#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).

3 Likes
#23

It flows for me. Very cool result.

1 Like
#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:

1 Like
#25

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

1 Like
#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.

2 Likes
#27

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

2 Likes
#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.

1 Like
#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!

1 Like
#31

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

1 Like
#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.

2 Likes