L'esprit de la Parisienne👽

Thanks to Marcus Fischer for the great samples!

More on this 600th weekly Disquiet Junto project, Reaching Out (The Assignment: This is a shared sample project. Rework a set of seven WAV files provided by Marcus Fischer), at: https://disquiet.com/0600/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0600-reaching-out/

This project’s cover image is a detail of a photo by Marcus Fischer.

Reaching Out (disquiet #600) (FG Remix)

When I was young, I had the desire to create music, but I lacked the means to make it a reality. I had neither musical talent nor knowledge, So, I decided to start with what I could do.

I crafted instruments using empty candy boxes and rubber, creating something resembling a bass and guitar. I also made a drum from another candy box. In my home there was a piano at home that my sister didn't use. Since I didn't know how to play it, I used it like a percussion instrument for the time being.

Subsequently, I gathered cassette players from home and began multitrack recording. This song, 'See You Yesterday,' is dedicated to that time in my life.

See you yesterday(Punk Days)

Whenever I doodle with an instrument, I record if something sounds vaguely interesting. Often these chance bits become the basis of a new track. For this assignment I had four 1-minute-stems, ranging from piano and drums to a drone. 

Added a vibraphone and additional drone from Teletone, plus some Slate & Ash bells. Mixing was hell, as everything was pretty much in the frequency spectrum - that took twice the time of writing the track.

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

Step 1: At the end of the calendar year, people often participate in holidays that result in lots of leftover food. Think about the leftovers — discarded tracks, or MIDI files, or ideas — that result from your music-making process.

Step 2: Scrounge around on your hard drive and recording equipment, and in your memory, to access the sort of creative leftovers that came to mind in Step 1.

Step 3: Make a new track primarily using the resources that surfaced in Step 2. You can, of course, add new material. And be sure to reheat sufficiently.

Seven Important Steps When Your Track Is Done:

Step 1: Include “disquiet0621” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0621” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

Step 3: Upload your tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

Step 4: Post your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0621-the-leftovers/

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: If posting on social media, please consider using the hashtag #DisquietJunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Note: Please post one track for this weekly Junto project. If you choose to post more than one, and do so on SoundCloud, please let me know which you’d like added to the playlist. Thanks.

Additional Details:

Length: The length is up to you. How far can you stretch your leftovers?

Deadline: This project’s deadline is the end of the day Monday, November 27, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, November 23, 2023.

Upload: When participating in this project, be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is always best to set your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

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/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0621-the-leftovers/

Leftovers [disquiet0621]

This is quite a minimal ambient piece that I put together in April 2023. It features an unconventional Reaktor drone, a couple of synth patches from TassMan4 and a Spitfire LABS flute creation, along with plenty of reverb.

Spot the sonic reference to David Lynch.

Edit: 20240120 - I remixed this yesterday, lowering the noise levels in two modules within one instance of TassMan4, then lowered the volume level and re-EQ'd that instance. I also changed the EQ on the LABS instance, and then remastered the track.

Orders of Magnitude

Extinguished

This week's Disquiet Junto prompt was "Take one held tone and make it dance slowly."

I thought this would be challenging, but really it all came together very quickly!

I thought about what dancing means (motion?) and tried to imagine ways a long held tone could "move" slowly. 

I came up with three main ways:
0:00 - 0:53 - a slowly moving bandpass filter followed by Abletons' stock Echo plug-in (the resonance of the filter immediately introduces an overtone that is not the held note, but hey don't blame me I didn't invent physics)
0:54 - 1:18 - Using a vibrato plug-in at about 50% wet/dry to slowly move the tone and town by cents
1:19 - 2:33 - Using tremolo to add a lot of motion - the tone is doubled, panned L and R, and tremolo'd at different rates to make it dance across the stereo field (the slowness of the dancing is debatable here, but the intent is there!)
2:34 - 2:58 - This is the opening phrase of the piece, but accompanied by an echo blast from the tremolo'd section that fades out

All in all, a ton of fun! I never in a million years would have tried something like, so this was a great experiment.

* * * * * *
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/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0631-in-a-silent-waveform/

"Take one held tone and make it dance slowly." (Disquiet0631)

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/

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

Subscribe to project announcements: https://juntoletter.disquiet.com/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0632-shear-wind/

Shear Wind Drone (disquiet0632)

Disquiet Junto Project 0632: Shear Wind
The Assignment: Make the most of the disturbance within a field recording.

Step 1: Consider how when making a field recording, there can be disturbances in it, such as a passing car or plane, or a noise you didn’t notice until you listened back, or a malfunction in the recording equipment. A common such problem is wind shear.

Step 2: Make a recording that has wind shear in it, perhaps by standing in the wind, or recording from a moving vehicle, or through some other technique. Or locate a pre-existing field recording with wind shear, perhaps on freesound.org 1.

Step 3: Make a piece of music employing the recording you made in Step 2, and make the wind shear a focus of the piece. That is, pay attention to, rather than avoid, this sound that you would likely in other circumstances identify as a shortcoming.

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Track notes:

I spent a couple of days in my hometown/homearea of Normanville on the western coastline of the Fleurieu Peninsula. It's Summer here at the moment, and the weather down south has been particular lovely and warm. I took a long late afternoon walk along the beach, heading south with the heritage protected dunes on one side and a very still ocean on the other. 

Aside from the serene, still conditions there was a nagging, turbulent breeze throughout the afternoon and evening.

I made a few recordings along the way, including one at the foot of the dunes (feat. cicadas) and another on a shallow bed of dried seaweed at the tide break. Though I documented moments of transparency in the recordings, the wind (even with a jammer on the handheld recorder) was prominent throughout.

Since coming home and listening back to the recordings, I thought it would be interesting not only to feature the sound of wind shear, but use its dynamic peaks to control aspects of the composition.

I recorded a sample from the tide recording to my Morphagene module and routed the CV output directly to the clock. The dry/wet mix was set to roughly 60/40, so 60% of the mix would be the dune recording played back in real time, whilst 40% is the tide sample playing back on the Morphagene. Whenever a wind shear event arose (either form the tide or dunes) this would manipulate the time stretching, 'Morph' and 'Slide' parameters of the Morphagene. 

I'm letting the Morphagene play itself for the first half of this track, then subtly manipulating some of the controls to transition parts of the sample and close out the track with just the dune recording.

[Disquiet_Junto_0632] Tidal Jamming

Assembled on 28 Mar 2024 and mixed, mastered on 29 Mar 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

Music distributed under CC BY-NC-SA 3.0 DEED

Process notes - 

I didn't really think too much about this. Every time I worked, I worked quickly with a good flow going.

Starting with this track…
Disquiet0638 - Fakeg3nius+Glitcher Ftrg Samplair - EGsquared by SAMPLAIR
https://soundcloud.com/user-248104983/disquiet0638-fakeg3niusglitcher-ftrg-samplair-egsquared

…and following the pathway back to…
Fake Genius’s [disuquiet0637] EGEG - ModMix
https://soundcloud.com/fake-genius/disuquiet0637-egeg-modmix

…and then finally this…
Bassline Collab (disquiet0636) by Noodle Twister
https://soundcloud.com/noodletwister/bassline-collab-disquiet0636

- I used FL Studio’s ability to extract stems from the two collaboration tracks
- Imported all of this into a Live Session to have 11 tracks to work with.
- Bounced and split each stereo file to mono files
- Applied various effects - mainly Live’s native ones - and then let it sit for a few hours
- Came back to it very late at night into the morning to stretch, chop, arrange and apply another generation of effects - this time mainly M4L devices, with a few odd VSTs - until it sounded "complete" to me. I didn't need to add anything more to this.

Artwork: Edit and additions to disquiet’s original using Adobe Photoshop 2024 and Q’MIC-Qt.

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This original version of “Sleepless Motor  Pathways” was submitted as part of Disquiet Junto Project 0639: Path Ways (4 of 3). The Assignment: Rework musical trios using the constituent parts — one of two ways.

More on the Disquiet Junto at: [disquiet.com/junto/](http://disquiet.com/junto/)

Subscribe to project announcements here: [tinyletter.com/disquiet-junto](http://tinyletter.com/disquiet-junto)

More on the 639th weekly Disquiet Junto project, Path Ways (4 of 3) — The Assignment: Rework musical trios using the constituent parts — one of two ways — at https://disquiet.com/0639/

“Sleepless Motor Pathways” (disquiet0639remix) by Fakeg3nius, Glitcher, SAMPLAIR & Jimmy Lem

Composed with the materials created during the dance project "I WANT TO BE A SWAMP" by Yolanda Morales and the team.

Soft Contamination

Original track can be found here:
https://konstantinosgkoumas.bandcamp.com/album/baby-blues
SC:
https://soundcloud.com/konstantinos-gkoumas

Konstantinos Gkoumas - Yes It Will (Senglar Rmx)

Composer and producer who puts together noise and pretty sounds. Hear my releases on Bandcamp: https://natetrier.bandcamp.com/

"Take one held tone and make it dance slowly." (Disquiet0631)

Nate Trier

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