More on this 467th weekly Disquiet Junto project, Toolbox Show & Tell (The Assignment: Share a tip for making music that you learned during the pandemic), at:

https://disquiet.com/0467/

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-0467-toolbox-show-tell/

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

Image associated with this project is by Peter de Gree, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

https://flic.kr/p/7wX2ZX

https://creativecommons.org/licenses/by-nc-sa/2.0/

Disquiet Junto Project 0467: Toolbox Show & Tell

Download hier

Hearken Beach

The colour of this song is blue, unblue.

Video: https://www.youtube.com/watch?v=g75nwr4o4mI

blue, unblue

Rejectic

The Assignment: Make music inspired by a line from A Wizard of Earthsea: “For a word to be spoken, there must be silence. Before, and after.”

Also on album "Hearken Beach".
https://krakenkraft.bandcamp.com/album/hearken-beach

Originally I just wanted to make five minutes of interchanching deep pad and noisy something, with a lot of non-silent space between them. I added some ambient field recordings in these spaces, because the name of the track was intended to be 'The Impossibility of Being Silent'.

But then my mi clouds produced some sounds of it's own and I liked it. At the end I had to reintroduce silence to all parts. All in all I hope this to be considered as a tentative approach to silence, with an increase towards the end.

--

More on this 451st weekly Disquiet Junto project, Ursula’s Silences (The Assignment: Make music inspired by a line from A Wizard of Earthsea), at:
https://disquiet.com/0451/

Project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0451-ursulas-silences/

Album: Hearken Beach

A Tentative Approach To Silence [disquiet0451]

# Credits

* *Exodus* movie dialog written by Dalton Trumbo (based on book by Leon Uris)
* "Real Rock" reggae riddim transcribed to MIDI by [Baroque Dub](http://baroquedub.co.uk/archive/)

---

More on this 467th weekly Disquiet Junto project, Toolbox Show & Tell (The Assignment: Share a tip for making music that you learned during the pandemic), at:

https://disquiet.com/0467/

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-0467-toolbox-show-tell/

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

Exodus - disquiet0467

"...let us not talk falsely now, the hour is getting late..."

Teach By The Lake was made with a multi-tracked Rogue lap steel into an Empress Reverb box on the green ghost; a thing I made in the iOS app Musyc run through the Empress Reverb also on the green ghost; a dialed down sub bass pattern; and a dialed down combination of three drum kit loops at 64 bpm.

More on this 467th weekly Disquiet Junto project, Toolbox Show & Tell (The Assignment: Share a tip for making music that you learned during the pandemic), at:  https://disquiet.com/0467/

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

Teach By The Lake (disquiet0467)

More on this 467th weekly Disquiet Junto project, Toolbox Show & Tell (The Assignment: Share a tip for making music that you learned during the pandemic), at:

https://disquiet.com/0467/

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-0467-toolbox-show-tell/

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

[ disquiet0467 ]_Multiplacitudes_[ disquiet0467 ]

My submission for
Disquiet Junto Project 0467: Toolbox Show & Tell
The Assignment: Share a tip for making music that you learned during the pandemic.

https://disquiet.com/0467/

My Christmas Carol - Instrumental Version (disquiet0467)

“The thing with analog circuits is they follow very simple, natural laws,” says synthesizer designer and builder Jessica Rylan, “just like breaking a tree branch, or like water, or even like birds flying in a V — they push and are pushed into that pattern because it’s the path of least resistance … like you turn on the power, it’s just following whatever the vibration would do. And the sound it produces is the exact same as the electricity producing it.”

There are many such nuggets to be found in Tara Rodgers’ excellent book Pink Noises, which compiles interviews with twenty-four women working in electronic music and sound art. Rodgers’ conversation with Rylan, coupled with pandemic isolation, inspired Suss Müsik to explore the craft of DIY synthesis and digital instrument hacking.

As a result, Suss Müsik’s toolbox is now teeming with circuit boards, jumper cables, soldering equipment, resistors / capacitors / inductors of all sizes, a kaleidoscope of LED lights, touch-sensitive / knob potentiometers, plastic casing of varying sizes, and a lifetime supply of 9-volt batteries. It’s great fun.

A key learning was that acoustic instruments create sound by moving air — a string is plucked, a drum is hit, a mouthpiece receives wind — while electronic instruments make sound by moving voltage. Nature is a rich ecosystem of patterns, and the ability to manipulate patterns of electrical current is the core of synthesized music. 

This short piece is an excerpt from a series of compositions played mostly with custom-built and hacked instruments. In this particular instance, you’ll hear an piezo-amplified kalimba, a homemade sawtooth oscillator, and a photo-sensitive harmonic generator played with a flashlight and touch-ring interface.

The cover image is by visual artist B.G. Madden.

More on this 467th weekly Disquiet Junto project, Toolbox Show & Tell (The Assignment: Share a tip for making music that you learned during the pandemic), at:

https://disquiet.com/0467/

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-0467-toolbox-show-tell/

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

SixOverEight [Disquiet0467]

Disquiet Junto Project 0467: Toolbox Show & Tell. The Assignment: Share a tip for making music that you learned during the pandemic.

80% of my music started on a cheap android DAW app called "Caustic". The sound is not perfect, but I like the workflow. Anyway, since 1 year or so I try to switch to Ableton Live. Because of the lockdown I had a lot of time to flatten the learning curve with this DAW.

My tip is about "Follow Action", to bee seen in the Clip Editor. Follow Action allows a clip to trigger other clips by probability, in the screen example of the track cover there is "play again" with prob 1, "play any other" with prob 2. The clip is one of of many clips which only contains some note on a scale or a chord.

Normally I somehow reject pure generative music, although I place a lot of value on chance in my own. It always seemed dishonorable to me to let a software (that I didn't write myself) generate music and claim this music to be "mine".

However, with "Follow Action" I have the possibility to achieve an (in my opinion) honorable mix of probabilities and composition.

In this case, there are different tracks with different signatures and different Gongs in A minor. I even added "empty" clips to get some "silence" into it. The probabilty for the different tracks differs, one could for example use one track to establish sequencial clip triggers, to include motives that are bigger than inside a bar.

(And please consider "honorable" a way to big word here…)

More on this 467th weekly Disquiet Junto project, Toolbox Show & Tell (The Assignment: Share a tip for making music that you learned during the pandemic), at:

https://disquiet.com/0467/

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-0467-toolbox-show-tell/

Generative Gongs [disquiet0467]

Thanks to https://soundcloud.com/peter-hostermann for Bangkok field recordings.

Tape Memory #3

Ambient electronica, Berlin School, Chillout & Kosmische Space Musik from Munich, Germany. ► Soundcloud is my musical diary - expect lightfooted drafts, soundchecks, playthings & misfits here. ► Go Bandcamp for finished pieces & more serious musical works.

Generative Gongs [disquiet0467]

Krakenkraft & Etherkraken