Disquiet Junto Project 0257: Remember Noisevember


#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 early afternoon, California time, on Thursday, December 1, 2016, with a deadline of 11:59pm wherever you are on Monday, December 5, 2016.

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

Disquiet Junto Project 0257: Remember Noisevember
Make some noise.

Step 1: This past month was Noisevember, which is described as “an artistic challenge exercise where the aim is to post sound pieces for every day of the month of November.” There are more details at noisevember.wordpress.com and twitter.com/noisevember.

Step 2: Noisevember ended yesterday, but why let the calendar get in the way of a good time? For this week’s project, make some noise.

Five More Important Steps When Your Track Is Done:

Step 1: Per the instructions below, be sure to include the project tag “disquiet0257” (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: In this discussion thread at llllllll.co please consider posting 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 early afternoon, California time, on Thursday, December 1, 2016, with a deadline of 11:59pm wherever you are on Monday, December 5, 2016.

Length: The length is up to you, but three to four minutes sounds about right.

Title/Tag: When posting your track, please include “disquiet0257” 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 257th weekly Disquiet Junto project — “Remember Noisevember: Make some noise” — at:

disquiet.com/0257/

More on the Disquiet Junto at:

disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

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

Image associated with this project is by mediachef, used thanks to a Creative Commons license:

By Marc Weidenbaum


#2

wanted it noisy distorted and loud, but listenable. i did some self generating feedback with lots of guitar fx. pulled it into audition lots of de-clicking and mastering
also i wanted to have a nice looking waveform - dunno what soundcloud is up to, the waveform doesnt look like that.


#3

This recording was originally created using Screencastify Pro on Google Chrome. It consists of a couple of short pieces overheard prior to a video conference with an inmate in the Polk County Jail on Sunday, Noisevember 27, 2016, which was done via iwebvisit.com. It’s pretty good technology even though there is background noise. During the call I didn’t really notice the extra noise until I recorded out the .webm video file that Screencastify produces into a digital audio recorder and then edited it on computer.

The inmate prominently talking was recorded entirely in the left channel, so I copied it out to a mono recording. To keep a stereo ambiance, I copied a brief stereo section from another part of the recording and repeated it several times. Other than mixing, there were no additional effects.

I’m not a “noise for noise’s sake” kind of person. Noise needs to bring some emotion to the table for it to be effective with me.


#4

I love to visit spooky buildings…this one, i called Teupitz
Recorded with Tascam
Mixed and arranged with Cubase


#5


Done in the spirit of noise for it’s own sake. Loops in different keys and guitar.


#6

Inspired by conversations here earlier in the week.


#7

Taking the definition of noise as “irregular fluctuations that accompany a transmitted electrical signal but are not part of it and tend to obscure it” I looked on freesound for electricity sounds. Used those and wanted to use Mesmo’s excellent track, Added a drum beat and the poem by Stephen Dunn.
see SC description for credits.

Peace, Hugh


#8

For this project I went with sampling one piece of music and going into the reverberations that it can make in a characters head.

I like noise because it helps me drown everything else out. It is emotional and aural overload in order to relieve the pressure of the world. In some ways, I always figured certain fictional characters did the same thing; creating noise (internal or external and physical) in a masochistic way to alleviate the pressure of existence, or the pressure of consciousness of past experience, or the pressure of a multitude of futures.

Here I stretch a sample from the soundtrack to Metal Gear Solid (1998) and then use variations of that sample while molding deformations around each layer of it. Reverb and lots of automated hills through various pathways.


#9

https://soundcloud.com/earthborn_visions/obverse-mien-disquiet0257

For this week’s project I decided to use the SOURCE > DESTINATION diagram (top of the page, above) as my starting point for inspiration.

My INFORMATION SOURCE was Marc’s words in the brief for the project. I used P22 text-to-music (p22.com/musicfont/), scale quantised the midi output to D minor and then used his ‘words’ for the bell / piano, bass and percussive sounds.

My NOISE SOURCE came from four instances of Logic’s ES P synth (generating white noise) that were modulated gently (filter & pan) over the length of the track.

Some reversed chatter / noise from people talking was added for background interest.

Gentle reverb, EQ, compression and tape saturation was added on the master bus and the output was limited to -2dB.


#10

Hi, I used brahms’s midi.
http://www.kunstderfuge.com/brahms.htm
4 tracks midi for piano. i used operator of ableton.

https://soundcloud.com/kuromiya-hideyuki/symphony-1-3-disquiet0257


#11


"If you develop an ear for sounds that are musical it is like developing an ego. You begin to refuse sounds that are not musical and that way cut yourself off from a good deal of experience." John Cage (1912 - 1992)
Six yeas ago I was commissioned to compose music for a modern theatre play. Director asked me to use noise more than music. After some frustration in the first meeting it was a very inspiring experience. I ended up releasing a CD called “lärmkunst” (art of noise) including many outakes and the more “musical” bits from that score.
That director really wanted noise, but I was obsessed by the more musical use of it, so I created a lot of the noise using musical sources and made some tracks out of pure noise (field recordings, etc).
On this opening sequence you can her mostly the noises I used (vinyl LP noise, insects, treated percussion, radio interference) and some sparse piano and guitar notes (from musical motifs I used throughout the 38 minutes score) and a heavily filtered bowed upright bass section that proved to be the main gimmick throughout the finale.
The last few seconds you hear some bowed bass noises that ended up being an important part of that project and other further music I made since.
This is not a noise track or glitch&noise experiment but one of the tracks from that soundtrack that, IMO, wouldn’t make sense without the noise.
Besides its inclusion on a bonus CD on a boxset back in 2010 I never shared thsi one online before, here for you to listen and comment, I appreciate.

Love
DD


#13

Hello everybody,

I got my inspiration this week from Einsturzende Neubauten…
Most of the sounds come from Ableton packs and I didn’t really change them.
Other sounds included are a drill and a saw blade that my neighbors were using.
Also an interview with Blixa Bargeld(slightly deformed with a voice changer app-megaphone)
All put together with Audacity, that’s it.


#14

My attempt at “noise:”


#15

And this week’s project has inspired me to try a longform piece with pendulum clocks! Thanks for the inspiration.


#16

I began with 5 seconds each of white, pink, red, and grey noise from
Wikipedia. These tracks were then stretched 100x. A rotor effect (think Leslie organ) was applied to each track. Pan positioning of each track was done before some mid-side processing of the bus which was then fed into a Reaktor Longflow filter.


#17

I began with 5 seconds each of white, pink, red, and grey noise from
Wikipedia. These tracks were then stretched 100x. A rotor effect (think Leslie organ) was applied to each track. Pan positioning of each track was done before some mid-side processing of the bus which was then fed into a Reaktor Longflow filter.


#18

Here’s my little electroacoustic contribution to this printed board
https://soundcloud.com/claudelebelge/eating-papers-with-a-tuning-fork-disquiet-0257
Enjoy!


#19

I took three tracks by https://soundcloud.com/doctor-mhhhhhhhble and subjected them to considerable digital abuse, the object being to approximate the levels of noise and distortion achieved through using electronics, instruments, recorded sound and electrical systems by such masters as Merzbow, LaMonte Young, Throbbing Gristle, early Sonic Youth and Keiji Haino, among hundreds of others.

Then the program crashed and the whole thing disappeared. So I started rebuilding it. Half way through that the tracks vanished in front of my eyes. Then most of the original reappeared. This is the result. It certainly lived up to its title.

May cause temporary hearing impairment, tinnitus and a fear of software.


#20

Heard 337is’ fine track and wanted to do a remix of his toastiness.

Later, Les


#21

FM DPO / STO Noise. Recorded direct to tape. I experimented with some generative patching. I’m twiddling knobs in here, but I was definitely surprised a few times by things just happening.

Creepy puppets courtesy of https://www.flickr.com/photos/jdavidphoto/4486296972