Stringcheese

Initially a recording of my noisy fridge and the street outside, hoping to draw a beat from the rain and passing cars. Cheated with edits, phasers and tremolo.

Melody by telecaster, fretless bass and grand piano.
--

More on this 401st weekly Disquiet Junto project — Noise Pacing / Use background noise as a beat, as a rhythm — at: https://disquiet.com/0401/

This project is the third and final of a series being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. More details at: https://www.musikfestivalbern.ch/

More on the Disquiet Junto at:
https://disquiet.com/junto/

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

Project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0401-noise-pacing/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Dies ist das dritte und letzte Projekt in Zusammenarbeit mit dem Musikfestival Bern 2019, welches vom 11.-15. September stattfindet. Wir arbeiten auf Einladung von Tobias Reber, einem frühen Junto-Teilnehmer und Verantwortlicher für die Musikvermittlung beim Festival. Ausgewählte Resultate dieser Projekte werden im Rahmen des Festivals im Rauschlabor Schützenmatte (https://www.musikfestivalbern.ch) öffentlich gespielt oder auf dem Festtivalradio, Radio Antenne (www.radioantenne.ch), ausgestrahlt werden. Falls du nicht möchtest, dass dein Stück dafür verwendet wird, dann vermerke dies bitte wenn du es veröffentlichst.

Misericordia (Disquiet0401)

I made this song last year. I love this song. It's not the best I've made but it is special for me.
Last year was very bad. Lots of problems, lots of work but not enough money to feel safe.

But I won two virtual instruments from @Ample-Sound, one of my favorite VI makers. It was like light in the darkness of my life.

I use Ample Sound Super Jumbo (AGSJ) at the end of the song.

2020 seems to be worse than 2019! But I wish the best for all of us.
This song helps me to be calm but strong enough to handle everything

Elysée

Serenity

As per usual, I conducted a jam session that took several hours, during which I experimented with a vast amount of sounds, settings and samples, and recorded the stereo result in Audacity. In a posts-production step within Audacity, I extracted the best parts from that jam session in order to create this track. As always, I only used basic audio editing techniques like simple crossfades. Only a touch of soft limiting was applied, no elaborate approaches like mastering were used whatsoever. Thus, the result is raw and highly dynamic in nature, so put on your favourite headphones and turn up that volume knob, because the Loudness War is for losers!

This particular jam session is dedicated to the sometimes longsome and somewhat tedious process of creating (electronic) music. I was inspired by the Youtube video "Music Software & Bad Interface Design: Avid’s Sibelius" by Tantacrul, who took a detailed look at the design of the popular music notation application Sibelius (youtu.be/dKx1wnXClcI). It is a very entertaining video and being a computer scientist and a hobbyist musician, I could very much comprehend and sympathise with his demonstration in particular, and the usage of flawed tools for music production in general. It is this very video that inspired me to create these two tracks in the first place, since Tantacruls chant "Something something - Sibelius crashed" was so rhythmic and captivating; so I ended up using his voice as a couple of samples. Unfortunately, I wasn't able to capture his voice in the right rhythmic way during the jam session, so I added it in post-production. 

Additionally, I used a sample from the Youtube video "Moog Subsequent 37 - jam no.1 in C-minor" by  ollilaboratories (https://youtu.be/bUMwSp86a9c) which I indeed was able to capture in the right way during the jam session, albeit after several attempts.  

One particularly interesting aspect of this track's sound for me is amplitude modulation in conjunction with filter modulation. I fed the output of the Mordax DATA (using the oscillator mode) through one of the inputs of the Make Noise LxD, which is a low-pass gate. Then, I fed the sine output of the Doepfer A-147 into LxD's CV input and wiggled the A-147's frequency knob. This resulted in an interesting interaction with the Arturia MicroBrute's tone. Also, ollilaboratories's amazing playing of the Moog Subsequent 37 (which I high passed in order to not interact too much with the already quite bassy sound and not to let the result become all too muddy) contributed to the peculiar timbre.  

Since I had so much audio material to work with, I decided to split this one into two parts. I hope you'll enjoy this homage to the labrious endeavours through the intricate realm of music making and the multilayered challenges we as aspiring musicians can encounter. Please bear in mind that this track doesn't reflect my ability to create live music on the fly in one go, like many great artists can do. As most of my tracks, this one is free for download. If you use it in one of your projects, let me know what you can come up with and give Mrs. Audio Boy a shout-out!

Beat Thang And Sibelius Crashed, Part II [Jam session sections: RAW2020 - 5]

MusikLogo RootRock KE311227 BiaB 31.May.2020

After visiting the music of a friend, I came in a mood for good old rock (and somehow roll)

You can also visit my friend who seem to be in a similar mood in some records. But check yourself:
https://soundcloud.com/johncarusone

Root Rock

RootRock

Your eyes

Mash up of sorts between a violin improvisation and an instrumental piece on a Burns SSJ guitar played through a tremolo into a DIY dwarf destroyer (crazy unpredictable fuzz) clone and various modulation/delay/reverb stompies.

Anterior Chamber Music

Thanks to Rick for the idea and organisation and to all collaborators. I like every section. Here's Rick's description (please read):

* written and produced by 
0:00- *Rick Shearer 
soundcloud.com/rix-shearer-ism/tracks
0:16- *Jonathan Howard 
soundcloud.com/jonny-5ive/tracks
0:38- *Still 
soundcloud.com/still-audio/tracks
1:09- *RiZLiX 
soundcloud.com/rizlix/tracks
1:40- *DM 12 
soundcloud.com/dm-12/tracks
2:07- *Mario De Fazio/My Own Therapy

2:36- *Andrew Doyle 
soundcloud.com/andrew-doyle-32194121/tracks
3:06- *LED-M/Mototsugu Endo 
soundcloud.com/user-96978190/tracks 
3:34- *Greg/Swim the Current 
soundcloud.com/user-699521979/tracks
4:05- *Spotnickdacat 
soundcloud.com/spotnickdacat/tracks
4:40- *Christian Levitan 
soundcloud.com/user-872366230/tracks
5:00- *Khaki Green Gills/Ian West 
soundcloud.com/khakigreengills/tracks
5:27- *Pablo DMF 
soundcloud.com/pablo-d-m-fontana/tracks
5:44- *Rick Shearer (Linear Collaboration 1 concept/director/design)

Description: In March of 2020, I was curious how a collaboration could sound if the collaborators didn't know who each other were and what they would create. I wanted the collaboration to be created in a straight (linear) path, not mixed, re-mixed and layered over, as most collaborations are created. 
So there I was, sending this invitation to various Sound Cloud artists I follow:
"LINEAR COLLABORATION" is the name of my new project!!
Would you like to to volunteer as a collaborator? ....and it goes like this:
As the concept coordinator, I will tie a collaboration in one linear path starting with my 20- 30 sec. secret/anonymous untitled instrumental. I will pass that secret track to the next person. The next person will create a 20-30 sec. untitled instrumental which they think might sound good right after the secret/anonymous track they received from me. When completed within a week, that person will send their newly created 20-30 sec. untitled instrumental to me. only. When received, I will send that anonymous segment (only) to the person next in line who's style I think will sound as a nice follow-through or an interesting contrast to the secret track they received. The only part of the project you will know is the one anonymous track sent to you. That instrumental will be the one right before your's in the final collaboration track. If needed, the only changes I might make is volume levels and/or shortening the length via fade-in/fade-out. You are the sole writer and producer of your composition. Even if the collaboration track might "sound better" by rearranging the order, I will not change the order in which the tracks are sent and received. I want it to be an honest linear path with unpredictable continuity, contrasts and surprising results. Once the project is complete, I will post it. That is when you will discover who created that anonymous secret track you received. You will also discover who received your anonymous track as inspiration. Best of all, you will finally know who your fellow team members are and how the whole game played-out!
How The Game Played-out! :
On the whole, what you hear is what I got,
What I got was a wonderful result from 12 other collaborators who didn't know what the other's were creating and mixing individually! This comprehensive track clearly represents the personality, style and creativity of each artist. Every contributor has made this process thoroughly enjoyable! As a result, sometime before the end of this year, next in line is Linear Collaboration 2 . How many collaborators and who are next in line? 
... I don't know yet...perhaps one might be you!
- Rick Shearer / rixSHEARERism

13 Collaborators*  -  Linear Collaboration 1 (Rest in Peace Mario De Fazio)

Marco Lucchi : harmonica, synthesizer and fx

playing with
https://soundcloud.com/boson_spin/uthersor-part-1

6 agosto 2020

to Ennio Morricone

Once upon a time (with Boson Spin)

The pronotum is a prominent plate-like structure that covers all or part of the thorax of some insects.

Pronotum

Sonopoetry by 
https://soundcloud.com/ilaria_boffa
Music produced & mixed
by P è n i n ș o l a r
https://soundcloud.com/p-e-n-i-n-s-o-l-a-r
Visual : Rika Ryzhykova
Пчёлы:
https://youtu.be/m7cu-NdCdMg

On the threshold, liminality in seclusion. You and I
all species and all objects occupy a sound bandwidth
on a spectrogram, a voice to feel heard.
Ongoing eco-squatting and evacuation under human pressure.
Are we bypassing reciprocity, trivialising wander and mystery?
Decency has a traceable nomenclature, a legacy.

I sense your cavitation
drought, self-imposed.
Then conserve, archive.
Never forget how
insignificant we are
and yet decisive.
Unlearn and de-familiarise.
I won’t set my own frequency
below 500 hertz.

Written by 
https://soundcloud.com/ilaria_boffa

Purchase on Bandcamp

Ilaria Boffa P è n i n ș o l a r - 500Hertz

Mrs. Audio Boy is a proud member of Project:Music (@projectmusicsounds) and MintFam (@mintfam), and is a German-based project, which creates experimental electronic music by the process of conducting jam sessions, improvising during these sessions, recording them, and then using best parts from those sessions to create so called "Jam session sections" (manually, no AI whatsoever). These are generally raw sound clips that are mostly left unprocessed apart from using a simple cross-fade in order to tie two or more clips together. Only very rarely some simple effects like filters, compressors or noise reduction are applied. 

In doing so, the special one-of-a-kind moment is pursued; thus, the created sound is highly inimitable and unreproducible. Most of the tracks can be downloaded. If you use them, please give a shout-out to Mrs. Audio Boy!

MAB logo by @maxim-lichtenwald, check him out!