Like much of your music, this gives me the feel of some magical late-night drive.  Lovely.

a combination of electromagnetic recordings to generate the feedback for the assignment and some old field recordings of birds squabbling at local sheds, with occasional environmental noises and artifacts. 
both tracks had lots of noise i tried to use as texture
added various layers of fx
all mixed in ableton


More on this 590th weekly Disquiet Junto project, Concrète Roots (The Assignment: Make music combining field recordings and feedback), at: https://disquiet.com/0590/ 1

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-0590-concrete-roots/

Into Noise [disquiet0590]

This is an experimental track built from fieldrecordings using feedback. The creation was inspired by the Disquiet Junto Project 0590 (details see below).
Two fieldrecordings of a dishwasher made in parallel with dictaphones and a fieldrecording of a brook (https://freesound.org/people/RabMusicLab/sounds/653906/) were enhanced with gentle feedback. The track presented here was combined from these three recordings and their feedback versions.

More on this 590th weekly Disquiet Junto project, Concrète Roots (The Assignment: Make music combining field recordings and feedback), at: https://disquiet.com/0590/ 1

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-0590-concrete-roots/

Dishwasher And Brook (Disquiet0590)

[disquiet0590] It's Different

A constant C# bordone sets the mood, together with a foley noise that feeds back modulated by an envelope follower. A tonal pompous lump motive repeats itself many times as an exausted patriot in a world with no nations. IMHO there’s an overall feeling of tense obtuseness in this track that makes sense somehow, so I decided to submit it anyway. Thanks for listening ❤️

Made with NI Maschine+

More on this 590th weekly Disquiet Junto project, Concrète Roots (The Assignment: Make music combining field recordings and feedback), at: https://disquiet.com/0590/ 1

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-0590-concrete-roots/

Bacterial Proudness (disquiet0590)

Participation in the "Disquiet Junto" project led by Marc Weidenbaum: Concrète Roots.
The Assignment: Make music combining field recordings and feedback.
https://disquiet.com/0590/

The field recording: Cave1 
During a guided tour of the caves of Han sur Lesse in Belgium (8-4-2018).
https://soundcloud.com/gerard-paresys/cave1
This cave has a natural feedback.
The guide speaks in Flemish and French.
With a Pure Data patch (Based on Tom Erbe's "+delay~"):
https://github.com/gerardparesys/ARGOPd/tree/master/ExMM/ExMM193-+delay
The duration of the feedback is 5 seconds.
Edition with Audacity.

... with the sound of Eliane Radigue in mind.

-----------------------------------------------------------------------------------------

Participation au projet "Disquiet Junto" de Marc Weidenbaum: Racines concrètes.
Faire une musique qui combine enregistrement de terrain et rétroaction.
L'enregistrement de terrain : Cave1
Lors d'une visite guidée des grottes de Han sur Lesse en Belgique (8-4-2018).
https://soundcloud.com/gerard-paresys/cave1
Cette grotte a une rétroaction naturelle.
Le guide parle flamand et français.
Avec un patch Pure Data (basé sur "+delay~" de Tom Erbe) :
https://github.com/gerardparesys/ARGOPd/tree/master/ExMM/ExMM193-+delay
La durée du retard de la rétroaction est de 5 secondes.
Édition avec Audacity.

... en pensant au son d'Eliane Radigue.

-----------------------------------------------------------------------------------------

Project discussion takes place on llllllll.co: 
https://llllllll.co/t/disquiet-junto-project-0590-concrete-roots/

Cave - Disquiet0590

Disquiet Junto Project 0590: Concrète Roots
This track began with field recordings of traffic above and beneath a freeway bridge. The rhythm of cars and trucks passing overhead on Melbourne's Tullamarine Freeway and the corresponding underbridge echoes along with the birdlife and rush of the Moonee Ponds Creek made for a rich soundscape. These were mixed with some pitched Kilohearts resonators and filters in Ableton Live.

Under The Bridge [disquiet0590]

Join me for a trudge along bleak barren beautiful Dungeness foreshore, in the shadow of not one but two ageing nuclear power stations. 

I made this field recording recently while staying in a shack on the peninsula - I used VCV rack modules to generate the accompanying feedback-drenched  soundtrack to my walk. 

Disquiet Junto Project 0590: Concrète Roots
The Assignment: Make music combining field recordings and feedback

This project is the first of three that are being done in collaboration with the 2023 Musikfestival Bern, which will be held in Switzerland from September 6 through 10. The topic this year is « √ » — as the organization explains: “the radical, or square root symbol and the power of its symbolism are central to the festival and these will be translated into music in multifarious ways.” All three projects will engage with the work of Éliane Radigue, who is the Composer-in-Residence for the 2023 festival.

We are working at the invitation of Tobias Reber, an early Junto participant, who is in charge of the educational activities of the festival. This is the fifth year in a row that the Junto has collaborated with Musikfestival Bern.

Select recordings resulting from these three Disquiet Junto projects may be played and displayed throughout the festival.

Step 1: Consider two different techniques: field recordings and feedback.

Step 2: Combine field recordings and feedback in the development of an original track.

Foreshore Trudge Disquiet0590

The source recording is of birds playing in air bubbles made by a swimming pool filter. The recording is played through a feedback loop involving a phaser and a Serge Resonant EQ. I rerecorded this feedback loop multiple times, re-tuning the EQ on each iteration to create a shimmering resonance on the verge of oscillation.

Disquiet0590 Bubblegong

More on this 590th weekly Disquiet Junto project, Concrète Roots (The Assignment: Make music combining field recordings and feedback), at: https://disquiet.com/0590/

About the Disquiet Junto: https://disquiet.com/junto/

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0590-concrete-roots/

Rain Birds (disquiet0590)

Water Works Part 3 v2.0 Disquiet0590
Assignment: Make music combining field recordings and feedback

I have had an Ableton set filled with my field recordings of WATER in all its forms liquid, vapor(hard to record) , solid(ice) since 2010 with a plan to complete a record OF water. An homage to the magic stuff that makes us and makes our (formerly) garden planet. Finally 12 years later I am adapting the concept to the 40th anniversary IOS performance at Elastic Chicago on 11/4/23 on their Cleat 16 channel sound system. Full version will also be a Cd on Full Spectrum Records later this year.  Timely considering the state of the planet and our water resources. Life giving and a potentially very destructive force, perfect fodder for Illusion of Safety matter...
The sound sources are mountain river California, Pacific Ocean, thunder and rain outside my window in Schaumburg Il, underwater while scuba diving, walking on ice on my driveway, waterfall at Yellowstone, & a dripping sink These are the only sound sources, processed in ableton, and in this Part of the Suite collages/ cut and paste in the musique concrete style of Pierre Schaeffer begin the piece, sporadic use of feedback to complement the sounds and finally a bit more feedback overload and durational flow at the end.
I added 4 return tracks with reverbs, resonators, and a chopping effect, all with their own sends enabled to allow feedback as if in a matrix. I used the usual technique of drawing in envelopes and levels by hand. I used to beat myself up about not running automation by playing with knobs and pots in real time but have realized it is best to just draw the perfect automation and levels and tweak until its the way it needs to be. Critical of course in working with feedback, another favorite technique, so thanks again for the wonderful disquiet assignment bringing my love and use of field recording and feedback into play to move along this long overdue project into fruition.

For context, when posting the track online, please be sure to include this following information:
More on this 590th weekly Disquiet Junto project, Concrète Roots (The Assignment: Make music combining field recordings and feedback), at: https://disquiet.com/0590/ 2
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-0590-concrete-roots/

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