ball in blue sky gutter [disquiet0068-deriv]

Someone bombed the Marathon two miles from my office. Then they shot a cop in front of a building where I get lunch sometimes. Then they carjacked an SUV on a street I'd been on myself just a few hours earlier, on the way home from work. Then work told us all to stay home the next day, because of the lockdown.

Not the quietest of weeks. But "Boston Strong", indeed...
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Used Audacity to decode and excerpt the required source material. Created variants of each sound to use as raw materials, then played/mixed/effected in Ableton Live.  
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Disquiet Junto Project 0068: deriv.deriv.cc

This is a shared-sample project. Create a single new piece of music by employing the selected material (see below) of each the following three tracks. All three were initially released on the new netlabel deriv.cc, and were posted to the Internet with a Creative Commons license encouraging derivative reworking. In fact, the impetus for the label, which was founded by C. Reider, was to draw attention to the intrinsic benefits of allowing for derivative works. Like deriv.cc, this project — one in an ongoing series of netlabel remixes undertaken by the Disquiet Junto — is intended to address the unfortunate popularity of “ND” (i.e., “no derivatives”) licenses among netlabels. Please only use the following material in your piece; you can transform in any way you choose, but do not introduce any new source material.

1: The final 20 seconds of “The Find Beauty, Even in the Mundane”:

http://deriv.cc/stream/d1/02.ogg

2: The first 20 seconds of “Immaterial Girl”:

http://deriv.cc/stream/d1/04.ogg

3: The portion of “Libertarian Entertainment Automaton” that runs from 1:10 to 1:30:

http://deriv.cc/stream/d1/06.ogg

More on this 68th Disquiet Junto project, the intent of which is to draw attention to the benefits of a Creative Commons license allowing for derivative works, at:
http://disquiet.com/2013/04/18/disquiet0068-deriv/

More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto

This track is composed from material extracted from three pre-existing tracks (“The Find Beauty, Even in the Mundane,” “Immaterial Girl,” “Libertarian Entertainment Automaton”) by C. Reider, all of which were released on the album The Conjuncts on the deriv.cc netlabel, and were themselves derived from the following: “Garden City” and “Ventilation” from Tulse Hill by Hannah Marshall; “LichenWall” from Gardening by Steve Moyes; “Eighteen Events” from Not One Nor by Daniel Barbiero; “Awkward Customer” from [m2012/30-09] by Restive; “cues two three” and “cue six” from Cue Sheet by Sighup; “Sending Dreams to She Downstream” from Pocket Suite by He Can Jog; “The Palsgraf Scale” from Weights and Measures by Gurdonark; “Bonus Track” from Pale by Leo Bettinelli and Pol Nieva; “Haunted Grace” from Haunted Grace on SoundCloud by Jess Lemont a.k.a. Be A Waterwolf; “Ochiita” from Gently Annoying by Xesús Valle; and “Once More With Intellect” from [m2012/30-09] by Restive.

you cannot hide [disquiet0068-deriv]

the bell mechanical