3 arpeggiated lines in iris2 demo / live. 3/4 melody, 7/4 bass and pad, 2/4 rhythm. sequenced in audacity coz i didnt know if live 8 could do multiple time signatures. goes slightly out of phase towards the end.
sliding pitch shift of 1 semitone. mastered in audition

https://llllllll.co/t/disquiet-junto-project-0327-time-zoned/
Disquiet Junto Project 0327: Time Zoned
Create a piece of music that is simultaneously in 3/4, 2/4, and 7/4 time.

Step 1: This week’s Disquiet Junto project, the 327th consecutive weekly Junto project, running since January 2012, will engage with the number 327. Compose a piece of music with three separate and distinct through-lines. Think of each of the three lines as an individual voice. The important thing is that the three through-lines occur in your composition simultaneously. One voice should be in 3/4 time. One should be in 2/4 time. And one should be in 7/4 time.

Major thanks to Ethan Hein and Nate Trier for helping develop the project.

/natural-yellow-fire-yellow

Slow Red Shift .disquiet0327.

i recorded i think 90-odd toots on my harmonica , paulstretched coz that works well with harmonica and i wanted a nice drone (missed drone day yesterday) a bit of denoising but i thought the rumble and hiss worked quite well
.

https://llllllll.co/t/disquiet-junto-project-0334-mass-branca/
Disquiet Junto Project 0334: Mass Branca
Record a massive multi-layered tribute to the legendary guitarist-composer.

Major thanks to James Britt for contributing this Junto project prompt.

Step 1: This project is a tribute to the late avant-garde composer and guitarist Glenn Branca, who died earlier this month. Among Branca’s many musical systems was to have a vast number of musicians, say 100 guitarists for example, perform together. We’re going to explore that mass of sound to produce a mass in Branca’s memory. It will be a Mass Mass.

Step 2: Pick a single sound source, an instrument perhaps, but really anything that makes a specific sound. One thing to aim for is a sound source that is rich in overtones.

Step 3: Use multiple layers (with “multiple” being defined as you see fit — 100 layers would be awesome, but so too would 10, 30, 50, etc.) of this sound source to record a piece of music.

Background: While knowledge of Glenn Branca’s work isn’t necessary to participate, it is recommended to read up and listen a bit.

fledge disquiet0334

when the sky seems huge in the summer
.
cello / uke samples
.
"
For the last week of May, I think a summer poem is most appropriate. Written by one of the greatest haiku poets, Kobayashi Issa was also extremely prolific: during his lifetime he wrote ten times more poems than Bashō, who wrote “only” 2000 haiku.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

 

Deadline: 30th May 2018

Poem by Kobayashi Issa http://haikuguy.com/issa

Picture by Dibert Theron https://unsplash.com/@kudu
"

-sky opening-  Naviarhaiku229

what i hate most about hold music is the manipulative chirpiness and the repetition

i wanted it to retain that sense of easy listening, the classic elements of strings and gentle beats, but i also wanted a complexity there so that the closer you listen the more that's going on..

i had 2 beats going on using percumat 2, lots of variation and feedback.
a high frequency arpeggio with gradual rate changes and increasing randomization of notes (iris 2)
another iris 2 track for the strings with reverse delay and reverb
the iris2 tracks are controlled by a pretty random midi line going through a c minor harmonic scale module in live 8, there's some automation on the volumes too.

\
https://llllllll.co/t/disquiet-junto-project-0335-alone-time/
Disquiet Junto Project 0335: Alone Time
Record conference-call hold music — a private limbo of your own making.

Major thanks to Matt Pinto for having proposed this Junto project prompt.

Step 1: Hold music is a ubiquitous fact of modern life. Ask yourself what hold music you’d like to hear while waiting for someone to pick up the other end of the line, or while waiting for a conference call to begin.

Step 2: Record a short piece of hold music that satisfies the scenario you pondered in Step 1. Your finished track should be suitable for looping, since you never know how long you’re going to be on hold.

your current wait time is <x> minutes (disquiet0335)

percumat2 for the beat (thru podfarm)
randomized/humanized midi, cello samples thru iris2 and podfarm
shadows catching up with the rhythm
.
“Near the end of December 1924, Santoka, drunk and apparently intent on committing suicide, stood in the middle of some railroad tracks facing an oncoming train. The train screeched to a halt just in time, and Santoka was pulled out of the way. He was taken to a nearby Zen temple call Ho-on-ji. The head priest there, Gian Mochizuki Osho, did not reprimand or question Santoka; he didn’t even ask his name. The monk fed Santoka and told him he could stay at the temple as long as he wished.” (John Stevens, who translated Santoka’s collection Mountain Tasting)

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

 

Deadline: 13th June 2018

Poem by Santoka Taneda http://www.chzc.org/Nonin.htm

Picture by Adam Cybulski https://unsplash.com/@shymekcinco

shadow moves -Naviarhaiku231-

when i do a track i export the audio and delete the patch/tone etc. this means i can't go back and obsessively change stuff. so i dont really have anything unfinished.

i had live open though and un-finished my previous track by deleting the pad and just leaving the beat. then i had more filtering going on throughout (loop slippery, electronica 2)

it still sounds pretty finished to me coz of the tonal reverb elements 

questions for feedback:
is there any way of getting rid of that distortion at the start?
how would you fix the judder at the 3 minute mark?
what would you add to this given that the beat is quite dynamic/full?
.

Disquiet Junto Project 0336: Open Mic
Share a piece of music you’re working on in the interest of getting feedback.

Step 1: Choose a track/composition you’re working on that isn’t quite finished. Share the recording on the Lines forum at https://llllllll.co/t/disquiet-junto-project-0336-open-mic/14242

Step 2: When posting the track, mention that you’re looking for feedback, and if applicable specify some aspects of the recording you might want feedback on.

shadow follow dub [disquiet0336]

used some cello samples through iris 2 and lots of guitar fx
simple repeating 3 note midi but increasing randomization of the notes and scale changes so that it doesnt repeat
blurred into itself with paulstretch
.

https://llllllll.co/t/disquiet-junto-project-0337-through-composted/
Disquiet Junto Project 0337: Through-Composted
Create a piece of music that is through-composed, but built entirely from samples.

Step 1: This project involves the concept of through-composed music. If the term isn’t familiar, please read up. As a starting point, here is the definition from Collins Dictionary: “having a compositional structure that is not based on repeating sections of music; specif., of a song with stanzas having regular meter and rhyme but different music for each stanza.”

Step 2: Employ the concept of through-composed music in the creation of a short piece — and do so only using sampled material.

pressure release (disquiet0337)

trying to evoke a dragonfly shadow which i found hard but after i'd made this i went into the garden and saw the rare sight of a dragonfly which i mustve invoked!

arpeggiated classical samples, same midi as this weeks disquiet track
-|-

Masaoka Shiki is mostly known for having revitalized haiku in the time when,  after centuries of isolation, Japan opened to the West and was flooded with new ideas from abroad. You can find out more about Shiki and the artistic revolution that happened during his time in the essay “Masaoka Shiki and the Origins of Shasei“ by Charles Trumbull

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

 

Deadline: 20th June 2018

Poem by Masaoka Shiki https://terebess.hu/english/haiku/shiki.html

Picture by Gabriele Diwald https://unsplash.com/@gabrielediwald

dragonfly periphery (Naviarhaiku232)

had a play with this while watching the argentina game and it turned out well so here we go

what struck me in the gig was ikjoyce's fantastic keyboard work, audio obscura's blending of field recordings and subespai's use of presence and immediacy.

i wanted to combine these qualities into the piece (alongside my attempt to make something good with minimal effort!)
i pulled all the samples into iris2 demo and improvised, playing with the time / frequency selections in real time. a bit of reverb and paulstretch in post to iron out glitches..
,,,,

https://llllllll.co/t/disquiet-junto-project-0338-imaginary-quartet/
Disquiet Junto Project 0338: Imaginary Quartet
In collaboration with Naviar Haiku, make a four-person band from the provided four live solo recordings.


Step 1: First, major thanks to Neil Stringfellow (aka Audio Obscura) for proposing this collaboration between the Disquiet Junto and the Naviar Haiku series, and for the support of Naviar’s Marco Sebastiano Alessi. We’ll be making music based on segments of recordings by four musicians from the May 25, 2018, Naviar Haiku Fest. Get the four recordings here from the Zip file:

http://bit.ly/juntonaviar

Step 2: Having downloaded the four tracks (by Ikjoyce, Audio Obscura, Subsepai, and sevenism), listen to them. Each is a single minute from longer solo performances. Imagine how they might work together.

Step 3: Create a new track employing material from all four (and no other external sound sources, though processing is OK) that suggests the existence of a quartet performing live.

caged (disquiet0338)

https://www.ambientonline.org/forum/ambient/ao-challenges/88474-one-sample-dare-challenge-60

used the reverb tail of a halogen oven ding
did a simple midi file with randomization and arpeggio frequency increasing thorughout the track
vinyl wear and warp increasing too
podfarm fx: echo platter, sin chorus, stereo delay, reverb

microchasm

mirage created with izotope vinyl warp

..
The author of the week is Hannah Williams, a young poet, writer and blogger based in London. If you like this haiku, make sure you visit her website ihannahwilliams.com, which features her poetry, short stories and book reviews.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

 

Deadline: 27th June 2018

Poem by Hannah Williams https://ihannahwilliams.com

Picture by Martin Barák https://unsplash.com/@fotobarak

sevenism

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