#13

Hello All,
Went through a long process of changing pitch and tempo on a track of of a synth and drum track using crossfading and reversing and recording tracks and tracks of that and mixing down. Made 5 copies of final track. One in the center 2 on the middle of each pan side and 2 on the very end of the stereo fields one pitched up 5 the other down 5.

Peace, Hugh

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#14

I liked the idea of playing with the Musique concrète genre as its been an inspiration over the years. I took a few pre-existing tracks of mine and set about manipulating them. I have been making field recordings and a film sountrack around the Thames Estuary near London for a while and it feels like the edgelands where London starts and stops have inspired this piece.

Primarily I used my recent work of field recording ‘A Grain of Sound’ as the main source but also added other tracks including bits of my recent Ekkofolk remix.

I then took various other bits of Audio - some Noise tape, a voice sample on commuting to London and some of my unfinished soundtrack work and obscured them and edited it all together in the manner suggested by the Disquiet Junto.

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#15

Disquiet Junto Project 0277: Chew Concrète
The Assignment: Make music inspired by C. Reider’s Chew Cinders album procedures.

Piano sounds (plucked, scratched, and stroked) as well as the sounds of small metal and glass objects and the spring on a desk lamp played in Samplr using “Tape” and “Looper” modes. Many different playback speeds were used varying the pitch and time.

Recorded with a Zoom H5. Edited with Audacity.

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#16

Waz up Junto! Marc, hope you are enjoying the big apple and the lengthy island. When I read about the methods used I thought that is what sample manglers have doing since the beginning of recorded sound. I also thought of hip hop sampling in particular with the chops and such. I had 3 sections created in the way described and used a pitched down and stretched modular sample for the transition between parts. I like stretching modular stuff cause it says smooth when stretched and sometimes does some pretty cool things in a rhythm.

Later, Les

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#17

https://youtu.be/_2i9-ULeX8g

When I went looking for field recordings, I only had to go back to late January.

Whip-cracking isn’t an Australia Day tradition as such, however it is part of the annual breakfast at Pioneer Park Museum. 2017 was my second time at the breakfast, which was the 30th for the Museum.

In addition to cracking displays by young Master Terrazas and Mr Bishop, there is a selection from the musical performance by Jeff Gardner, including Australian classics "Give me a home among the gum trees’ and the national anthem.

Ableton Live makes it easy to adjust pitch and timing but the instructions this week led me to try and confine myself to the re-pitch option, which links pitch and timing. From here I did adjust a couple of the loops but it was a good direction to get a quick direction.

I added electric bass and it kinda brings everything together a bit.

You can also find the video here on Facebook and I’ve written a blog post here. Thanks

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#18

I liked C. Reider’s album quite a bit, and tried to emulate his collage method. I used several field recordings from London and Chennai and a loop left over on my Makenoise Phonogene to build the core of the piece. Recorded it to virtual tape on the OP-1, manipulated it with the Phonogene and Mutable Instruments Clouds, recorded to cassette tape, then back to the computer where I overlayed a few more London / Chennai recordings.

I’ve used these field recordings in a few pieces, including a live show in November 2016. I really love them. My favorite is a recording of a man in Chennai demonstrating a conch horn, slowed down a bunch it sounds like a whale. If I had more room in my luggage, I would have brought it home with me.

1 Like
#19

Reign of Ash-https://soundcloud.com/user-651760074/reign-of-ashdisquiet0277

https://soundcloud.com/user-651760074/reign-of-ashdisquiet0277

~Dark Ambient Noise~
Bits used:
Many field recordings
Guitar run through UR 22 Mk.II
Borderlands
Cubasis
Audioshare
Probably more fx than legally allowed

3 Likes
#20

i mean, * this * - C. Reider’s album, this way of working - is very much up my strasse.

I did nothing even remotely clever, just idled some hours away cutting and hacking and speeding and slowing at various semi-recursive sequences made up of sounds that are near the top of my folders - birds from Monday gone, old film snippets, interminable drones - in Audacity. Ended up making something which seems to have some sort of over-riding and consistent structure which wasn’t my intention but perhaps tells you something of my aesthetic prejudices and what exactly certain software implicitly facilitates.

5 Likes
#21

https://soundcloud.com/ethanhein/discovery-garden-marimba-disquiet0277

I used the audio from a phone video of my kids playing a marimba in the kids’ section of the Brooklyn Botanic Garden. I made the drums by taking a sample and distorting the hell out of it, then pitching it up and down. The pad came from some naive fumbling with Ableton’s Sampler instrument. Other textures and patterns come from my usual combination of looping, timestretching, filtering, microedits and the like.

4 Likes
#22

I used two field recordings for this - both recorded with an iPhone. The first was various machines in an ER. The second was the crowd noise from an Orlando City MLS Soccer Match. The announcer was indicating what the stoppage time was.

The recordings were cut up, slowed down, sped up, and pitch was varied up or down up to a couple of octaves.

The image used here was taken by me at the new Orlando City Soccer Stadium (2017).

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#23

It flows for me. Very cool result.

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#24

Cheers! I think i’m just a little self-conscious about it’s lumpiness when so many other of this week’s contributions have a smoothness. Something like gravel rather than something like water, maybe. :slight_smile:

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#25

especially love the jump cuts. It does imply a mysterious narrative// art film vibe.

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#26

Here’s mine: https://soundcloud.com/plusch/assorted-chunks-disquiet0277

Source sounds were:

I put together a Reaktor ensemble that scans through a sample with modulation from a square oscillator, a sawtooth oscillator, and a random sample & hold module. I ran each source through the ensemble, adjusting parameters until the result sounded good to me. After recording each, I assembled the chunks in Audacity.

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#27

https://soundcloud.com/ohm-research/chu-disquiet-0277

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#28

Some sounds I recorded in the last few days, manipulated mostly by stretching and pitch shifting and abelton simple delay, a bit of reverb and beat repeat and a very small bit of resonator. I tried to loop samples as little as possible, but there was one I looped a few times.

2 Likes
#29

Hi all!
A little bit late but this is my (noisy) contribuition:

I mangle some samples of field recordings (fire, water etc.) in iDensity then i chopped the results in Blocs Wave and I recorded all onto the Op-1 as samples
I used the Op fx, sequencers, mixer and the tape machine for other manipulations.
I also use a little bit of synth engines from the little swedish, specifically the FM and the Phase.
I recorded a live tweaking in Audacity and I added voice recordings from Carmelo Bene, Lydia Lunch & Richard Kern and the “1984” film and another track with the same voices and the Harsh Noise Generator from Kinetik Laboratories.

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#30

Hi all,

Here’s my version:

I plundered my treasure trove = sample library of custom-made samples, and this is what came out after a lot of tuning and fine tuning in Ableton.

Enjoy!

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#31

My chewed-up concrète sounds. Some field recordings processed variously in Soundgrain, Audacity and AudioMulch, sort of chunked into three segments.

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#32

Hello. First time poster here, but I have participated in a handful of Junto projects over the last year. Happy to finally be aboard the forum.

C. Reider’s tape was already a favorite, so I was excited to see this project. I worked within the methods suggested using two field recordings taken outside my window as the only sound sources - crickets, distant highway drone, the slow drip of a rain gutter, a passing car, and the hum and rattle of a nearby train. Some of the pitch manipulation was done in Cakewalk’s Sonar, using either the Transposition feature, or pitching up or down lengthy (128 measures) Groove Clip loops. The build in the first section was done using a Red Panda Particle pedal in Pitch mode. The segue into to the second section and effects on one of the looped tracks were done with a chain of an Old Blood Noise Endeavors Dark Star (harmonic delay/reverb) through an Earthquaker Devices Avalanche Run (delay/reverb). The looping in the second section was an automatic function of pitch shifting the second field recording up an octave in Sonar - which I thought was an interesting byproduct and happened to create a nice contour.

The piece isn’t as wonderfully varied as C. Reider’s inspiration, but I’m pretty happy with the textures and overtones in it. Really looking forward to listening to all the other entries on this one.

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