Disquiet Junto Project 0243: Synth Trial


#1

Each Thursday in the Disquiet Junto group, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. A SoundCloud account is helpful but not required. There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

This project was posted in the morning, California time, on Thursday, August 25, 2016, with a deadline of 11:59pm wherever you are on Monday, August 29, 2016.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0243: Synth Trial
The Assignment: Share the best track from your audition tape for Blade Runner 2.

Please pay particular attention to all the instructions below, in light of SoundCloud having closed down its Groups functionality.

Big picture: One thing arising from the end of the Groups functionality is a broad goal, in which an account on SoundCloud is not necessary for Disquiet Junto project participation. We’ll continue to use SoundCloud, but it isn’t required to use SoundCloud. The aspiration is for the Junto to become “platform-agnostic,” which is why using a message forum, such as llllllll.co, as a central place for each project may work well.

And now, on to this week’s project.

Project Steps:

Step 1: As you now know, Jóhann Jóhannsson was selected to score Blade Runner 2. The news means, among other things, that you didn’t get the gig. Please reconcile yourself with this.

Step 2: Please share your favorite track from the audition tape you sent to Ridley Scott.

Five More Important Steps When Your Track Is Done:

Step 1: Per the instructions below, be sure to include the project tag “disquiet0243” (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: This is a fairly new step, if you’ve done a Junto project previously. In this discussion thread at llllllll.co post your track:

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

This project was posted in the morning, California time, on Thursday, August 25, 2016, with a deadline of 11:59pm wherever you are on Monday, August 29, 2016.

Length: The length is up to you. Three minutes seems like a good maximum.

Title/Tag: When posting your track, please include “disquiet0243” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track online, please be sure to include this information:

More on this 243rd weekly Disquiet Junto project — “Share the best track from your audition tape for Blade Runner 2” — at:

http://disquiet.com/0243/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:
Disquiet Junto Project 0243: Synth Trial

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.


#2

here is my Junto track - not did the Junto since the demise of groups but good to be back

This is actually my first post on Lines (lllllll or whatever its calllllllled … but been on the Junto a year or so.
As it happens I am currently working on a soundtrack at the moment, which is keeping me busy and with it being August (holidays etc…) I have not been around to ‘do the junto’ for a while. The film I am
scoring is part art project and part documentary on psychogeogrpahy and ‘edgelands’, its also about the state of planning and of industrial decline, its 90 minutes long and due in early 2017. In a way its not
a million miles away from some ideas that underpin Bladerunner - not artistically but philosophically speaking. Personally I find the ‘famous’ bladerunner’ soundtrack a bit dated and never understood the
adoration it still gets - saying that when I first heard it circa 1992 I was impressed. Anyway I feel I am in a soundtrack state of mind these last few months so having a free evening it seems I should have a go.
At the outset I would say about 40% of this track was already made - the ambient textures and deep tones you hear are sounds / things I had been doing for the soundtrack and sort of discarded already so they were
lying around ready for another use. I loaded them up and did a bit of editing and then did a sort of Vangelis-esq free improvisation drive-by over the top of (the lighter echo synth sounds and pulse type sound) and that was it really. (There is a short 30 minute edit / work in progress of the film soundtrack I am working on here…https://vimeo.com/173036846)


#3

I am very short of time this week, so I patched up something interesting in a hurry (this took less than an hour from a blank, unpatched modular!), borrowing little hints here and there from the original soundtrack as to what notes to play and what sort of sounds to go for. No idea what the sequel will be like, so I imagined a city, much like the opening of the first film, but populated entirely by replicants…


#4

Wow - speedy! I thought I was fast this week! :smile:


#5

Ha ha, I got there about 4 minutes quicker than you it seems!


#6

The name Deckard really sounds good with some reverb and delay. Basically that was my starting point taking the rhythm from the words.
It’s Blade Runner and, as the Disquiet title suggests, all I needed to add was some synth.


#7

Offensive Language Warning

I was wanting to go with the fail idea. I love Blade Runner but it isn’t even my favorite Ridley Scott movie, Alien is. The number one fail of the original is Harrison Ford’s voice over. I downloaded a collection of the bad voiceovers and was listening to him and the “n-word” popped up. My initial reaction was -well I have to edit that shit out- but I got to thinking about the themes of the movies and the “skin job” dehumanization of what is basically a human even if it is an android. I decided I would do a 180 and go the other direction with it. I hope I don’t offend anybody but sometimes you have to go with things even if they make you somewhat uncomfortable. I knew I wanted to use the CS-80 soft synth so I loaded Camptown Races into it. I hope I have made my intentions clear and even though my head is shaved, I am NOT a skinhead. I just lost all my hair spinning on my head breakdancing in the 80’s.


#8

Fully prepared to be called “cheat” for doing this week’s challenge this way, but as my Soundcloud account is full and this track, which has already been commercially released by me, fits the challenge perfectly I’m going to submit it.

(I’m sorry, for some reason Lines will not let me embed the Bandcamp player, I’ve tried everything I can think of, so unless someone can tell me what I’m doing wrong it will have to stay as a link)

This track from my 2013 album with Norwegian sound artist, Espen J. Jørgensen, is so obviously Blade Runner-esque that it would be silly of me not to put it forward. I even used Arturia’s software emulation of the CS80 for most of the sounds. The rest, the little computer glitches, the spoken word excerpts are all from Freesound samples.

For obvious reasons, as I’m just sharing the track from my Bandcamp page it’s not tagged properly - sorry about breaking the rules there!


#9

:rotating_light: Gifted cheat. Beautiful track. :smiley:


#10

Beautiful sounds and textures and really nice sense of atmosphere. Great work!


#11

Lovely work, Ian. Some very evocative textures and a nice nod to the original Vangelis score with that high descending note at the beginning. Superb


#12

The repeating “Deckard” phrase is very effective. Overall the track reminds me of some of the tracks on Innerzone Orchestra’s “programmed”, which I know took a lot of it’s sonic inspiration from Blade Runner.


#13

On the old Blade Runner OST there was this subtle mix of orchestra and synths, but I don’t really think Blade Runner 2 is going to be subtle, so there’s a mix of that here but it’s obnoxious. I also intended this track for Isidore because I thought like he got the short end of the stick in both the movie and book versions and was hoping he’d have a better time in BR2 (and if he’s just dead in the movie version, well, maybe that IS a better time (I don’t have high hopes)).
The inspiration behind it is likely the end titles from the original soundtrack, which was always my fave piece from that entire event.

Also there’s like six synths here. Is it overkill? I dunno, Deckard had to kill six replicants the first time around. Some do stabs, some dance around in harmony, others stay consistent throughout, some were just a repeating bassline. Tried to give them personalities like the replicants.


#14

I spent a little while exploring ideas on a Kaossilator before settling on writing a song using VST synths in Ableton Live. In this track I use V-Station, Oddity, Absynth, Massive and Drumaxx.

My idea was to update the style of electronic music a bit but still make it feel somewhat dated, so acid seemed a good direction. And I couldn’t find a sequenced bass that I liked.

The initial MIDI files were generated very quickly, then the generative approach continued with MIDI tools in Live. The arpeggiator, scale and chord effects were used to shape the notes before directing them off to the synths and adding reverb and delay.

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#15

sevenism - blade edge

i kind of did a complete soundtrack



but here’s a shorter version!:

this is the first i’ve heard of a sequel and the prospect of a johann johansson soundtrack appeases my apprehension quite a lot! ironically, i wasnt a big fan of the vangelis soundtrack but this sounds a bit vangelisesque in places.

it’s just midi through different synths/instruments + fx and a stretched field recording of crickets (from earlier today) in the background


#16

Very fitting to the soundtrack topic. Nice eerie piece.


#17

Trying to recreate the ongoing sillyness of JF’s handmade friends along with the still urban night-time. I’ve mainly used field recordings with a software step sequencer and a few soundfonts.


#18

Here is my contribution and my first post on this forum, hello!
I’ve been making junto tracks since the first one, but not that regularly, maybe once a month or so.
I would really like to do nice soundtracks, but so far my creations weren’t any close to my imagination. for this week’s project I also would have liked to spend much more time, but I don’t have any. one day…

As for the process, there is not much to explain, just searched for sounds that resonated with my categories of “soundtrack” and “bladerunner” and arranged them.


#19

Instead of creating an actual “track” I chose to create more of a collage of various sounds for scenes. I kept this more in line with the “sound design” feeling of the original Blade Runner soundtrack within the movie, particularly the rainy scenes, rather than trying to reinvent Vangelis.


#20

Greetings!

I have been a Vangelis fan since I first found the Chariots of Fire LP in my Easter basket as a young lad. I really liked the Jerusalem song cause we don’t hear it all the time here in the States. I also liked side 2 which was one long tripped out I don’t know what. I also had the Blade Runner Soundtrack on tape later as a very unhip teen. I loved the scene where Harrison Ford is at the piano looking at the old photographs after being beaten to a pulp and he puts his whiskey down with blood curling in his drink and he starts playing a simple melody slowly and it becomes part of the soundtrack. So I put myself in Harrison’s place and played a kinda bluesy jazz on the Stage-73 soft synth. After recording I slowed the tempo down and chopped into 4 parts. The last part I put on the Jup-8 for the sci fi feel. The title comes from an idea I had of what could happen in the sequel. Wouldn’t that be something, a replicant baby!