Name: voice grain - disquiet0690 by Jacob Tran in Disquiet Junto Project 0690: Knot Bad
Duration: 2 min 47 s
Description: More on the 690th weekly Disquiet Junto project, Knot Bad — The Assignment: Interpret wood grain as a graphic score — at https://disquiet.com/0690/

I love the way you used spectrograms to approach wood grain patterns. Very cool!

go jacob!!!!!! i love the metallic timbre of this piece:)

Disquiet Junto Project 0690: Knot Bad
The Assignment: Interpret wood grain as a graphic score.

Step 1: Find a piece of wood, the grain of which captures your imagination.

Step 2: Consider how the shapes of the grain might be interpreted as a graphically notated score. (If you are not familiar with the concept of a graphic score, read up.)

Step 3: Record a piece of music in which you interpret the grain of the wood you selected in Step 1 as a graphic score.

Deadline: Monday, March 24, 2024, 11:59pm (that is: just before midnight) wherever you are.

Details: https://disquiet.com/0690/

Disquiet Junto Project 0690: Knot Bad

Robert Pattinson (it's all on you)

“St. Jude, a Cloth, and The Face of Christ” is an ambient piece inspired by the biblical story in which St. Jude brought a cloth, recently pressed into Jesus’ face, to King Abgar of Edessa to cure him of leprosy; a miracle.
	When you listen to this piece, imagine you are watching a miracle first hand. Choose a miracle in your own life. It can be anything, big or small. Close your eyes. Imagine what it looked like, what it felt like, and who was there. Breathe slowly. Think hard. To the best of your ability, bring yourself back into that moment. Retell the story. What happened? When did it happen? How? Why?
	When the piece ends, open your eyes slowly. Ask yourself: where are you now? Who are you now? Your answers will tell how miracles have changed you.

St. Jude, A Cloth, And The Face Of Christ

From The Album "Self Record" (2005).

Lyrics:
We built a wall
Standing there, so big and tall
Keeping us
From the rust of what's hurting us all
To feel a spark
Of hope in the dark, no matter what the cost
To know that nothing
Ever will be completely lost

I'm at the wall
Staring, looking up at the names
Mistakes we've made
Broken families, no, these aren't just little games
Hand the torch
To the man who is looking for his blood
The warmth of searching
For the blood just might be enough

I am stable, I am breakable
I am boarded up and begging you
I am hoping, I am coping
It is storming out here
I am broken, I am stolen
I am chained up and begging you
I am bolder, I am older
I am just a brother, babe
I am spinning, I am hitting
I am loved but not gone
I am open, it is pouring in
Gonna make you love him more than you even can
The kid says mia, I say my-a
They freed us, no matter what I say
I am older, I am bolder
I am just a sister, babe
I am older, I am bolder
I am just a mother, babe
I am older, I am bolder
I am just a father, babe

Justin Vernon - Redemption: 1 (An Army Man And His Self-Discovery)

Juniper moon
Reel me in
Can I catch a ride
As you pass by

He’s comin’ soon
Just down the road
Will you wash your light over
My wounded soul

Pull me in
Lean in slow
As you glide by my
Briar rose

Keep me still
Won’t you save my soul
And all that’s left of my
Briar rose

It’s almost like
You taunt my mind
Softly laughing
At my demise

Cause there you are
Again in my sight
Bending my mind
And pulling me in

Pull me in
Lean in slow
As you glide by my
Briar rose

Keep me still
Won’t you save my soul
And all that’s left of my
Briar rose

Cause I’d rather sit on a moon
Then to be seen by you
Your fingers and taboo
Deep in your eyes, I’ll be lost to you, lost to you

Juniper moon
Reel me in
Can I catch a ride
As you pass by

Keep me calm
Lure me close
No consequence
Over our souls

Pull me in
Lean in slow
As you glide by my
Briar rose

Keep me still
Won’t you save my soul
And all that’s left of my
Briar rose
Briar rose
credits
from Questioning Why, releases September 23, 2023
All original music & lyrics by: Camille Sallave, Ethan P. van Thillo, and Craig McIntosh.

Copyright 2023.

Briar Rose

More on the 690th weekly Disquiet Junto project, Knot Bad — The Assignment: Interpret wood grain as a graphic score — at https://disquiet.com/0690/

disquiet0690

The graphic score used, featured as the cover art, is a photo I took of part of a wood-panelled ceiling in my home. The track, in four continuous sections, comprises a mix of layered electronic sequences created using Pure Data with additional sounds and editing carried out using Audacity.

Knotty Pine Perusal (disquiet0690)

Ooooh good ... Here's another track that the SoundCloud algorithm refuses to recommend to potentially interested listeners ... If you're interested in music that a robot doesn't consider 'music', why not give it a listen! 😜

More on the 690th weekly Disquiet Junto project, Knot Bad — The Assignment: Interpret wood grain as a graphic score — at https://disquiet.com/0689/

more halF unusuaL

halF knoT [disquiet0690]

This week's Disquiet Junto prompt instructed us to find a piece of wood with interesting grain, and interpret it as a graphical music score.

My music desk is a pretty solid piece of furniture, and the dark stain makes the wood grain stand out prominently. I noticed that the grain on one side of the desk contained two interlocking swirls, and the radiating pattern reminded me of a magnetic field. So I decided that this week's composition would be played with wood and magnets.

I used a contact mic to record the percussion part, playing the top of the desk like a hand drum. Then I recorded three layers of guitar played with an ebow: an electromagnetic "guitar pick" characterized by infinite sustain. Ebow has the drawback of making dynamics difficult but I was able to make it growl and howl enough to get some texture and noise out of the performance. 

The bass layer was played on a Schecter Damien 7-string guitar with an altered tuning. I managed to play the bottom string freehand with the ebow, floating rather than resting on surrounding strings, which required multiple takes unfortunately. I just really, really needed that low B♭. The other two guitar layers were played on the St Vincent guitar. 

Offboard, the guitars went through my standard bank of stomp boxes, including an Eventide Harmonizer, Keeley Halo, ARP-87 and Julia pedals from Walrus, and a trusty RAT distortion pedal. DAW effects were mainly reverb and Chromaglow, plus a stereo delay and EQ on the percussion part.

More on the 690th weekly Disquiet Junto project, Knot Bad — The Assignment: Interpret wood grain as a graphic score — at https://disquiet.com/0689/

Lost in the Ironwood (disquiet0690)

This week's task is rather serendipitous in that I am actually engaged in some minor wood working this weekend. I recently built a small Buchla 100 system (and its case), consisting of what is shown in the image and the as yet unhoused (and not shown) 114 touch control module, which is what the piece of unstained pine sitting on top of the Buchla is destined for. I selected pine because my woodworking skills are still rather rudimentary so working with higher priced and more difficult lumber makes me nervous. Plus, there is something comforting about pine's ubiquity and approachability. Making a mistake with pine seems excusable. Doing so with walnut or oak less so. That said, I got to thinking about the pine that I picked up at my local lumber shop in terms of the conditions under which it is grown and the vast quantities of trees that are stripped from the land so that people like me can make boxes for their vintage synthesizers. Sonically, I imagined this as a somewhat discordant drone, with peaks and valleys and occasional moments of harmony. The trees grow, mainly in a state or quietude, before they are cut down and processed to the sound of chain saws and saw blades. And then everything goes quiet again as the next crop is planted.  Graphically, I notated this imagined scenario as a series of constant lines, punctuated here and there with peaks, valleys, bright and dark spots, representing in part the knots and impurities in the pine but also the experience of the piece of wood in its transition from tree to commodity. Everything you hear was created on my humble System 100, which was first fed through the Empress Zoia pedal using the "soft focus" effect created by Christopher H.M. Jacques and then further transformed in Logic using "fragments," and "motion" from Arturia, with hints of the unprocessed Buchla emerging here and there. And there was panning. Lots of panning, so headphones are the preferred listening approach.

voice grain - disquiet0690

Justin Vernon - Above The Code

Songs For Christmas

Sister Winter

March - Justin Vernon

Easy - Justin Vernon

Robert Pattinson - It's all on you

Hymn on the Nativity was premiered by the Toronto Mendelssohn Choir at its Festival of Carols online concert, December 2020. Conductor: Simon Rivard. Audio Engineer: Chris Wolpert. This piece was the winner of the TMC's Debbie Fleming Prize for Choral Composition.

Alastair Boyd: Hymn on the Nativity | Toronto Mendelssohn Choir

My 33 1/3 series book about the Aphex Twin album <i>Selected Ambient Works Volume II</i> was published in 2014. The book was one of the top 5 bestselling titles for the calendar year, and in 2015 was ranked by Pitchfork as one of the "33 best" of the 100-plus books in the 33 1/3 series. It has subsequently been translated into Japanese (2019) and Spanish (2018)

Since 2012 I have moderated the Disquiet Junto group, which began on SoundCloud. More at disquiet.com/junto. 

I've written for Nature, Pitchfork, The Wire, Down Beat, Boing Boing, NewMusicBox, Red Bull Music Academy, Art Practical, the website of The Atlantic, and many other publications. 

I've exhibited sound art at galleries in Los Angeles (Crewest), Manhattan (apex art), and Dubai (DUTAC), and I had a audio-visual installation at the San Jose Museum of Art as part of its 45th anniversary.

And since 1996 I've run the website Disquiet.com about the intersection of sound, art, and technology.

Aspiring musician/composer at the University of Alberta applying for the Bachelor of Music program.

voice grain - disquiet0690

Jacob Tran

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