For this project I recorded around a dozen phrases with a Tambourine - and instrument I really don’t know how to play and integrate into a piece of music. I then live mixed several versions with eight of the recordings. Next I tried to add to this with synths, samples, recorded instruments. All of those versions were unlistenable madness. The way to a better track of course would have been to start over and record another percussion instrument or at least less dense phrases but I was to stubborn for this. So in the end I just uploaded one of the mixes - pristine tambourine madness, so to say.

More on this 612th weekly Disquiet Junto project, Drum Vector (The Assignment: Walk the listener through variations on the same percussive instrument), at: https://disquiet.com/0612/
Thanks to Mahlen Morris for having proposed this project.
About the Disquiet Junto: https://disquiet.com/junto/ 1
Subscribe to project announcements: https://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0612-drum-vector/

Disquiet0612 - Hey Mister

Why, why, little bird, so cheerfully sing,
When all things around look so sad?

DayDrone Disquiet0647

A field recording of my Sunday, mowing the yard...Zoom H5 placed at a midpoint with XY mics.  I wanted to capture the spacial effect of the lawn mower drone going back and forth.  

To this I experimented with my modular setup, as I have been wanting to modulate stereo effects with the Endorphines Milky Way.  

Singing through C&G's Kaleidoloop!

Fun drones...feels like a 4 min opening of a song I haven't written yet...

More on the 647th weekly Disquiet Junto project, Day Drone — The Assignment: Make some daylight drones for Drone Day — at https://disquiet.com/0647/

Mower In G Sharp (Disquiet Junto Project 0647)

This track symbolises the practice of tai chi and qigong to let the qi flow. Small, repeated movements help to focus on the flow.

This track was inspired by this week's Disquiet Junto project:
More on the 648th weekly Disquiet Junto project, Shadow Boxing — The Assignment: Employ shadow boxing as a musical metaphor — at https://disquiet.com/0648/

Flow Of Qi  (Disquiet0648)

This was my contribution for Disquiet Junto Project 0648: Shadow Boxing
Here’s a copy of my post on the Disquiet Junto 0648 discussion thread on Lines:
I studied martial arts – judo, tae kwon do, karate – when I was young. One exercise common in those practices that's similar to shadow boxing is the "kata", a Japanese word that means "form" or "way of doing". Where shadow boxing is more freeform, the kata is a choreographed pattern of martial arts movements practiced solo or with a partner. Kata can also be applied to skills used in daily living or work. I tried to interpret the flow of a kata here through music.

Used the Fors Tela modal synthesizer plugin on four tracks in Ableton Live. I started with a tanpura like drone track using the Max for Live Tombola sequencer, which is similar to the one in the OP-1. The main melody was created with a violin-like Tela preset using a K-Board keyboard. Along with the effects within the Fors plugin, I used Valhalla Shimmer and Phonolyth Cascade reverbs, and Output Portal.

More on the 648th weekly Disquiet Junto project, Shadow Boxing — The Assignment: Employ shadow boxing as a musical metaphor — at https://disquiet.com/0648/

Drifting Shadows Kata [disquiet0648]

The theme of shadowboxing took me a while to figure out, sonically speaking but the more I thought about it, the more I came to realize that there was a lot of potential here for interesting explorations. That said, by the time I did figure it out, time was short so I only had time to do a brief sketch where I had two of the clones in my studio (the 2600 and the PolyD) duke it out with parallel variations of a C minor chord. The 2600 tended to have a more aggressive and bass heavy stance, where as the PolyD's output was somewhat diminutive, except when the filter was turned up. My approach was simple: play a short riff on one clone and have the other repeat it, with the idea being a kind of shadow boxing, call and response type of interaction between the two. Multiple versions of reverb and spacial effects where then employed to further play with the back and forth motion.

disquiet0648 "battle of the clones"

Knock, knock, knock – making up personal pictures is a steady inner dialogue. Wether wrong or right pictures come up – the studied movements reminds me of a well trained shadowboxer.

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More on the 648th weekly Disquiet Junto project, Shadow Boxing — The Assignment: Employ shadow boxing as a musical metaphor — at https://disquiet.com/0648/

punching pictures (disquiet 0648)

Harmony Bloom generating a sequence into Baby Audio Atoms, with a delayed fuzz send.
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More on the 648th weekly Disquiet Junto project, Shadow Boxing — The Assignment: Employ shadow boxing as a musical metaphor — at https://disquiet.com/0648/

punch drunk (disquiet0648)

More on the 654th weekly Disquiet Junto project, Just Notation — The Assignment: Interpret a graphic score by Franziska Baumann — at https://disquiet.com/0654/

The purpose of a musical score to me is a live performance of a piece of music which might or might not be recorded. Thinking about the graphic score vs. traditional sheet music I came to the conclusion that it must contain additional information specific to a certain instrument like timbre or knob movements or the like. So I tried to perform the piece with different instruments, Flute, Clarinet and Synths.

In the end I decided the piece was a trio for Korg NTS-1. The three voices can be identified by different colors and note sizes in the score. The notes are all Ds but on different octaves. Lines and textures give hints about knob movements and density.

Disquiet0654 - 8_PO

Graphic scores can be so beautiful as graphics, and also, sometimes, so very evocative as scores. I agree with the idea mentioned by @XHG that the main use of a score of any type is to allow music players to perform what the composer was imagining. In the case of a graphic score the directions are more ambiguous than a traditionally notated score. Thus we have all the beautiful interpretations submitted for this Junto, so varied, yet all inspired in some way by the same beautiful score by Franziska Baumann.

I don't know how to read western notation, and I can't play the piano, but I tried to perform the piece I imagined based on this score live with a grand piano patch from Roli's Equator while sending into FX in my modular which I tweaked to produce the echoes and scratchy fills which were responding to the pitches and levels of the performance in real time. I also used some plug-ins to shape the sound in Pro Tools. Modular FX included resonance, filters, PLL, modulators, delays. Pro Tools plug-ins included EQ, dynamics, tremolo, delay, and mastering tools.

So, after practicing and a lot of parameter tweaking, I recorded an improvisation of 35 short performance bursts, trying to capture the clusters of kinetic energy in the score, along with its layers and ambiguities and interconnections.

In the end I felt I needed to tighten up the spaces between the clusters after recording. Then quick mastering, and here you are..

Thanks to Mark, Tobias, and Franziska!

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More on the 654th weekly Disquiet Junto project, Just Notation — The Assignment: Interpret a graphic score by Franziska Baumann — at https://disquiet.com/0654/ 2

The cover image for this project is a detail of a graphic score, titled True Glimpses 1, by Franziska Baumann, used with her permission and the support of Musikfestival Bern. More on Baumann at franziskabaumann.ch 7.

Just Glimpses zoundsabar disquiet0654

This was my contribution for Disquiet Junto Project 0654: Just Notation. 
Here’s a copy of my post on the Disquiet Junto 0654 discussion thread on Lines:
In studying the graphic score "True Glimpses 1" by Franziska Baumann, the abstract notations reminded me of the random generative sounds that can be created using a Krell Patch on a modular synthesizer. In this piece, I used a version of the patch on a semi-modular Make Noise Easel – 0-Coast, 0-Ctrl and Strega. The audio was recorded to Ableton Live where I added reverb from Valhalla Supermassive. An additional track was added via MIDI keyboard using the Fors Tela plugin. Used Supermassive again as well as Aberrant DSP Lair "occult reverberator" for effects on that track. In studying the graphic score "True Glimpses 1" by Franziska Baumann, the abstract notations reminded me of the random generative sounds that can be created using a Krell Patch on a modular synthesizer. In this piece, I used a version of the patch on a semi-modular Make Noise Easel – 0-Coast, 0-Ctrl and Strega. The audio was recorded to Ableton Live where I added reverb from Valhalla Supermassive. An additional track was added via MIDI keyboard using the Fors Tela plugin. Used Supermassive again as well as Aberrant DSP Lair "occult reverberator" for effects on that track. Sun photo by Alexey Demidov via Pexels.

More on the 654th weekly Disquiet Junto project, Just Notation — The Assignment: Interpret a graphic score by Franziska Baumann — at https://disquiet.com/0654/ 2
The cover image for this project is a detail of a graphic score, titled True Glimpses 1, by Franziska Baumann, used with her permission and the support of Musikfestival Bern. More on Baumann at franziskabaumann.ch 7.

Disquiet0612 - Hey Mister

xhg

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