Totally agree with your assessment re: analogue versus digital methods for this process. I'd love another go with proper analogue kit.

I also thought about Lucier during the multiple iterations of my recording. His imprint left a big mark on us.

Can clearly hear your efforts at work here. Nice work.

Like the woolyness of the bass throughout.

More on this 229th weekly Disquiet Junto project (“Fourth Worldizing: Use a favorite trick of legendary sound designer Walter Murch”) at:

http://disquiet.com/0229/

Thanks to Steve Ashby (ashbysounds.com) and Jakob Thiesen (jakobthiesen.flavors.me) for beta testing it.

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project from the film THX-1138.


Disquiet Junto Project 0229: Fourth Worldizing

I used two impulse response reverbs in cascade and I slowed down the impulse response files by 15 times and by 8 times.

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

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

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

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/

Image associated with this project from the film THX-1138.

You [disquiet0229]

More on this 229th weekly Disquiet Junto project (“Fourth Worldizing: Use a favorite trick of legendary sound designer Walter Murch”)      release date: 19 May 2016

Large Hadron Collider(Disquiet Junto Project 0229 Fourth Worldizing)

As is often the case, the Junto idea is something to leap off of in the direction of what I would generally do when doing a Junto.  Doing something simple/quick/trashy with something on hand that I don't otherwise use too much.  And then philosophize too much about the whys and wherefores.

I bent or broke the Murch fourthworlding by:

--recording the source sound (the raking of a metal box fan's grill face, open air feedback of recording set up) in pretty much the same room in which it was later rerecorded at 4x speed playback

--never playing the ambient sound in sync with the original recording (obviating the whole approach meant to shift/recreate/4th world the ambient space) 

--never playback any of the sounds (within the final recording) at any speed greater than .4 times original speed.  And generally much slower than that.

I like the Murch approach and admire his craft and resourcefulness.  But I really didn't want to emulate it.  I heard the speed change part, and never meeting a varispeed playback I didn't like, went with that in a very generalized way.  The ambient tracks were recorded of a 4x speed playback of the original sounds just as Murch would've done, but that's it.

Arguably, I otherworlded things.  Nothing came out as it went in, no elements combined in a march step manner to subtly expand a seemingly naturalistic space.  Nope.  

Kept things simple so it could function in a short, roughly one minute duration.  The sounds occur in a loose field that can more or less play out in the time.

Again quick & dirty:  Recorded two mono original tracks on PPC iMac laptop running Audacity.  Played them back at 4x speed running Gleetchlab out the headphone jack into a venerable boombox with line in jacks.  Recorded that in stereo via an Android phone running Titanium Recorder.  Combined tracks in loose non-sync/various slow non-reconstituting speeds via Gleetchlab on same laptop.  Edited the selected take in Audacity.

More on this 229th weekly Disquiet Junto project (“Fourth Worldizing: Use a favorite trick of legendary sound designer Walter Murch”) at:
http://disquiet.com/0229/

Thanks to Steve Ashby (ashbysounds.com) and Jakob Thiesen (jakobthiesen.flavors.me) for beta testing it.

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

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

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

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/



4th Of Other - Disquiet0229

This week's prompt finds me experimenting with using very different tools that I normally do. It would seem that Mr. Murch had tape recorders with variable speed controls for both record and playback functions. My normal field recorder does not have this functionality (well, at least I couldn't figure it out if it does). I know this sort of manipulation can be done after the fact, but I wanted to experience what it is like using the precise method for creating a reverberant space which he describes in this video:

https://www.youtube.com/watch?v=_py6jVyOqUY 

All sounds in this track are taken from his video and there was no post production other than a slight bit of EQ to keep my ears from totally bleeding. I recorded the playback of the video on my iMac using SmartRecord on my iPhone. This app has the ability to both slow and speed up both recording and playback, but it's max speed is 2X. So After I recorded the initial recording at 2X, I then bounced that over to my iPad recording with the same software also running at 2X. This got me into the realm of the 4x recording he mentions. All of these recordings were done over the air in my studio space which doesn't have much going on in the way of acoustic treatment. After these initial two recordings, I began bouncing faster and faster, and then slower and slower. I was greatly irritated by the exceptionally aliased recordings complete with stair stepping and  piercing artifacts. But, these were being played and recorded, repeatedly, with tinny consumer-level speakers on portable devices not known for their fidelity. I did eight takes on each device for a total of sixteen; half speeding up, and then half slowing down (.5X is the slowest it could go). After that I ended up with the screechy drone that runs in the middle channel of this. I captured it using my MKH20 pointed towards the iPad's speakers. I didn't care for it by itself and decided I'd bring two of the early iterations into play in the left and right channels panned hard each way. I really liked hearing my breath, which was frustrated as I did this, in the recordings. That and my clumsy efforts to press play and record on multiple devices concurrently led to some thumps and bumps that I also like in the final mix. I was surprised to find that once I'd sped things up that many times, and bounced the recordings that many times, there was no rescuing the human vocal data of the original recording. No matter how much I slowed things down on the drone, it droned on.

More on this 229th weekly Disquiet Junto project (“Fourth Worldizing: Use a favorite trick of legendary sound designer Walter Murch”) at:

http://disquiet.com/0229/

Thanks to Steve Ashby (ashbysounds.com) and Jakob Thiesen (jakobthiesen.flavors.me) for beta testing it.

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/


Church Of Murch [disquiet0229]

See http://bassling.blogspot.com/2016/05/disquiet-junto-0229-fourth-worldizing.html for track discussion.

More on this 229th weekly Disquiet Junto project (“Fourth Worldizing: Use a favorite trick of legendary sound designer Walter Murch”) at:
http://disquiet.com/0229/

Thanks to Steve Ashby (ashbysounds.com) and Jakob Thiesen (jakobthiesen.flavors.me) for beta testing it.

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

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

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

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/

Universe In His Ears [disquiet0229]

track here https://hearthis.at/sevenism/discontorted-space-disquiet0229/

i've been doing alot of distorted ambient this week (https://sevenism.bandcamp.com/album/waves). this stumped me at first, nice to learn something new!

-recorded short piece thru zynfx -> podfarm -> ddly
-change speed 4x in audacity
-re-recorded with cardioid mic quite far from speakers (to capture lots of air!)
-slowed down in audacity

listened with headphones and if anything it's decreased the sense of space.. but i couldn't find anything to record sped up. heyho.

edit: digitally expanded version here: https://sevenism.bandcamp.com/track/dis-con-torted

Oo..oOOo..oOOo..oOOo..oOOo..oOOo..oOOo..oOOo..oOOo..

Disquiet Junto Project 0229: Fourth Worldizing
Use a favorite trick of legendary sound designer Walter Murch.

Background: At 2:14 in the following YouTube clip of an interview about the concept of “worldizing” with sound-design legend Walter Murch he plays a bit of a movie, THX-1138, and then describes the process of recording something to get an exaggerated sense of the space in which it was recorded: “If you are in an ordinary sized room and play the voice at four times speed … and you record it on the other tape recorder, also running at this very fast speed, then when you play the other recorder back at normal speed you get the original sound but you get the space of the room as if it was four times larger than it really is.” (Just to expand the idea a bit, the project’s title, “Fourth Worldizing,” is a nod to musician Jon Hassell.)

https://www.youtube.com/watch?v=_py6jVyOqUY

These are the steps for the project:

Step 1: Using the trick Murch has provided, make something of it.

Step 2: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 3: Annotate your track with a brief explanation of your approach and process.

Step 4: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in shortly after noon, California time, on Thursday, May 19, 2016, with a deadline of 11:59pm wherever you are on Monday, May 23, 2016

Length: The length is up to you, though between one and three minutes feels about right.

Upload: Please when posting your track on SoundCloud, only upload one track for this project, and 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.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please in the title to your track include the term “disquiet0229.” Also use “disquiet0229” as a tag for your track.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track, please be sure to include this information:

More on this 229th weekly Disquiet Junto project (“Fourth Worldizing: Use a favorite trick of legendary sound designer Walter Murch”) at:

http://disquiet.com/0229/

Thanks to Steve Ashby (ashbysounds.com) and Jakob Thiesen (jakobthiesen.flavors.me) for beta testing it.

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

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

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

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/

waves

dis|con|torted space (disquiet0229)

https://hearthis.at/sevenism/north-of-the-mountains-naviarhaiku124/ (full)

a remix of a track from my newest album https://sevenism.bandcamp.com/track/mountain-view 
confusingly the album track was for this project but that was a few days ago and i needed to meddle!

i've added digital space and width (cf disquiet) and made it more dark and distorted.

^^^
NAVIAR HAIKU
Music inspired by haiku poetry
soundcloud.com/groups/naviar-laboratory

North of the mountains

alien and dangerous

-  darkening clouds


     

DEADLINE: 25th May

Poem by Back Roads Haiku

Picture by  Image Catalog



- Upload your track to the Naviar Haiku group on Soundcloud
- When you upload your entry, include
"Naviarhaiku124 - North of the mountains" in the title.
- Please use a Creative Commons license for your track and set the track as downloadable should you wish to be included in the podcasts.

For more information visit http://www.naviarrecords.com/about/naviar-haiku

https://hearthis.at/sevenism/north-of-the-mountains-naviarhaiku124/

north of the mountains (naviarhaiku124)

There's a definite case of synchronicity with this entry, Whilst walking the dog in the woods I recorded a number of woodland sounds to create a song for an upcoming album titled 'Sunday Constitutional'.  Later that day I received the email about Naviarhaiku125 and decided to produce the album track and submit it as my entry.

The song has an ambient / dub kind of feel and is reflective of the cacophony of sounds you tend to hear in the woods, Apart from the synth and the kick, all the other sounds were created from the field recordings.  I've used Sensomusic Usine Hollyhock II to record the song live.  Groove Matrix and homing pad processed with Cryogen by Glitchmachines created the rhythm; woodland sounds st different pitches were triggered manually and processed with Izotope DDLY Dynamic Delay,  

Woodland Symphony (Naviarhaiku125 - rhythmic woodpecker)

Half moon hanging. Sky
cover blurring the edges.
Summer nighttime, misty
 
Poem by Glenn Sogge
https://www.facebook.com/ComposerSogge

Picture by Happy Yoga
https://www.flickr.com/photos/happyyoga/607204584/in/faves-cryxuss


Misty

Misty [Naviarhaiku132 - Half moon hanging]

A request from @LarrykingUndead to write some music in a "John Carpenter" style.  Also was given the theme to "Stranger Things" as a reference.

Acetylene Waltz


The Alchemy plugin was once a boon companion of mine -but alas no more. I used midi file and loaded in alchemy. It kept losing my sound when recording so I recorded some of each sound so the loops would not match. Crossfading a beat in. Used my desert island plugin "Guitar Rig" on it.  

More on this 239th weekly Disquiet Junto project — “Compose a short composition in memoriam for a piece of recently deceased software” — at:

http://disquiet.com/0239/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Disquiet Junto general discussion takes place on a Slack (send your email address to twitter.com/disquiet for inclusion) and at this URL:

http://disquiet.com/forums/

Requiem for an Alchemist= For Camelaudio "Alchemy" disquiet0239

**Production Notes**

This Soundcloud thing getting more to me than I thought. 

It’s my Disquiet Junto submission # 101. For the last three years, I’ve taken off nearly every Thursday and Friday evening, enjoing Marc’s assignment, making the music, uploading the results, waiting eagerly for the first plays and comments.

What drives me is the feedback I get from listeners, especially from Disquiet Junto or Naviar Haiku fellows. My currency for making music isn’t money, it’s attention, plays, comments, likes and downloads. I have no intention of selling my music, all of my stuff is free for download. 

So, Soundcloud is closing it’s groups - that won’t shake the web, but it makes getting attention more difficult for all musicians on Soundcloud. They are shutting down the only real USP they have: their community, the people who bring them their content. 

Instead, they are offering us „albums“. In my humble opinion this is just the old approach to obtain something that can be sold - like the CD, the LP, the cassette tape. So they’re flirting with the music industry again… and I hate that. It’s like your girlfriend falling with the idiot next door, and you don’t have a clue that happened (in Soundcloud’s case, it’s the money). 

Back to this track. I had a sample from an 1930’s „Old Time Radio“ Gumshoe radio play - the girl’s intonation and mournfulness seemed to fit (she’s the one who killed him Mickey McQueen, btw). Used Kontakt Una Corda, Chromaphone, Solina, an E-Piano, Rhythmic Robots 601, some old samples. The FX on the drums came from Izotope Trash 2. 

* * * 

**Disquiet Junto Project 0239: Code Requiem**

The Assignment: Compose a short composition in memoriam for a piece of recently deceased software.

Please note the instructions below, in light of SoundCloud closing down its Groups functionality.

Project Steps:

Step 1: Compose a short composition in memoriam for a piece of recently deceased software.

Five More Important Steps When Your Track Is Done :

Step 1: Upload your completed track to the Disquiet Junto group on SoundCloud (this task will continue until the August 22 sunsetting of that service). It’s here:

https://soundcloud.com/groups/disquiet-junto/

Step 2: This is a new task, if you’ve done a Junto project previously. In the comment field to the track mention @disquiet. This will ping me to add the track to a playlist.

Step 3: Per the instructions below, be sure to tag your track #disquiet0239

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in the morning, California time, on Thursday, July 28, 2016, with a deadline of 11:59pm wherever you are on Monday, August 1, 2016.

Length: The length is up to you. Between one and three minutes seems about right.

(…)

More on this 239th weekly Disquiet Junto project — “Compose a short composition in memoriam for a piece of recently deceased software” — at:

http://disquiet.com/0239/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Disquiet Junto general discussion takes place on a Slack (send your email address to twitter.com/disquiet for inclusion) and at this URL:

http://disquiet.com/forums/

Mickey McQueen [disquiet0239]

The source material for this piece is from a live performance I did as Craig Carlton in 1998 recorded to DAT, then loaded into a Mac Performa running Pro Tools through an Audiomedia III sound card.  The original recording was 60-70 minutes long.  I boiled it down to a 4 minute track and assembled it in Acid, a program that still exists but many consider to not be worthy of respect.  True to form, Acid crashed on me while putting this together.  Hmm.....

Audiomediaddict {disquiet 0239}

Created for the Disquiet Junto Project 0239: Code Requiem 
@disquiet

To mark the passing of Soundcloud's Groups, this project asked the artist to “Compose a short composition in memoriam for a piece of recently deceased software” 

Is a program truly "dead" if it still exists on your hard drive? If it hasn't been updated since 2009, and is no longer distributed... then probably so. This is my rather dreamy requiem in and for the lamented Tuareg 2 by Bram Bos. Flaws, pops, and crackles in the audio engine and all, I'm still fond of it to this day. RIP (and thrive on, as long as my hard drive lasts).

(a few additional production notes...) Most of the piece is based on a sample from another improvised piece tentatively called Coup Tourist, which may eventually see the light of someday. A 5x Paulstretched version of that riff is looped directly near the end, while in the rest of the piece the sample is manipulated through Tu2's Bliss 2 virtual sampler and my favorite gating/slicing effect possibly of all time - the Variator. The high bell-like melodies are Tu2's Halo FM synth, and the bass is it's Amber animated modeling synth.

Pops, crackles and artifacts are just part of the charm with this software - it is not gentle with it's phrase looping points. But if you're open to it, it can lead to some great noise patterns along the way.

More on this 239th weekly Disquiet Junto project — “Compose a short composition in memoriam for a piece of recently deceased software” — at:

http://disquiet.com/0239/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Disquiet Junto general discussion takes place on a Slack (send your email address to twitter.com/disquiet for inclusion) and at this URL:

http://disquiet.com/forums/

Requiem For A Tu [disquiet0239-coderequiem]

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.

Universe In His Ears [disquiet0229]

User 827974115

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