For this challenge, Exactly That Gap, I composed a short piece (which I have called "Mind the Gap", comprised of a series of chords in C minor using software piano and ethereal voices from Kontakt.

Mind The Gap(disquiet0482)

This track is the electric razor alone, as processed in Supercollider as indicated below.

Close Shave(unaccompanied)

A circuit electromagnetic signal was used to generate the "cricuits" in this piece using Supercollider to manipulate the speed, panning and number of loops played. The final clip was mixed in Ableton Live.

Cricuits(disquiet0494)

On Seine(disquiet0499)

For this prompt, Global Swarming, I used the great strings-based piece composed by project-dirigent(Chris) and expanded it into a swarm using Supercollider.  At one point there are approximately 80 loops of Chris' track. The resulting track was mixed in Ableton Live.

Gregaria(disquiet0502)

Thanks to DD for compiling such a rich set of motifs.  I took all of them and layered them like autumn leaves, forward and backward, using faders and repetition to generate longer stretches.  Compression and some reverb to tie things together.  The result felt like the sun through leaves on a tree at the end of summer - thereby came the title.

Parkbench Sun(disquiet0507)

For the "The Long Detail" prompt, I took a segment from a previous piece I named "Sevensevenseven" from the Disquiet0404 challenge, and turned it into an interpretation of waves on an ocean beach, hence the name.  The segment was no more than 10 seconds in length but I multiplied it and registered some of the units, stacked and rhythmically panned them, added some reverb and spiced it up with an Output app called Portal.
More on this 509th weekly Disquiet Junto project – The Long Detail (The Assignment: Create a piece of music with moments from a preexisting track) – at: https://disquiet.com/0509/

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

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/ 1

Project discussion takes place on llllllll.co 2: https://llllllll.co/t/disquiet-junto-project-0509-the-long-detail/

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

Oceans777(disquiet0509)

This is my first submission in a while - glad to be back. I compose a fair of minimally viable music, but not intentionally!  To aim for the line is somewhat more difficult.  I chose a simple marimba sound from a Kontakt percussion VST and ran it through a tape loop function to give it a slow beat and slow decay.  My intention was to make it sound like water dripping from a leaky faucet - surface tension playing an important role in the percussive sound generation - thus the name.

Surface Tension(disquiet0530)

Transition Capsule - from one meeting to another must (at least in my case)involve coffee.  So in this piece, I tried to find a combination of darkness and lightness that brings the components of a Cortado together.  Piano, some synths along with trumpet and bass clarinet, the latter 2 representing espresso and milk in equal measure.

Cortado(disquiet0534)

Once when I was trying to drive through a traffic node in Toulouse intersecting 6 or 7 different streets, I stopped in the middle, confused as to which lane/road I should enter.  The driver opposite watched me in frustration as I was blocking his progress forward. Then cacophony of horns erupted as I jammed the intersection.  After a brief chorus, the driver opposite started to give me the slow clap.  I guess it was quite a performance.  Nonetheless, in this piece - Fanfare for the common van- I have tried to capture a fanfare of horns and squealing brakes in traffic edging along at a slow pace. Soft woodwinds and horns from SA.  It's a little longer than necessary, but I guess traffic is  like that.  Composition in C major.

Fanfare For The Common Van(disquiet0537)

Fin d'Orage - 'the end of a storm', uses dissonance, comprising about a dozen different string samples, to depict the chaos of a storm, which could be meteorological or emotional. The storm resolves to drops of rain falling from trees, represented by harp and bell sounds.

Fin D"Orage(disquiet0538)

For the Control Breath project, I recorded breaths holding the mics close to give that breathing-into-a-comm-unit-in-an-enclosed-helmet sound.  It always sounds very close and isolated.  Accordingly, I composed sounds around it including woodwind and bellows sounds to keep with the "breath focus".  I had the radio on in the background for added helmet noise which I reversed to remove distracting language information.

Oxygenation(disquiet0539)

This is a simple study combining a steady 5/4 time with string parts in both 5/4 and 4/4.  I started with a piano part keeping a beat on 1 and 3 counts and added other parts as the piece progresses.  It is rather short but I am thinking about expanding this into a longer piece.  I found it very inspiring to shake up the time signature a little but Ableton does not like it very much!  Thanks again Marc for a fun and interesting challenge.

5 To 4(disquiet0540)

In this little sketch entitled "HZ So Bad", I used Massive in Ableton to generate a note, which I tuned to 2600hz and then truncated and looped to sound like a rhythmic bell which the piece starts with.  I then added various tracks - simple guitars and soft bassoon to fill it out.

Hz So Bad(disquiet0542)

This track was inspired by this great prompt and two outdoor lounge chairs covered with lichen - I can't seem to bring myself to get rid of them, they really have developed a beautiful covering that continues to grow - apparently, species of all types are entitled to lounge in the sun.  A series of instruments make up this drone piece, some software from Spitfire and guitar pedalled through Hors d'Oeuvre?, Meet Maude and Mercury7.

Apothecia(disquiet0566)

Experiment using Supercollider to control and filter a collection of recorded sounds to generate ambient music.

Apt12(disquiet0383)

Resonant was generated in Supercollider.  For this track, the project sound clips were loaded into the SC buffer, selected randomly and played each between 3 and 7 times at randomly chosen variations of playback rate.  The resonance that is carried above the ambient white-noise was generated from the soundtracks using a band pass filter tuned to a lydian scale and these selected frequencies were also chosen at random. So all of the generated sounds were derived directly from the clips (cover artwork - K.J.)

Resonant(disquiet0399)

Moire effect in sound - In this experiment, I tried to demonstrate a Moire effect in sound.  The Moire effect is typically associated with 2 or more overlapping patterns which are similar so that when moved across each other, they produce recurring patterns different from any of the original patterns. For the Moire effect in sound, I used Supercollider to play a progression of 4 chords comprised of 4, 5 or 6 notes which are "strummed", the time between notes within the chords is the same throughout the piece.  I programmed the algorithm to play all 4 chords in a repeated cycle - they start out as 4 almost completely overlapping "strums" and then slowly, with each loop the chords are dragged apart from each other by increasing the interval between the start of each chord.  As this occurs, the chords slowly become offset from each other allowing individual notes from the different chords to fill in the gaps, like overlapping combs.  This creates new patterns as the chords progressively become separated from one another until the individual chords are completely resolved.  I programmed the notes to sound like a classical nylon guitar.

Moire(disquiet0410)

For the Marquee Ghosts challenge, I tried to recreate the atmosphere of an old cinema using recordings of an old film projector and an empty hall.  Both samples are pulled together in Supercollider where they were looped and played at different rates.  The deep concussions are the product of super slow playback of single clicks from the projector.  The samples were remixed in Ableton Live 10.

Projection(disquiet0421)

I liked the beautifully restrained solo piano track by @bellyfullofstars and unrestrained it by duplicating it and putting one copy each through two different tape loopers.  I added some choral vocalizations to pick up some of the overtones of the piano.

BFOSThreeLeaves Joule Remix(disquiet0432)

For the Seamless Bridge challenge, I chose to bridge – Dish of Orcas, Track 8. Knot from here, by Tay_ploops with semi auto biO graphical - Track 7, Auto 3, by haLF unusual.  The result is all about being around family during a quarantine.  Thanks (with apologies) to the creative minds of Tay_ploops, and half unusual.

Quarantine(disquiet0448)

I randomly selected the contribution "Comma-Cosmic Duet", from @JochenEdmund and @comma which features the coffee machine at the data center.  With some synths to pull this together, I arrived at Cosmic Java.  I can't guarantee that you will like it but I can promise this piece is better than the coffee at the data center without ever having tasted it!

Cosmic Java(disquiet0474)

The beautiful and compelling duet by @chrisledwidge and @Michael-ash-sharbaugh entitled "The Wolf's Baleen" made me think about the lone agony that the wolf endures.  I tried to capture this with recorder and violin tracks.

Le Chant Du Loup(disquiet0474)

Using cut and paste, this piece is comprised mostly from small repetitive elements linked together.  Starting from two piano loops copied repetitively, I added some shorter elements to give some movement including some choral loops which were cut into defined segments.

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