Transmission Collapse feels like a clash of worlds which here resolve in mutual destruction. Everything is "Nature" in some sense, but the results of human nature at work are extremely powerful. Hearing the sounds of birds and rain interleaved with radio info brings a lot of thoughts and feelings out. 

My piece is composed from evocative recordings by two Disquiet Junto participants:

Radio Info by Noodle Twister (disquiet0517)
Rain, Birdsong by acoustic_mirror (disquiet0516)

I interleaved these two recordings after doing a bit of processing (EQ, Filter, Flange) on each. I edited an organic feeling flow of interchange between the two recordings. Then I added a slow upward bandpass filter sweep of white noise, and some algorithmic "cassette tape" distress overall and a taste of reverb at the end.

Pro Tools
Fab Filter EQ3, C2, Pro-MB
Avid Channel Strip, Signal Generator
AudioThing Wires, Filterjam
Valhalla Supermassive
Wavesfactory Cassette

More on this 518th weekly Disquiet Junto project — Inside Out (Co/Exist 3 of 3) (The Assignment: Combine sounds of nature and civilization) — at: https://disquiet.com/0518/

This is the third and final stage of a three-part project sequence. You needn’t have participated in either of the two preceding stages to do this one. Thanks to Alan Bland and Mark Lentczner for having proposed the project.

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0518-out-and-in-co-exist-3-of-3/

There’s also a Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion.

transmission collapse - zoundsabar - disquiet0518

I took two pieces from early this year, one is a piece "Noise Gradient - disquiet 0463" which is related to a piece I've been working with all year on another project and the other is a sketch I recorded from my modular. I created some loops from that second piece and mixed those against a radically shortened version of the first piece. In many ways this piece works as a stand-in for a more literal sonic diary. All the work was done in Pro Tools using a variety of plug-ins for design and mastering.

2021 largely had me working at the service of a big project for a beloved colleague. 2022 will allow me much more time for personal projects, which I am eager to do, including joining into the disquiet junto more often.

More on this 522nd weekly Disquiet Junto project – Just Backdated (The Assignment: Create a sonic diary of the past year with a dozen (or more) super-brief segments) – at: https://disquiet.com/0522/

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

Yeah I'm Just Backdated - disquiet0522

Ice in room temperature water creaks and spurts, also bumps resonantly around in a glass bowl. Recorded in stereo with 2 JRF contact mics duct taped to a medium glass bowl. Subsequently stretched and pitched to create this soundscape.

Frozen Activity - disquiet0523

@DeDe made such a lovely contribution with "Unfinished" to kick off disquiet0525. I was inspired to play with it. I had various ideas including creating some kind of harmonic piping over the rich bass string sound, but ended up playing with the rhythmic structure of the piece. I'm not sure what could come next, but I hope someone gets inspired to complete the work.

I added more layers of Daniel's beautiful recording over the top of what he had performed and put together. A small number of clips were time stretched to vary the tempo more freely.

More on this 526th weekly Disquiet Junto project – Magic Number (2 of 3) (The Assignment: Record the second third of an asynchronous trio) – at: https://disquiet.com/0526/

More on the Disquiet Junto at: https://disquiet.com/junto/ 1

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0526-magic-number-2-of-3/

Still Unfinished - disquiet0526

My piece is a remix of "Phrygiad" by @SharkWithLasers with "triad" by @lazenbeeindustries

It has a lovely spare pensive mood and could withstand a bit of redirection towards even more dreaminess. I used reversal, overlays, time stretching, GRM Shuffling and a bit of reverb a couple times to accomplish this.

More on this 527th weekly Disquiet Junto project – Magic Number (3 of 3) (The Assignment: Complete an asynchronous trio begun by two other musicians) – at: https://disquiet.com/0527/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0527-magic-number-3-of-3/

phrygiad triad remix disquiet0527

This is a study for a larger piece I have been working on and off for a few years. I wanted to get something out while I'm thinking about it. (1) I created a Max patch using A. Farnell's PD cricket algorithm as a basis, with a few tweaks by me. I recorded a few tracks into Pro Tools (2) and used its built in elastic audio to vary durations and pitches, and then added some delay from fabfilter Timeless (3) and reverb from Altiverb (4) and Reverb One (5) and finally some compression from fabfilter Pro-C 2 (6).

It's all about cycles and rhythms, nature and artifice, continuity and expression.

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More on this 630th weekly Disquiet Junto project, Creative Sufficiency — The Assignment: Count your tools in advance of employing them — at: https://disquiet.com/0630/

This project was proposed by Alex (aka XHG) from Switzerland, who also drew the cover image.

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-0630-creative-sufficiency/

Cricket Study Disquiet Junto 0630

Graphic scores can be so beautiful as graphics, and also, sometimes, so very evocative as scores. I agree with the idea mentioned by @XHG that the main use of a score of any type is to allow music players to perform what the composer was imagining. In the case of a graphic score the directions are more ambiguous than a traditionally notated score. Thus we have all the beautiful interpretations submitted for this Junto, so varied, yet all inspired in some way by the same beautiful score by Franziska Baumann.

I don't know how to read western notation, and I can't play the piano, but I tried to perform the piece I imagined based on this score live with a grand piano patch from Roli's Equator while sending into FX in my modular which I tweaked to produce the echoes and scratchy fills which were responding to the pitches and levels of the performance in real time. I also used some plug-ins to shape the sound in Pro Tools. Modular FX included resonance, filters, PLL, modulators, delays. Pro Tools plug-ins included EQ, dynamics, tremolo, delay, and mastering tools.

So, after practicing and a lot of parameter tweaking, I recorded an improvisation of 35 short performance bursts, trying to capture the clusters of kinetic energy in the score, along with its layers and ambiguities and interconnections.

In the end I felt I needed to tighten up the spaces between the clusters after recording. Then quick mastering, and here you are..

Thanks to Mark, Tobias, and Franziska!

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More on the 654th weekly Disquiet Junto project, Just Notation — The Assignment: Interpret a graphic score by Franziska Baumann — at https://disquiet.com/0654/ 2

The cover image for this project is a detail of a graphic score, titled True Glimpses 1, by Franziska Baumann, used with her permission and the support of Musikfestival Bern. More on Baumann at franziskabaumann.ch 7.

Just Glimpses zoundsabar disquiet0654

Created in response to Tim Prebble's challenge: "I’ve chosen a bunch of sounds from the new library, and your challenge is to make something interesting with them. I am not going to dictate what you should make, I’d like to be surprised by your creativity… Surprise me! The only rule is that no other source material can be used."

ScrapeMode Hiss&Roar SDC03 DM

This track was inspired by James Tenney's essay "Computer Music Experiences, 1961-1964" wherein he describes the creation of one of the first computer music compositions, Noise Study (1961). I sought to recreate the sound engine he used at Bell Labs, and make it available for my own compositions. The Max patch I have made is a work in progress, but I was able to use it to make steady tones which work in unison, as well as in semi-random overlays. I added a bit of reverb, which has the effect of softening the attacks and decays of the sounds, which may take away a bit from the edginess of the sounds, but it was done by Tenney in his piece, so I left it in here.

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More on the 657th weekly Disquiet Junto project, Straight Edged — The Assignment: Held tones, sharp edges — at https://disquiet.com/0657/

Noise Study 2 zoundsabar disquiet0657

Here's "Kokytos Collective" my version of the reamplify challenge, sadly it's a day and a half late, so may not be heard by many, but I enjoyed making it and wanted to share it here.

I started the work by playing the original piece through speakers in my garage studio, with the garage door open and listening from outside. I raised the levels of the quieter sections so they could be heard over the background noise of the world, and then recorded the whole piece with an ambisonic microphone from two positions, one right outside the door, and the second was made a day later with the mic further out from the speakers and further into the world (as far as the mic cable would allow, which was another 6' or two meters further). I trimmed these ambisonic recordings to the original length and made binaural bounces from them. 

Then I loaded these two files into the Max/MSP instrument I had made earlier (called Marvelous Activity), which switches between two sound files semi-randomly at a rate set by the performer using an X/Y pad. The instrument randomly varies the pitch slightly, and jumps ahead each time it switches to the alternate track. I recorded about 18 minutes of this, and cut it into three sections which each had a building shape. Lining these up roughly in Pro Tools, and EQing each of them slightly differently, I bounced them together. This is what you will hear. 

This track is made from binaural mix downs from ambisonic recordings, so they should sound fairly spatial if listened to on headphones. As much as I love spatial audio, binaural has very mixed results for me. This track works better for me than many, but YMMV.

RODE SoundField NT-SF1 Ambisonic Microphone
SoundField by RODE plug-in
Virtuoso by APL binaural plug-in
Fabfilter Pro-Q 3 plug-in 

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More on the 658th weekly Disquiet Junto project, Re-Amplify -- The Assignment: Re-record and re-compose an organ improvisation by Daniel Glaus -- at https://disquiet.com/0658/

Kokytos Collective zoundsabar disquiet0658

Using only sounds from the provided Ted Lewis version of St. Louis Blues I made little sections  (some reversed and some pitch and or speed varied) and overlaid them on top of the original (shortened) piece. I switched between the noisy old record and the (excellently) denoised version to get some focus on the tune, or to use the surface noise as a rhythmic element. I added some rhythmic wow and panning to the denoised version, and one teensy moment of shiny reverb. It's a bit rough, but it was fun playing with this great music in remix mode!

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More on the 660th weekly Disquiet Junto project, Louis Blues St. — The Assignment: Break a public domain song into parts and reorganize them — at https://disquiet.com/0660/

Background: More on the source track here:
https://archive.org/details/78_st-louis-blues_ted-lewis-and-his-band-handy_gbia0268157b

Blue Louis Streeeeet disquiet0660

Here is a drone made from a short stereo recording of our dishwasher during its last rinse cycle. 

I made time stretched and pitch shifted copies and layered them, and added more pitch shifting with the Elastique Pitch plug-in, along with EQ and reverb and GRM shuffle on one track.

It's shapely and short. It sounds more like an aircraft carrier starting up than a dishwasher finishing, or a typical musical drone. 

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More on the 661st weekly Disquiet Junto project, Consumer Drone Product -- The Assignment: Record a piece of drone music using sounds from your home -- at https://disquiet.com/0661/

DDDDDishwasher disquiet0661

Layers of synth plus fire, clatter, and baboon screams and dog barks. Beware of the locals!

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More on the 667th weekly Disquiet Junto project, Neighbor of the Beast — The Assignment: What’s it sound like when the devil lives across the street? — at https://disquiet.com/0667/

Neighbors Can Be Hell - disquiet0667

This is a section of a lengthy recording I made a week ago. Today I turned it into something quite different. I won't say what the process was, or what or where I was recording. I hope it is nevertheless enjoyable.

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More on the 668th weekly Disquiet Junto project, All Right Then, Keep Your Secrets -- The Assignment: Bury a secret sound until it is no longer identifiable -- at https://disquiet.com/0668/

This project was proposed by Mahlen Morris.

Field Epic - disquiet0668

Working on a drone for another project. This is a mix of a small part of that. The melody is generative and is not exactly melodic in the classical sense, but it has pitch movement. I made two tracks with my modular and DAW. One with Plaits into Endless Processor and Mimeophon. The other with Harmonic Oscillator into Rings and Beads. Added Adaptiverb, compression, and EQ in Pro Tools and mixed to this.

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More on the 676th weekly Disquiet Junto project, Sub Melody — The Assignment: Bury a slow melody deep inside a drone — at https://disquiet.com/0676/ 

Fleet Drone Song disquiet0676

I created a Max patch to play sets of sine waves which are partials of a single digit (sub audible) frequency. The partial frequencies are very close together as a result. I recorded a bunch of these and then created a semi-random layering of various clips, each with one, two or three partials, in my DAW to make this piece. There are over 15 tracks, in order to capture a large range of variations. A few of the clips have glides in them, which I thought added interest. A tiny bit of chamber reverb to smooth out the ending.

Zounzabar

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