extended remix of my contribution to the july 2016 disquiet junto’s collection of tracks saying “hi” in morse code to the juno jupiter probe…
The records you make don’t freeze so much as liquify time. As with Michel, 1983 was a pivotal musical year for me, too, so this week’s challenge fired a wonderful cascade of memories.
Playing with the tonal and harmonics filters in Paulstretch, I stretched each of the three 32-year old samples to 32x their original length (and M1 also to 64x)a few times. Brought them into Sony Acid and started layering at random. Touches of reverb, compression, chorus and resonance found a sweet spot of lushness – where I was at ease with bygone days. The piece runs at 137.1 BPM (which is what M1 beatmapped to), so a sync’ed 8th note amplitude modulation was added to the M2 sample to create a ping-pong glitch beat at that tempo.
More on this 207th weekly Disquiet Junto project (“Rework source audio from Michel Banabila’s 1983 album, Marilli”) at:
The audio was sourced from the 1983 album Marilli by the album’s composer, Michel Banabila. This project marks the release of the 2015 album Marilli Remixed:
Loads of flying, fluttery harmonics and shifting undertones as these loops cycled together. Rupert Lally’s track loop is 30% right and ahornberg’s is 30% left in the mix and they’re both blended (smeared?) together by a slight (27% wet) band-pass (1500Hz) resonance filter and a bit of room reverb. They’re both in related keys (G and D, it seemed) so their ensuing conversation took some pretty turns. Put my guitar down this week in favor of Propellerhead’s Figure app for iPad (the latest update’s “arpeggiator” has become a tiny addiction). I programmed 8 bar synth and bass loops in the key of G at 96bpm and played the percussion pad live as the track streamed along with the sources on my Acid timeline. Figure ran via Audiobus into Flux:FX’s “Multi-Verb” preset located in the app’s stock Ambient bank.
Propellerhead Figure: “Sonny” drum kit (4/4 kick, 6/4 snareclap, 12/4 hats, 10/4 toms), “Bassguitar” bass (5/4 rhythm, 7 scale steps), “Super Poly” synth (5/4 rhythm, 7 scale steps)
Noiise Flux:FX for iPad (ver 1.01): Ambience “Multi-Verb” preset
Audiobus for iPad (2.1.17), Sony Acid 7.0, Win 8.1
“Set two out-of-sync loops atop each other, and then add sonic glue”
@nofi was one of my first followers on SoundCloud from the Junto (I started with #0004). Over the last year, I admired and absorbed a lot of his work and we shared laughs a few times on Twitter. I feel lucky to have had even the most cursory electronic interaction with him.
All sound waves propagate forever, so when you play or perform the music of someone who’s passed, you help them ride their own waves into the great beyond. I love this week’s project for doing this.
This section of Jeffery’s performance flashed me back to “Mercy Street,” and I had thought to create some kind-of looking-glass instrumental version of that track out of his, but I only got through one line. Still, the title here is a reference to the last line of that song.
As I vamped, Jeffrey’s piece ended up pulling me into some quiet changes and arriving me at an inside-out minor-key’d quotation of “Over The Rainbow” (even swtiching out my plectrum for an eBow between phrases). In the end, for better or worse, in a track where @nofi eventually quotes Michael Jackson, I answered with Peter Gabriel and Harold Arlen. Nothing/Everything/Something made sense.
wave of sadness
wave of sound
wave of joy
wave good bye
Jolie (Peekamoose-customized cherry-red Gibson ES-335 Dot reissue), Ibanez Tube Screamer TS808, tc electronic flashback delay/looper, eBow, Line6 POD-XT (Marshall JCM 800 amp emulator with vintage plate reverb, Fender ’65 Twin Reverb tremolo and ping-pong delay), MOTU 828mk2, Sony Acid
This week’s project is a tribute to the late Jeffrey Melton, the talented musician, best known on SoundCloud (@nofi) and Twitter as @nofi. Melton passed away a few days ago, on March 30, in Fort Wayne, Indiana, where he lived with his wife and seven-year-old son.…
Start point: 02:50
Added drums and guitar as the two new elements.
All the talk of space in the original track inspired me to break out the ebow for the 1st time in a while.
To get more interstellar, I applied plate reverb, reverse delay and phaser to guitars at different points.
Jolie (Peekamoose customized Gibson ES-335 dot reissue), Vox AC-15, Ibanez Screamer TS808, TC-Electronic Flashback delay looper, Ebow, Line-6 Pod-XT effect/amp modeller, Motu 828 mk2, Sony Acid 7.0
This week’s project’s theme is asynchronous collaboration — in other words, making things together separately. We will make new compositions based on short, discrete, randomly assigned segments of a single, 60-minute piano composition. Collectively these will form a longer, collaborative suite.
Step 1: You will be making a piece of music by adding new sounds to a pre-existing track. You can download that pre-existing track, an original piano composition by Jared Brickman, here:
Step 2: When you go to the following URL, at kenzak.com, you will be assigned, immediately, a specific section of the longer Brickman piece. This kenzak.com URL will randomly pull up two pieces of information. The first piece of information is the start point of your segment. The second is the length of your segment (which will be between 1 and 4 minutes):
Step 3: Extract your assigned segment from the pre-existing track.
Step 4: Compose a new piece of music by adding elements to the pre-existing track. You can add anything you choose, with the exception of voice. Limit yourself to two additional elements. The original track should be audible throughout your new composition.
More on this 65th Disquiet Junto project at:
More on the source composition by Jared Brickman at:
One_hello_world – Every-day-were-dying-and-outer
The browser-based tool that segmented the Brickman track for this project was coded by Disquiet Junto member Ken Mistove, more from whom at:
This is my 28th submission to the Junto. This is a mix of my work for the Junto and singles and demos I’ve released (and one not) this year. Thank you to everyone in the group for your generosity, friendship and acceptance. And a special Thank You! to Mark Weidenbaum of http://disquiet.com, for dreaming up this amazing opportunity to learn and grow as a musician, songwriter, sound artist and general noisemaker.
These are just stitched together, eq’ed and compressed a bit for volume stability.
Jan: nearly there (alprazolam dream #76c) [disquiet0004-mfischer] http://soundcloud.com/thereflectors/nearly-there-disquiet0004
Feb: Nowhere Man (cover) [Unreleased]
Mar: Manhattan Bridge Train [Disquiet0011-motoring] http://soundcloud.com/thereflectors/manhattan-bridge-train
Apr: Jack Kirby’s 99th Dream [disquiet0014-oumupo] http://soundcloud.com/thereflectors/jack-kirbys-99th-dream
May: sliver of sky [disquiet0019-rojiura] http://soundcloud.com/thereflectors/sliver-of-sky-disquiet0019
Jun: the rime of the ancient pacific garbage patch [disquiet0026-composting] http://soundcloud.com/thereflectors/ancient-pacific
Jul: The 12th Step [2012a] http://soundcloud.com/thereflectors/the-12th-step
Aug: friction and the flame [disquiet0031-onomatch] http://soundcloud.com/thereflectors/friction-and-the-flame
Sep: The Know It Alls At Bloomingdale’s [disquiet0037-asrealasitgets1] http://soundcloud.com/thereflectors/the-know-it-alls
Oct: AustinTown (inst.) [disquiet0042-naivemelody] http://soundcloud.com/thereflectors/austintown-inst
Nov: crystalline sky grace [disquiet0044-sandy2012] http://soundcloud.com/thereflectors/crystalline-sky-grace
Dec: Crystal Never Hurts [rough mix 2012b] http://soundcloud.com/thereflectors/crystal-never-hurts
This week’s project is a sound journal, an audio history of the past year. You will select a different audio element to represent each of the past 12 months of 2012. You will then select one five-second segment from each of these audio elements. Then you will stitch these dozen five-second segments together in chronological order to form one single one-minute track. There should be no overlap or gap between segments; they should simply proceed from one to the next.
These audio elements will most likely be of music that you have yourself composed and recorded, but they might also consist of phone messages, field recordings, or other source material. These items should be somehow personal in nature, suitable to the autobiographical intention of the project; they should preferably of your own making, and not drawn from third-party sources.…
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).
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.”
“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.
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.
More on this 45th Disquiet Junto project at:
More details on the Disquiet Junto at:
sound 1: field recording – downtown new york city subway 6 train weekend service disruption announcement and surrounding ambience. recorded with iphone garageband.
sound 2: constructed beat – iphone garageband drum samples
sound 3: synth – programmed iphone animoog
minute 1: the drum is primary, backed by stabs and swoops of the synth and cut up portions of the subway announcement.
minute 2: the subway field recording runs full and uninterrupted, with the beat and synth stabs and swoops slightly tweaked, but retaining the same basic phrasing.
minute 3: the synth comes forward with a 2nd part, laid over the cut up subway announcement and drum beat.
the drum beat is a long phrase (fourteen 8-beat measures?) that repeats three times w/ a couple variations. i considered the entire phrase as one sound, even though it’s made of a kick, snare, high hat and cymbal. this was my first time using garageband to construct a beat and the result sounded something like my old boss dr-5. made me smile for that alone. the synth sound was programmed in iphone’s animoog app, and then played live using the app’s D#-minor pentatonic keyboard over the other 2 tracks. first minute is one take, second and third minutes contain a second take and the third minute a third take as the add’l part.
though everything was generated/recorded by an iphone, all sounds were dumped into sony acid (my daw that i just can’t shake), and all cutting up, loop creation, compression application and rendering happened there. i didn’t set out to use a subway recording for this week’s challenge, but my trips into and out of manhattan this weekend were maddening. this track became my way of processing the absurdity of a monolithic transportation schema that often leaves me feeling like a character in the film “brazil.”…
My contribution to the 17th week of the disquiet.com junto. The challenge was to take 30 seconds of a field recording, and slowly and seamlessly transition it into 1 of 2 given pre-existing tracks. Sounds could be added and the source tracks manipulated in any way. The first five seconds of the field recording and the last 5 seconds of the pre-existing track, however, were to be left untouched, aside from fading in and out.
I found a very pretty major chord arpeggio in the Lee Rosevere track, “The Day Love Came In The Mail” (link below) and mainly floated it up to its 5th and 7th and back down to the root a few times. The one grand manipulation (grand, for lo-fi me) was to separate the track’s left and right channels and treat each as its own entity until the final 10 seconds or so, when I sync’ed them back together as per the challenge. This allowed me to isolate the arpeggio in the left channel and pan it against the more floaty ambience contained in the right channel. Finally, I added a couple of spare beats hanging out on my media drive and some reverb & resonance to the ambient channel and to the fade-out of the waterfall during the middle section. Despite all the reworking and additions, I didn’t want to adulterate either source track too much as they both brought me such peace. So I hope most of the process here isn’t all that noticeable and you just float away on it for a couple minutes.
The field recording of the waterfall is from the audio track of a video I shot while walking my dog, Sterling (pictured), in Prospect Park, Brooklyn, on Saturday 28 April 2012. I retrofitted the video to the finished audio piece, which you can check out here.…
Sandpaper scratch led me to a funk break while the die roll kept rattling in my head. The main sounds are pretty much straight from the source wavs, with a little compression to even them up, and a couple loops got some reverb and/or resonance for flesh and liquidity. Everything’s cut up by hand, laid over a timeline the old-fashioned way. The low bang and the knocking from the die are pulsing a low a note, and I fell back on a rhodes (:^D) emulator and stabbed some riffs over the noises to keep the track moving. I tried to keep the sandpaper up front, but the die came forward as is his usual intention and fought it out with the paper and piano, gladiator-style.
‘Twas an absinthe fueled session, hence the title and tags. Always credit where credit is due to the green fairy.
The 16th weekly Junto is a shared-sample project. The theme is “background and foreground.” There are two provided samples, one of sandpaper and the other of dice. The charge was to make one track employing both samples, transforming them in any way and adding other elements if deemed integral. However, one of the two samples should provide the predominant background sound, and the other should provide the predominant foreground sound.
Sandpaper sample by HerbertBoland at http://www.freesound.org/people/HerbertBoland/sounds/28541/
Dice sample by Robinhood76 at www.freesound.org/people/Robinhood…sounds/60857/
More details on the Disquiet Junto at: soundcloud.com/groups/disquiet-junto
For the 13th Disquiet Junto project, the Los Angeles classical chamber-music ensemble wild Up provided us individual stems from a live multi-track recording of the first movement of the Chamber Symphony, Op. 110a, by Dimitri Shostakovich. We were invited to make something new from this source material, but were asked to use only the source material — as few or as many of the source tracks as we desired.
Researching the original piece led me here:
Shostakovich publically dedicated the Symphony to “victims of fascism.” But in a letter to a friend, the Russian composer said he had wanted to dedicate the quartet, “To the memory of the composer of this quartet.” Continuing, he wrote:
“The basic theme of the quartet is the four notes D natural, E flat, C natural, B natural — that is, my initials, D. SCH. The quartet also uses themes from some of my own compositions and the Revolutionary song ‘Zamuchen tyazholoy neveolyey’ [‘Tormented by grievous bondage’]. The themes from my own works are as follows: from the First Symphony, the Eighth Symphony, the [Second Piano] Trio, the Cello Concerto, and Lady Macbeth. There are hints of Wagner (the Funeral March from Gotterdammerung) and Tchaikovsky (the second subject of the first movement of the Sixth Symphony). Oh yes, I forgot to mention that there is something else of mine as well, from the Tenth Symphony. Quite a nice little hodge-podge, really.”
Shostakovich was depressed, some say suicidal, when he wrote the original piece in 3 days in 1960. So I searched for major keys and emotional resolutions in the recording and used an ambient hall noise (the moving of someone’s chair? the shuffling of an instrument?) as a rhythm track. I felt the need to return some happiness to the affair. History, unfortunately, too often proves correct the fears of men like Shostakovich, who spent most of his artistic life in a cut-off collectivist dystopia.…
remix of the soundcloud podcast w/ seams and marc weidenbaum:
Community-team – Soundcloud-speaks-001-disquiet
backing track is from the portion of the show that included emma hendrix’s disquiet 0004 project:
Emmahendrix – Nearly-there-disquiet0004
i started by sampling every instance in the show of marc saying a number and everything flowed out from that. my intent was to turn him into a radio beat poet like joe frank (not that he already isn’t that cool, tho).
the track has 48 music and vocal samples, and bursts opens with all of them at once, for no reason. fwiw, i don’t think there’s a complete actual sentence from the podcast in the piece. in the end, it was more of me putting marc’s voice to my own thoughts.
“clearly i changed my mind with an extended experiment in four days.”
“i did not think beyond my own curatorial process.”
“20000 remixes changed my mind.”
“junto (or junto) changed my mind”
“midnight changed my mind.”
this disquiet junto (or junto) has been the most valuable musical left turn i’ve taken in a while (at least since i re-cut a track of mine in spanish a couple years ago). thank you to disquiet for this creative, collaborative and continuing adventure.
More details on the Disquiet Junto at:
my 2nd contribution to the disquiet junto. this one involved turn-of-the-20th-century edison cylinders, which i fed through resonance, delay and finished with a light flange. the drone reminds me of guitar picks gliding down piano strings, which is soothing to me (since home is a metallic-droning megatown).
a remix of marcus fischer’s “nearly there” stems, provided to the disquiet junto. my fist contribution to this wonderful spark of collaborative creativity offered by marc weidenbaum, whom i’ve followed for years at disquiet.com. the track is a not-so-random but not-everyday dive into the ambient for me. looking forward to the junto taking me further out to space.