great work! Hokusai’s line is clearly. Also your sound…I felt japanese gentle. :grinning:

4 Likes

Some cool tracks already this week - been great listening to them!

I loved the source material and it felt almost sacrilegious messing around with it… however I couldn’t resist.

My first attempt used the random loop idea (differing lengths, different positions, a couple reversed) - everything was kept pretty clean apart from some gentle cyclical panning and some barely discernible reverb, echoes, etc.

https://soundcloud.com/user-812536319/dq0284-mississippi-bells-part-one

Feeling on a bit of a roll, I decided to see if I could ‘blur’ the bell sounds and get more of a ‘washy drone’ type of effect where the bell sounds became indistinct and only barely recognisable. I used the same loops as part one, slowed the bpm, messed around with various sends and tried to keep the track calm / gentle (but went a bit noisier towards the end).

https://soundcloud.com/user-812536319/mississippi-bells-part-two-disquiet0284

8 Likes

https://soundcloud.com/suss-musik/reconstruir-disquiet0284

“Music exists in time and space; it has a history and was made by work. Commodities, as we have seen, always conceal and render invisible the work that went into their creation — they dehumanize.”

That’s a quote by former Henry Cow drummer Chris Cutler. It appears in Plunderphonics, Pataphysics & Pop Mechanics, a book written in 1995 by Andrew Jones. It could be argued that the triumph of Chris Kallmyer’s work — which uses everyday objects in reference to how and where people live — is the way it restores humanization in music, something like Maslow’s Hierarchy of Needs rendered as sound.

The rise and fall of north St. Louis’ brick buildings stretches back nearly 200 years. The surrounding land was rich with clay and a natural site for brickyards, who churned out more than 20 million bricks per year by the mid-1800’s. Those traveling the southeast US will see evidence of this migration on buildings from Kentucky to Louisiana to Texas.

By the late 1960’s, urban flight left large areas of the North Side as depleted zones. The demographic shifted. Plans were proposed and abandoned; investments were promised and rescinded. Today, brick thieves contribute to the blight by dismantling structures and harvesting the bricks for resale. Much of the area looks and feels like a ghost town, large chunks of once-beautiful homes missing bricks in their structures.

For this short piece, Suss Müsik sought to reconstruct Kallmyer’s sound piece as a “brick-by-brick” process. Two individual tones were sampled and twinned with a generous heap of rotary reverb. Nine individual ceramic “hits” were sequenced and looped in various combinations (1 and 4, 2 and 5, 3 and 6, etc.) until the beginnings of a rhythm began to emerge.

The piece decays into a solitary note, perhaps signifying how illegal commoditization of even one brick degrades the honest, historical work that made North St. Louis what it was. May it rise again.

The piece is titled Reconstruire, named after the French word for “rebuild.”

9 Likes

https://soundcloud.com/project-dirigent/kallmyer-bells-disquiet0284

Kallmyer Bells [disquiet0284]
Disquiet Junto Project 0284: Creative Commonfield
Make ambient music from the sound of clay bowls.

Created with Samplr and Borderlands on an iPad. Recorded and edited in Audacity.

5 Likes

https://soundcloud.com/echosonic/cold-hopes-swarm-disquiet0284

After downloading the original file of the clay bowls, most of the work was in terms of audio processing. I used my chosen audio editor to manipulate the source file, so providing me with some interesting material. Loading up the audio files in Logic Pro and using Kontakt and Reaktor to resample the audio files further, the rest of the time was spent simply layering sounds and building the sound field.

6 Likes

This is perhaps the longest time I have spent on Junto challenge, about 15 hours to get to now but it could do with more mixing and mastering…

I like to see how far I can mangle the source audio and take it somewhere away from the original. Ableton is powerful enough to radically alter audio and with time you can turn it into something totally new and different. This piece has taken around since Thursday evening to get to its current state over four sessions.

I spent an entire evening (Thursday night) using Ableton Live to take the source sounds and turn them into drum percussion sounds and then develop rhythmic sounds. I do this by using ‘simpler’ the Ableton Sampler, I load the source audio and then use the midi effects pitch control, this can seriously alter the sound. I did this for a few different hits of the bowls but keep each hit to a few seconds at most and saved then as an audio file. I opened these new audio files and EQ’d them a lot, cutting them shorter still. I saved them again and then loaded them as new audio files into a drum rack, editing them still further and adding effects. Once I had around 8 different and interesting sounds I created drum parts and loops. These were again, saved and mixed down and re-opened as audio files. These were then edited again and EQ’d a little more. I think you can pretty much take any audio source and turn them into ‘drums’ if you spend enough time on the processing, I work slowly at this and I am sure there is a quicker way to do the process I have described but I like to lock audio down in to a new file and them destroy it some more? These rhythmic bits don’t develop till after 4 minutes in the finished track.

On Friday night I started a new session and worked on new bits of source samples, taking a lot of the tail from the bells and editing them together and creating longer drone sounds and playing these as midi keys, this creates new ambient sounds which with a bit more effects sound different from the source sounds but all derived from the source. These are the sounds that start the piece and play throughout.

I then started to mess around with the sounds from both nights, live looping and playing them through the push controller. I jammed for about 30 minutes and then hit record and jammed for another 20 minutes.
I edited this down to 10 minutes. It needs a decent mix though and more EQing on the master but I am not in a position to do that this weekend as I got loads more things to do, so its a bit muddy in places, a bit too dense as well but I am rather happy with the process and development of the sounds.

https://soundcloud.com/audio-obscura-music/st-louis-clay-bells-disquiet0284

7 Likes

We have a Wiener! NorthWood guessed Everybody Rules the World. He also guessed The way You make Me Feel which was also a perfect match. Here is a little video for it. i like the video don’t know about my warbling.

2 Likes

https://soundcloud.com/tuonela-1/from-common-clay-disquiet0284

5 Likes

Whew, first one I’ve done in a while:
https://soundcloud.com/mtnviewmark-bits/chamber-disquiet284

Built from six selected sounds cut from the recording of Chris Kallmyer playing his clay bells. Four are various kinds of bell strikes he played. Two of the sounds are from the room “noise” of the recording.

I imported all of these into a drum sampler with the tempo very slow (41bpm). The sampler (Digitakt) has the ability to manipulate the samples while playing, and adjustable per event, and I made liberal use of this. Finally, I worked out a small composition, which is performed on the device.

The recording is a single take, with only minimal post-processing for upload (small amount of EQ and compression). Note: The recording is mixed quiet, but should probably be played even a little quieter than that.

4 Likes

I love bells :slight_smile:

https://soundcloud.com/otolythe/carillon-for-kallmyer

I started by using some of the track’s room tone (containing overtones) for a base, then added in sections of scraping sounds, then groups of the bell tones. I found a rhythm or two in some bell passages; one of which I repeated here and there, and the other of which I looped with echoes. Then I pushed “rhythm” and “melody” tracks into either L or R, to create a stereo effect. Some other filters here and there added in a sense of various-sized rooms. Finally, the installation image was layered with mirrored reflections of a river. I was aiming for a piece that did not merely duplicate what Chris had already done, but also did not stray too far from the vibe he created.

6 Likes

CLAY

https://soundcloud.com/neurogami/clay-disquiet0284

I went through the sound file and was struck (ha ha) by how it already worked as an ambient piece. A bit too much banging, though. Needed to slim it down.

I chopped out some samples and loaded them into Renoise. In Renoise I used an fx command that allows for probabilistic playing of notes. What I uploaded to Soundcloud is essentially a single pass through the song, but it is designed to repeat for as long as you care. Because of the probabilistic effects there will be some variation in speeds and pitches.

You can grab the Renoise xrns file here:
https://neurogami.com/downloads/disquiet0284_Neurogami_CLAY.xrns

There’s a demo version of Renoise that has very few restrictions so you should be able to at least play this piece.

I aimed to get a mix of lower rumbling ambient noise with sporadic bell tones.

4 Likes

NON-SUBMISSION Hey All, This is another track I tried tonight. Not a submission but if any one wants
to check it feel free.

https://soundcloud.com/detritus-tabu3/bells-and-bobtails-disquiet-0284-non-submission

5 Likes

Reader, I Made Ambient by Piling On The Reverb

it’s another one of those Juntos where the source material is so beautiful that my interference with it has a gross ineptness to it; not that that actually stops me or anything but you know, caveats, right?

i took a small, delightful section - 18m30.991s - 19m23.719s - and mangled it - compressed it to super low resolution MP3, put it though granular delay - then made a number of versions that i tried to spread through the stereo field before adding reverb, reversing, adding reverb; smearing, effectively, i guess.

I had hoped to not totally drown the compression artefact-y-ness of the initial sounds - there’s an audible pahsed whooshing which is lo-res room town - but probably did tbh 'cause reverb’s a helluva drug.

7 Likes

Hey there!This is my track for this week.
I thinked about the bells as the main component of this track, but I ended with build a world of uncertainty around.
I’ve used the drums with brush, some sample libraries (Rhodes,cello) and off course the sample (really inspiring).
Hope you like it.
Thank you

5 Likes

https://soundcloud.com/don-poe/clay-bell-commonfield-disquiet0284

Trying to do more with less, used short sections that generally had less going on, and applied some effects to reduce the sound even further. Applied compression to make it so you could hear it after all of this.

4 Likes

Really enjoyed working on this one, the Kallmyer recording is great, it felt strange cutting it up. I pulled a minimal number of samples (three? Maybe four?), and started in Grainfields to build a base. As I got more into the main line, the granular base really fell out of the mix. I liked that core sample and wanted it to have some breathing room.

https://soundcloud.com/missushardy/disquiet0284-from-the-ground

6 Likes

https://soundcloud.com/analoc/calderon-hondo

Edited a short piece from of the original material. Put this in my trusty ambient v03 for some granular base. Added pieces of the original material with some ping pong delays (Objeq De- lay from AAS) and some hall. Mixed and mastered with cheap earbuds (I’m on vacation), so forgive me any strange frequencies.

6 Likes

https://soundcloud.com/lionel-benancie/e153-disquiet284kallmyers-work
My daughter mixed earth and water with a shovel!
The sounds of the load and the fire of the spirit!

4 Likes

This one was a pleasure to work on, and all the different approaches have been great to hear.

Here’s some notes on what I did…

After listening to the original recording I really wanted to use the entire thing in my piece and manipulate it very minimally. The tone of the bells is beautiful, and I wanted to preserve the spirit of it while giving it a new form.

I imported the whole recording into Logic and cut a piece for an intro and a piece for the ending. After that I cut the rest of the recording into equal pieces, without regard for the audio content. These pieces are about 3.5 minutes in length.

I then moved each slice to it’s own track and added a fade in on each track, making each subsequent fade slight longer than the ones before it. Each snippet of the recording fades in at a different speed, creating a slow build.

Each track was then panned to a different stereo position, creating a dynamic stereo field from the original two track recording.

The short intro slice was looped and left playing throughout, as a subtle rhythmic pulse.

The ending snippet was cut down slightly to create a rhythm of chimes to close the piece.

https://soundcloud.com/newtendencies/kallmyers-clay-disquiet0284

5 Likes

https://soundcloud.com/ohm-research/opeka-disquiet-0284

6 Likes