Tag Archives: sound art


[dispatch] cone of confusion 030516.1156

March 05, 2016 at 11:56AM
via IFTTT


[a few words on] Tuonela: Blue Mountain Ice Reflections

Tuonela (soundcloud, bandcamp), a sound artist and self-described “primitive musician” out of Katoomba, Australia makes sounds using “very basic software.” With no synthesizers and “no idea how Ableton works,” he produces and processes wonderful sounds, and for someone so prolific, his work still exhibits no sameness, jumping across modes and always somehow making the “epic” look, well, effortless. At the same time, Tuonela has a singular style, one that offers transcendence and earthiness all at once.

Tuonela created and yesterday alerted me to the remix posted above of my January 2015 Disquiet Junto ice challenge contribution, and as expected, he found hidden spaces and mysteries and narrative in my track that I never thought existed.

We connected a couple years ago through the Disquiet Junto, from whence have come many of my most interesting musical nodes these days. The sheer volume and unwavering quality of his output have become welcome additions to my feed. I can’t keep up, but that’s ok, because fate has intervened often enough to create a bond. Early on in our interactions, Tuonela’s heartfelt enthusiasm for my stock-and-trade rock ‘n roll was a catalyst for me to continue experimenting with the challenges in the Junto and exploring my nascent fluxus-driven ambitions.

No doubt his eschewing of Abelton and, for that matter, most of the emerging tools of sampling-era electronica, contribute to the accessibility of his work (at least to this 20th century relic author). Make no mistake, this is digital art, but of the type that peels itself back to reveal some of the human hand. No algorithms (or any number of monkeys at typewriters) left to their own devices would take us on his journeys or arrive us at his destinations.

Tuonela less writes “songs” and more creates “landscapes.” Valley Suite, a July 2014 release “sonically inspired by the majesty and mystery” of his Katoomba, Australia home and the surrounding Blue Mountain Range, is ancestral, modern, celebratory, cerebral and expansive all at once. The closing track, Megalong Morning, is 15-minutes of restrained and meditative drone, a wonderful reflection of the peace found at the summit of a rock climb, perhaps, or that sense of awe at the edge of your own land’s Grand Canyon:

The Valley Suite record falls in with my own predilection for Tuonela’s quieter side. His contribution to the Junto’s sonicvoid challenge to soundtrack a silent film was a highlight for me in that collection of contributions:

And the titles of his tracks are their own font of inspiration.

In any event, check out Tuonela here:
soundcloud
bandcamp


for whom the ice tolls [disquiet0157-icemusic2015]

PROJECT
Please record the sound of an ice cube rattling in a glass, and make something of it.

PROCESS
My 54th Junto contribution is my first stab at the ice challenge.
Dropped ice into a brandy sniffer.
Recorded into Samplr for iPad then sliced and diced with Samplr’s onboard effects and my guitar pedal board.
The ringing of the glass after the ice hit, pitched down a couple octaves and slowed, provided a distant church bell effect.
The drone bed was the same ringing granulated through an EHX Superego pedal and fed through Earthquaker Devices Afterneath and Strymon blueSky reverbs.
Added more reverb, as well as amplitude modulation in the DAW (Sony Acid Pro 7.0).

There are 12 “chimes” of the bell. Noon or midnight – it’s up to you to decide…

:^D

RIG
brandy sniffer, ice cubes (medium sized, automatic ice maker), Samplr for iPad, Earthquaker Devices “The Warden” compressor, tc electronic flashback delay, EHX Superego Synth engine (send/receive: EHX POG2 + EQD Arpanoid), EQD Afterneath delay/reverb, Strymon blueSky reverberator, Line6 POD-XT (tube pre-amp emulator setting), MOTU 828 mk2, Sony Acid Pro 7.0

META
More on this 157th Disquiet Junto project — “Record the sound of ice in a glass and make something of it.”

More on the Disquiet Junto

Join the Disquiet Junto

Disquiet Junto general discussion


132 Frets [disquiet0147-slightnoise]

PROCESS
Every frettable note (incl. harmonics) on Jolie (my Gibson ES-335 DOT reissue), granulated and held through an Electro-Harmonix SuperEgo synth engine and then fleshed with infinite feedback through a TC Electronic Flashback tape delay. Both pickups were active and thrown out of phase to broaden the aural spectrum.

PROJECT

Step 1: Record 8 seconds of white noise in your own personal style.

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

Your finished work should be 8 seconds long.

———————————-
More on this 147th Disquiet Junto project — “Record 8 seconds of white noise in your own personal style″

More on the Disquiet Junto

Join the Disquiet Junto

Disquiet Junto general discussion


manhattan bridge [henry chalfant] train

manhattan bridge train [disquiet0011] [off still echoes (2013) and a disquiet junto project] runs underneath a look at the Pera Museum’s (Istanbul, Turkey) “Language Of The Wall” exhibition of photographs by Henry Chalfant of New York City subway car graffiti and street-art.

A perfect ride for my track.

Published on Sep 22, 2014
Language of the Wall: Graffiti / Street Art
13 August – 5 October 2014

Duvarların Dili: Graffiti / Sokak Sanatı
13 Ağustos – 5 Ekim 2014

Muzik | Music:
Manhattan Bridge Train [disquiet0011]
Westy Reflector, 2013

www.henrychalfant.com
www.peramuzesi.org.tr


Truth Is A Lonely Place (Lee Rosevere Remix) [disquiet0138]

Collaboration with Lee Rosevere, wonderful (and prolific) Canadian producer and musician.
leerosevere.bandcamp.com
happypuppyrecords.ca

Lee’s liner notes:

When this project was launched, I emailed my online buddy Westy Reflector @thereflectors to see if he’d be up for a collaboration and I was thrilled he agreed. I’ve wanted to do a big huge ambient landscape with his glorious guitar tracks and this seemed like a perfect opportunity.

He wrote an original song and sent me the stems (guitar, drone, drums) and you can hear his original version here:
Thereflectors – Truth-is-a-lonely-place

I added lots of reverb (as I love reverb) and piano pads and bass in Ableton Live to his original unedited guitar tracks.

I then mixed a second version, using only an excerpt from his original guitar track and looped it over the newly-created background – this is the version here, which seems to work best when sync’d to the video (vimeo.com/21678371)

It also fits in the sense that Josh Azzarella’s work largely deals with taking an image and “altering or removing the punctual event in the image.” (www.joshazzarella.com/about/)

Huge thanks to Westy for wanting to work on this together, as he could’ve (and did) come up with something excellent completely on his own and didn’t need me at all to drench it in reverb… but it was a great experience and I’m greatly looking forward to the next opportunity.

****

——————————————————-
More on this 138th Disquiet Junto project — “Compose a 2.5-minute soundtrack to complement a work of silent video art″ — at:
disquiet.com/2014/08/21/disquie…38-videosonicvoid/

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

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

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

The image associated with this track is a still from the video that inspired it: “Untitled #8, 2004″ by Josh Azzarella.


[a few words on] the disquiet.com junto

I started creating tracks for the Disquiet.com Junto in January 2012 upon the group’s founding by Marc Weidenbaum, a San Francisco music, technology and culture writer. A former editor of Tower RecordsPulse! magazine, he has written for Nature, Boing Boing, and The Atlantic online, and he also lectures on the role of sound in the media landscape. Marc is most recently the author of the 33 1/3 book on Aphex Twin’s album Selected Ambient Works Volume II and since 1996, he runs the website Disquiet.com about the intersection of sound, art, and technology.

The Disquiet Junto is an online music community in which members respond to weekly composition prompts posted every Thursday devised and designed by Marc. Participants have just over four days to complete each project. As of this writing, ~460 musicians and sound artists from all over the world have joined in, creating over 3300 tracks that have been uploaded and shared via soundcloud.com. The playlist above has my contributions, and updates in real time with the most recent (an playlist unstuck from time in a post about Disquiet seemed appropriate).

Participation in the Junto for members is not compulsory, and artists jump in and out at will. The Junto makes it ok to take tremendous risks with creativity, though, so many of us keep coming back for more. As of this post, I’ve done ~50 of the 135 challenges, and a few of the resulting tracks ended up on my last two records, which are released under Creative Commons currently at Bandcamp and the Free Music Archive.

I followed Marc’s writing and blog for years. As a rock and pop songwriter, I was an outlier for the Junto, but always aspire to abstraction and harbor fascination with electronic music and sound manipulation. So after his initial call, I listened from the sidelines for few challenges, then conjured the courage to create a track.

Avant-garde and abstract expression are often low-hanging fruit for ridicule, tossed off as the butt of jokes while dismissed as misplaced fealty to impracticality. Explaining the Junto is not always easy. A couple people – people who should know better – have said “it sounds like a cult,” after I entreated them to check it out.

I told the last one, “Never mistake something cult for a cult. Anyway, what happened? You used to be so cool.”

:^D

The Junto reminds me that in writing music and “songs,” I also create sound(s). These sounds have texture and personality and interact in mathematical and metaphysical ways. I am way more aware of my compositional process now, and every week I mine Junto tracks for technique and marvel at the output. Even when not able or capable to participate in a given challenge, the assignments themselves are enough to spark lanterns otherwise unlit. I’ve also found friends. It’s made the internet not such a cold, commercial place.

Just when you think you couldn’t grow…


This video of Marc speaking in April 2014 at the SETI institute about the Junto is a definitive explanation of its intent and impact:


[a few words on] Bassling’s Visceral Frequencies



Australian multi-instrumentalist Bassling (née,Jason Richardson) describes himself as “exploring the nether regions of the frequency spectrum and delighting in their visceral response.” Well, his nether regions are our visceral pleasure, too. Through the years, he’s cast a wide and adroit musical net, moving with ease from slash-and-burn low-frequency smolder, to anti-slash-and-burn environmental activist field recordings, to flash-and-turn dance mixes. These modes, in BasslingWorld, interchange and interact, often balancing high-concept and poignancy, as on his record For 100 Years (above), created from a series of field recordings at playgrounds around his Oz town of Wagga Wagga (Leeton). Liner notes vía bandcamp:

Imagine the stories they could tell
if playgrounds talked
or maybe sang?

He remixed my track riding waves [disquiet0066-nonofi] for the 132nd junto challenge, which prompted this deep return to his catalog.

His virtuosity combined with entertaining, revelatory track descriptions at his blog (which take a tone of charming irascibility and often include kick-ass videos of his recording process) have resulted in some of my absolute fav junto pieces. His track for the 110th junto challenge, Of Leeton Yesterday Morn, sees Bassling celebrating the 100th birthday of William S. Burroughs in a “cut-up” track based on this story from his local newspaper, The Irrigator, about a series of botched break-ins:

And in Steady Boil, for the 131st junto challenge, Bassling conducted a tea kettle in a minimalist symphony that manages to be philosophical, mechanical and fun all at once:


Run around his cunning-as-a-dunny-rat universe at:
bassling
soundcloud
bandcamp
twitter

Audio

[a few words on] shreddergost: thicket

shredderghost is a delaware ambient / noise / post rock / thoroughly modern music maker whom i met via the disquiet junto. he revels in cassette manipulation is never afraid to defy the laws of guitar pedal placement.

his tracks play in all types of guises. “thicket” off his 2013 record “strange growth” sits in my listening wheelhouse as one of his, well, softer efforts, full of dream-laden reverse guitar lines on a bed of gravity-free floatation. check out his latest (and way more provocative) work, too, at the links below.

shredderghost: 
http://soundcloud.com/shredderghost

http://shredderghost.bandcamp.com


o(men)s [disquiet0097-page99remix]

PROCESS

Currently (re)reading:
The Alchemist by Paolo Coehlo
Illustrated Edition, Paintings by Moebius

First 80 characters on page 99:
“Can’t you just observe men and omens in order to understand the language?” the

There’s a heaviness to Coehlo’s fable that this treatment revealed. I first read it in ’93, when it was first published in English. I was re-reading it this past couple weeks on the realization it had been 20 years since that initial reading. Then, this Junto assignment hit and here we are.

Drew the notes into a MIDI track in ACID.
Arranged in 4/4 time over 20 measures. Was going to do 99 bpm but it moved a bit too fast, so it settled back around 93 bpm.
Processed the track through the Tapeworm VST soft-synth by Tweakbench, which is meant to simulate a Mellotron.
Amped up the decay and sustain on the synth’s “strings 2” virtual “tape bank.”
Added royalty-free rhythm and oscillation samples hanging out in a loops folder.
Ran the whole thing through ACID’s on-board cathedral reverb.

| {beat} B A Bb | {beat} E {rest} A | B F {rest} F# | F Eb E {rest} |

| B Bb Eb Db | D F# Db {rest} | A Db Bb {rest} | A Bb C {rest} |

| B A Db Bb | Eb {rest} F Bb | {rest} B D C | Db D {rest} E |

B {rest} F Bb | C Db D Eb | E A Bb C | {rest} E E Db |

| {rest} Ab A Bb | Eb F A Eb | Db D {beat} {rest} | E E Db {rest} |

—————————————————————————————

More on this 97th Disquiet Junto project, in which music is decoded from a phrase in a book, at:
disquiet.com/2013/11/07/disquiet0097-page99remix/

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/


faucet fripp festival [disquiet0075-vinesuite]

PROCESS:
Sounds + Visuals:

1. vine.co/v/bLELKHq7xmL
Kitchen faucet, full throttle cold water, moved across drain.

2. vine.co/v/bLJPD9wbOWO
Robert Fripp “Easter Sunday” SoundPage (from Guitar Player Magazine, Jan 1986), alternated with Karl Johnson cut-paper silhouette of my wife, Cat, with me drone-humming.

3: vine.co/v/bLjLW52PtAw
Sunset view over perched dog, Sterling, out my front apt window, Brooklyn LGBT Pride Parade/Festival one-half block away on 5th Avenue.

PROJECT:
For this project, you will create three six-second Vine videos, for a total of 18 seconds, resulting in a Vine suite. Each movement will be based on a specified sound source and a specified approach to the stop-and-start edits.

Step 1:
The audio-video source for the first movement is water running steadily from a faucet.
Step 2:
Start with an image of something that rotates and makes sound — a bicycle wheel may be your best bet — and alternate with an image of something static, like a picture of a face in a comic strip, while you make a low droning noise with your voice.
Step 3:
The audio-video source for the third movement is whatever is going on outside a window. Divide the track up into six even sections. The first section should be a wide view out your window. The five subsequent sections should try to focus the center of the camera on one object. The sound is whatever happens to be going on outside your window.

More on this 75th Disquiet Junto project, in which a three-part audio-video suite is created in the app Vine, at:
disquiet.com/2013/06/06/disquiet0075-vinesuite/

More on the Vine app at:
vine.co/

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/


chime. rinse. repeat. [disquiet0072-domesticscore]

PROCESS:
Recorded my doorbell and washing machine. Since the washing machine is smack in the middle of our apartment’s hallway, there is no escaping its swishing and whirring while it runs. It’s not necessarily an “intrusion,” because I feel luckier than lucky to have a washer and dryer in my apartment, but it is loud and there can be no vocal tracking in my home studio when there’s a load of wash to do.

Recorded both directly into NanoStudio on the iPhone. Turned the washing machine into a 12-bar loop, added a bit of delay to the door chime and chopped the chime in two so I could use both halves of the chime separately. Beatmapped the washing machine to 72.8 bpm and then overdubbed the samples live through NanoStudio into Acid through a MOTU 828mk2.

PROJECT:
Disquiet Junto Project 0072: Domestic Score

This week’s project is based on field recordings of wherever it is that you live. The goal is to produce a relaxing score to your domestic life by employing noises that intrude on that life.

Step 1: Make a recording of your doorbell, or whatever noise it is that someone would make when announcing their arrival at your residence. If you don’t have a functioning doorbell, then, for example, record the sound of a knock on your door.

Step 2: Record between one and three additional sounds that intrude on your life: your phone’s ring, perhaps, or the alarm on your microwave oven.

Step 3: You will now have between one and four sounds recorded. Using those sounds as source material, compose a new, original piece of music that could easily be described as gentle or meditative. You can transform them as much as you choose, but each should in some way still be evident and recognizable in the mix. You cannot add any other sounds to the project.

More on this 72nd Disquiet Junto project, which involves making a domestic score from sounds recorded in your own home, at:
disquiet.com/2013/05/16/disquie…072-domesticscore/

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/


little filters / wrong impressions [disquiet0057-phonemetransmit]

PROCESS:

Samples stretched, pitch preserved, with noise, harmonic and/or binaural processing. These went into the DAW and were combined with the original recording snippets in various ways. Further effects included delay, resonance, vibrato, distortion, EQ and amplitude modulation.

12 words. 12 tracks. Three 48-second parts.

Anger | Vulnerability | Elation

Title taken from “Words” by Missing Persons:

“What little filters through is giving you the wrong impression
It’s a sorry state I say to myself…”

Rig: Samples (see link below), Paulstretch for Windows (stand-alone software), Ibanez DMD2000 Digital Delay, Line6 POD-XT, MOTU 828mk-ii, Sony Acid DAW

PROJECT:

The 57th disquiet.com Junto project was a shared-sample project. It focused on language and emotion. We were provided with three audio recordings from the Phonetics Lab Archive at UCLA. As the lab’s webpage (at archive.phonetics.ucla.edu) explains, “The materials on this site comprise audio recordings illustrating phonetic structures from over 200 languages.”

Samples from the languages Buryat, Navajo, and Zulu were the source material for the project:
1. archive.phonetics.ucla.edu/Language/BX…1991_01.mp3
2. archive.phonetics.ucla.edu/Language/NA…1993_03.mp3
3. archive.phonetics.ucla.edu/Language/ZU…1982_01.mp3

Four words from each of these mp3s were selected for a total of 12 words. Through cut and paste, we constructed new sentences. These nonsense sentences served as the a cappella vocal of a new song. All literal meaning was lost in the process, with the intention that all that is left are emotions.

The track is three parts, each of equal length. The first part should sound “angry.” The second part should sound “very silent, vulnerable.” The third part should sound “happy, exultant.”

———————–

This project was developed for the Disquiet Junto by Michel Banabila.
banabila.com.

The source audio is from the UCLA Phonetics Lab Archive archive.phonetics.ucla.edu.

More on this #57th Disquiet Junto project at:
disquiet.com/2013/01/31/disquie…57-phonemetransmit

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/info


Cassette Kirtan [disquiet0049-deckduet]

PROCESS:

Contact mic’ed a microcassette recorder (my only current working tape deck). Measured 86.48 BPM using the manual tempo tap on a Line6 POD-XT. Meditated over the lulling beat with a guitar. Pickups were thrown out-of-phase and then the guitar signal was sent through delay, auto-swell and phaser. There’s also a Paulstretched A-chord strum (24x) behind the track.

Dedicated to all my (patient) ashtanga teachers through the years.

Rig: Olympus Pearlcorder S950 Microcassette Recorder, K&K Electric contact mics, Jolie (custom Gibson ES-335 Dot Reissue), Paulstretch (Windows standalone), Ibanez DMD2000 Digital Delay, Line6 POD-XT (phaser, auto-swell and “analog” delay), djembe loops, tamborine

PROJECT:
Step 1: Record the sound of your tape deck in play mode. Make note of the rhythm inherent in your tape deck: at what BPM does it progress?

Step 2: Create a short new piece of music — simple, atmospheric, lightly rhythmic — that has the same BPM as the tape deck.

Step 3: Make a recording that combines your new piece of music and the sound of the tape cassette deck at close to equal volume. Almost certainly, the rhythm of the deck and the rhythm of your composition won’t match up exactly. (You can accomplish this in one of two ways. You can simply combine the two recordings into one — or, more complexly, you can record your track to a cassette and play it back on your deck, in order to record the music and the deck simultaneously; adjusting the volume in this scenario will be complicated, but the rhythmic discrepancies might end up with more nuance.)

—————————————————————————–

More on this 49th Disquiet Junto project at:
disquiet.com/2012/12/06/disquiet0049-deckduet/

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/info/


Stand Up, Sherlock [disquiet0045-sherlocksawyer]

Dance break!

Kinda off my beaten path, so have a laugh with me on it. Did not use a guitar this time (honoring a promise to @all-n4tural).

PROCESS:
Sentence 1 (from Tom Sawyer):
“I dare you to step over that and I’ll lick you ’til you can’t stand up.”

Sentence 2 (from Sherlock Holmes):
“A shadow of a doubt as to my conduct would bring the matter to an end.”

Resulting Sentence:
“I a-dare you to step over that wood [sic] shadow, and I’ll lick you ’til you can’t stand my conduct up, as to bring the matter of a doubt to an end.”

Linguistic license was taken with the word “would” to use it as its homonym “wood.” Then I collected a bunch of drum, bass, elec piano, turntable & synth loops hanging out in my “Drive H:” and kitchen-sinked them.

PROJECT:
First, select one sentence from two different pre-existing spoken sources and combine them in any manner you wish into one sentence, using the entirety of both sentences.

Second, add an underlying sonic bed — a musical score — to lend dramatic tension to the newly created sentence.

———————————-

The source audio for this project is the public domain LibriVox recordings of Arthur Conan Doyle’s The Adventures of Sherlock Holmes and Mark Twain’s The Adventures of Tom Sawyer.

archive.org/details/adventures_holmes ;
archive.org/details/tom_sawyer_librivox ;

More on this 45th Disquiet Junto project at:
disquiet.com/2012/11/08/disquie…45-sherlocksawyer/

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/info


crystalline sky grace [disquiet0044-sandy2012]

Still a bit shellshocked here in Brooklyn, NYC. While wrestling with a few other concepts in the last couple days, Amazing Grace kept floating in the air. I believe in forces greater than myself, but I am not religious so much as spiritual. That is, I don’t believe these forces around us act with intention. Sandy didn’t “do” anything to us. She becomes, however, like every disaster, man-made or otherwise, an unwitting catalyst of grace, a measure of everything we “do” for ourselves and each other. The sky was so blue today. Crystalline.

Guitar: Jolie (cherry-red Gibson ES-335)
Amp Modeling: Line-6 POD-XT (setting: “Insane,” described as a “Dual Rectifier on 10 being used as a preamp for a Soldano.”)
Pedal: Ibanez Screamer
Software: Sony Acid 7.0, Paulstretch for Windows, Audacity for Mac

All sounds other than the guitar were derived from the shared recordings by Michael Raphael detailed below (fuzz distortion and Paulstretch harmonics were the key ingredients).

PROJECT:
Create an original track that makes a transition from stormy to placid over the course of its duration. Your track should open fiercely and then slowly give way to calm. You can use additional instruments of your choosing, but the original field recordings should serve as source material both for the stormy and for the placid portions of your track. In other words: the calm part of the track should be built in large part from audio of the storm.

———————————

The source audio from the 2012 storm Sandy was documented by Michael Raphael, an SFX recordist who maintains the field recording blog Fieldsepulchra at sepulchra.com/blog. His sound effects can be found at Rabbit Ears Audio:
rabbitearsaudio.com.

More on this 44th Disquiet Junto project at:
disquiet.com/2012/11/01/disquiet0044-sandy2012/

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/info


kamikuma: remixes of The Know It Alls

kamikuma (natalia kamia), one my fav soundclouders, hails from Gothenburg, Sweden. “anything can be translated” says her profile, but let the mystery be for while and just absorb her work. she creates space within and around her sounds, which is a high calling, and results often in tracks that are as exhilarating as they can be challenging. she surprised me with remixes using my field recording of the bloomingdale’s flagship store on 59th street and lexington avenue in manhattan. the original field recording follows her notes below.

KAMIKUMA’S NOTES ON CASH IN THE POCKET:

Collage Westly-Reflector, The Know It Alls At Bloomingdales/DEADWOOD, Big Sizes Only,samples. Mechanic beats made of samples from Westy-Reflector’s track and Post by Lem Hertihy, cut up and sped up. All the sources in disquiet 0037 As Real As It Gets.

Cut and paste, loops.

More on this 43rd Disquiet Junto project at:
disquiet.com/2012/10/25/disquie…43-dazzledmachine/

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/info/

This Disquiet Junto project was done in association with the exhibit As Real as It Gets, organized by Rob Walker at the gallery Apex Art in Manhattan (November 15 – December 22, 2012):
apexart.org/exhibitions/walker.php/

KAMIKUMA’S NOTES ON WINDOWSHOPPER:

Contemplating the machinery at a distance with a fascination of a voyeur.

I made two tracks – the first one is a hiphoplike cut and paste.This one is employing the natural groove of Zedkah’s track, with a mechanic beat at a low volume and panned away. It is more like a shopping reverie.

Sources: Zedkah, Penguins, Sweets, Fish, Trousers 0038; SIGHUP, Cashiers, Loblaw St. Clair…0037 (sample), collage Westy-Reflector, The Know It Alls…/DEADWOOD,Big Sizes Only-0037; mechanic beat made of cut up/sped up samples from Lem Hertihy, Post and Westy Reflector, The Know It Alls…0037.

More on this 43rd Disquiet Junto project at:
disquiet.com/2012/10/25/disquie…43-dazzledmachine/

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/info/

This Disquiet Junto project was done in association with the exhibit As Real as It Gets, organized by Rob Walker at the gallery Apex Art in Manhattan (November 15 – December 22, 2012):
apexart.org/exhibitions/walker.php/ ;


needle chase [disquiet0033-turntable]

was very intimidated by this week’s assignment. the turntable is really the only piece of audio playback equipment that gets standing ovations when rolled on stage. fake djs spin records where real djs play a turntable…

got on a giorgio moroder kick this weekend and borrowed the bassline and tempo from “chase” off the midnight express soundtrack. all tones for the bassline, melody and mid-section carnival calliope were extracted as harmonics from spinning turntable-felt samples at actual speeds in paulstretch. there’s a little added flange, compression and reverb. the rest is just kismet on the timeline.

sounds:
spinning felt of turntable: 33, 45 and 78 rpms (contact mic rested on felt)
tapping on plastic turntable cover (contact mic)
needle touched with finger then placed and rested next to spinning platter of turntable (rca output into motu)

rig:
numark pt-01 usb portable turntable, k&k electric contact mics, sony acid 7.0, line 6 pod xt, motu 828 mk2, paulstretch (windows)

project:
This week’s project is the Disquiet Junto’s 33rd, and since the number 33 (or, more specifically, the number 33 1/3) is so closely tied with the LP turntable, that device will be the primary object of investigation.

You will make an original piece of music in which all the sounds are derived from a turntable — only from the turntable itself, which means you can’t put any vinyl on it. You can knock on the turntable, blow on the needle, record the sound of its internal mechanisms, whatever you like. You can also transform those sounds as you please, but you cannot include any additional sounds.

More on the 33rd Disquiet Junto project at:
disquiet.com/2012/08/16/disquiet0033-turntable/ ;

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/info


dronewater falls [disquiet0029-countzero]

Project:

This week’s project is inspired by an aside that occurs at the opening of chapter 17 of William Gibson’s classic cyberpunk novel Count Zero, originally published in 1986.

Process:

I returned to the Prospect Park, Brooklyn, waterfall (pictured, with Sterling) that I used for the prior junto challenge of remixing Lee Rosevere (Thereflectors – Waterfall-love) and made a new recording with the garageband app on my iPhone. That recording was eq’ed and compressed and runs uncut under the track. After Sony’s Acid beatmapped most of the track’s “measures” at ~99bpm with its mysterious one-button algorithmic analysis, I extracted 8 bars with a very subtle knocking sound, the result of a unicyclist (I kid you not) riding over loose slats on a wooden bridge running over the falls. This was looped continuously through the piece as a quiet insistent beat around which the melody was built (mostly evident in headphones, tho). All sounds were extracted from the recording using Paulstretch, Audacity and Acid. My hope is that the track is not “overworked” beyond the constraints of the assignment, and still evokes water over a stone. But if nothing else, it communicates the sense of calm and reflection I find in this somewhat secret place in the heart of the park, off the Nethermead near the Boathouse and Audubon bird sanctuary. There’s no real pathway or signs to the spot from the main route, save for trodden-down underbrush that beckons the more adventurous and hyper-aware about to cross the bridge. A slice of #secretnewyork, I guess.

The instructions were as follows:

Step 1: Locate and make a field recording of source material that involves running water.

Step 2: Extract a segment of the recording. That segment will serve as the basis for your composition, as its foundation. It will provide both rhythmic and melodic material.

Step 3: Add elements and treatments to the foundation recording of running water. Do so with the intention of highlighting the water’s internal sense of rhythm and melody. Do not embellish so much that the foundation recording becomes unrecognizable.

——————————————

The inspiration for this track came from the opening of chapter 17 of William Gibson’s 1986 novel Count Zero. The chapter is titled “The Squirrel Wood.” It opens as follows:

“The plane had gone to ground near the sound of running water. Turner could hear it, turning in the g-web in his fever or sleep, water down stone, one of the oldest songs.”

This idea of water running down stone, of a gentle but insistent natural stream, being one of the “oldest songs” is explored further in the chapter in various subtle ways. The Disquiet Junto project this week is to explore that idea: that there is music in the natural environment. We’ll make songs from running water.

More on the 29th Disquiet Junto project at:
disquiet.com/2012/07/19/disquiet0029-countzero/

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/info


textphony in d [disquiet0027-texting]

We continued the theme of “creative reuse” this week and were challenged to interpret a text file as sound.

Instructions:
“Please copy the instructions to this project and save them as a text file. You will then open that file in one or more pieces of audio-processing software. The resulting sound will serve as the foundation of your track. You can only use the sounds resulting from the text file in the process of making your track. You can manipulate the sounds, and you can use multiple versions that result from different pieces of software, but you cannot add any other sounds.”

Process:
In searching for how to do this, I found the same p22.com/musicfont/ as a few others here (I don’t think i could have done this any other way, fwiw).
Fed the phrase “disquiet junto 0027 creative reuse instructions” into it.
Cut up the generated midi file into the individual words.
Fed the midi files to a tweakbench “tapeworm” vst mellotron emulator set to “flute” with a tiny bit of tape hiss and a lot of decay.
Processed the midi file for the word “disquiet” through Paulstretch.
Added a whacked up phaser to the stretched sound to create the bouncing glitch.
Arranged the other midi samples over the stretched file somewhat randomly with added reverb and a tempo-synched delay.

My only concession was changing the final note to resolve to D. This involved tweaking the “0027” midi file’s second of two notes up a half-step. But the fact the piece probably ends with the word “0028” kinda made me smile.

Tools:
P22 Music Text Composition Generator, Sony Acid 7.0, Tweakbench “Tapeworm” VST Mellotron Emulator, Paulstretch (windows)

———————————————————
more details on the disquiet junto at:
soundcloud.com/groups/disquiet-junto/info