#12

it’s the last time I participate to such a castrating assignment. No processing?, I mean what?!..is this 1490 or something?
:wink:
Nice piece BTW

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#14

Frenz Fallout

https://soundcloud.com/neurogami/frenz-fallout

I decided to grab two tracks of my own work, one from my first album, and another from my current in-progress album. To make the choosing easier I limited the choice to tracks that had the same BPM. (I had considered the fun of using contrasting BPMs but the I would be ponder over all sorts of other things far too long.)

I opted for “Bad Frenz” from my current album (Dance Noise), and “Fallout Culture” from the album Maximum R&D.

But that track is a bit short (and dense), so I also grabbed “Fallout Culture (Sullen Mutant Mix)” since it was longer and had more variety.

I loaded up the wav files into Reaper and extracted a few sections from each source piece as samples. I loaded these into Renoise. I have been recently working on a Renoise tool called “SwapChop” that helps automate instant volume changes among Renoise note columns. The tool makes it easy to experiment with different values (and hence different rhythmic effects) . It’s used quite a bit on “Bad Frenz”.

So, in Renoise, I had a single track with two note columns, and I entered samples in these columns, which SwapChop then helped cross-mix. There’s only one sample playing at any time. The only effects I used are a small amount of reverb and some compression to help pull it together.

I started off with the idea of gradually morphing from one source song to another, but after a bit I tended to latch onto whatever sounded best. I got, I think, some interesting stuttering beats by place notes off-beat for brief sections while swapping samples back and forth. It’s certainly given me ideas to explore further.

While I had a number of samples that were more melodic (albeit noisy melodic), I found that they didn’t work as well for me as the did samples that were mostly rhythmic or droning.

4 Likes
#15

https://soundcloud.com/north_woods/disquiet-junto-0287

For this week’s project I used four tracks as source material:

Grand Banks Live 4-20-17 https://grand-banks.bandcamp.com/album/grand-banks-live-4-20-2017

John Lindaman, Black Gold https://johnlindaman.bandcamp.com/album/black-gold

Deral Fenderson, Pigaholics in the Tubanonymous March https://fendersonia.bandcamp.com/album/echoes-of-a-new-age-dawning-13th-anniversary-edition

Happy Flowers, live version of Mull of Kintyre from some radio show we did a long time ago

I tried to create something kind of atmospheric but rhythmic but it came out different than I expected-at one point, John and Grand Banks are dueling, and then there’s something about pirates.

3 Likes
#16

Thank you.

:laughing: Actually it’s quite refreshing to be limited like that occasionally, as I think that I tend to rely way too much on processing in a lot of my stuff. On my latest soon to be released album “Stunde Null” I have gotten away from heavily processed sound.

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#17

https://soundcloud.com/flyingtonefish/wil-new-times-have-begundisquiet0287
I believe in synchronicity, so I took some tracks I had just rediscovered after having considered them lost for a long time when I got the mail for this week´s task. I cut out sections from this tracks and puzzled them together. Sound quality is not very good, unfortunately, but at the time I did not know any better. I am always struggling with English, and I always hope I understand well enough to comply to the task

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#18

long to time no see. i’m glad to be back once more…

this is ¶radio hummingbird’s contribution to this week’s disquiet junto with the serial number 0287. in short, the requirement for this contribution was to record a piece of music which consists only of cut up pieces of one or more previous pieces of music.

this piece has been created using a little eurorack travel synth to create the original source file. afterwards, this 12 minutes long piece has been attacked as if it would have been recorded on real tape (i actually considered doing this but, unfortunately, time constraints made me decide otherwise): i randomly cut down the content to about 1/4 of its original length. one cut at a time at random lengths. afterwards I cut out a large number of random pieces and put them aside to only insert them at random places within the remaining piece. and lastly, i cut random pieces out of this preliminary version and moved them randomly through the song to place them at different locations. all i added was a fade at the beginning and the end and normalised the levels. that’s all.

this is actually my second piece for this assignment. the first version i produced last night consisted only of cut up field recordings from the last year. however, i decided that it would need a significant amount of tuning to make it into what i would envisioned it to sound and therefore i put this little project on hold for now. maybe i will have time revive it later…

happy listening.

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#19

Of course I agree, limitations are a great fuel for true creativity. I often impose hard “rules” to myself…
That’s what I like about this challenges, rules, sometimes arbitrary, can be the real spark to fire a nice creative morning.
But “no processing” combined to “previously existent material” was real hard for me! lol

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#20

hehe. that’s interesting. personally i do not like processing at all. feels a bit like cheating. raw live sounds is what makes me happy (admittedly not necessarily on an album though)……

1 Like
#21

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#22

Sure, but particularly in a case like this one, where we are revisiting pre-existent material, and in my case other people’s, being able to process could help being creative . But in the end I’m happy with the restriction this week, it made me think about “cut” in a creative way…

1 Like
#23

https://soundcloud.com/vgmrmojo/digitap-usel-apuse-disquiet-0286

Disquiet Junto 0286:Digitap Usel Apuse

I. I created this project by cutting and pasting samples from a Computer Music Magazine DVD into Reaper
:sunglasses:

3 Likes
#24

Hello everyone!
https://soundcloud.com/user-651760074/void-devicedisquiet0287

https://youtu.be/Sv2MLvWBtD4

Void Device(disquiet0287) https://soundcloud.com/user-651760074/void-devicedisquiet0287
WARNING-This can wreak havoc on little speakers
*Now with questionable video goodness!
This weeks project is not a song, more a sense of something gone wrong. The bits involved are various manipulated field recordings and one Alchemy patch. One of the field recordings was used in a previous piece Syclabs (pretty sure?!) and the rest are in various wips. The only guideline I broke this week is layering the percussive element underneath to give a little more urgency and movement :wink: All samples were previously effected, probably with the usual suspects, verb, delay, Flux, iPulseret, but not sure which exactly…so likely some work was done in both Logic and iOS, with all samples ending up in Cubasis for final mixing. Levels are a little crazy but I didn’t want to compress for fear losing dynamic range. Just a quick bit of fun :slight_smile:

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#26

Thanks for the thread on the restraints in this project. Junto projects range from wide open (e.g., take this source audio and do what you want with it, or interpret this image as a score) to tersely restrictive (e.g., the current one). In this case, what was on my mind was to as close as possible reproduce the process inherent in working with cassette tapes back in the day. Clearly effects could be accomplished on cassette decks with some jury-rigging, but layering would add have added some not insignificant complexity to the workflow. I wanted to go at it with the core technology: copying from a source to a cassette in a serial manner. (And when I say cassette, I mean the classic “compact cassette” that was in consumer decks like the Walkman, etc.)

We’ll no doubt revisit this project again in the future, and when we do I’ll probably adjust it a bit.

And in any case, thanks. Great to listen, and to take in the discussion.

4 Likes
#27

So true, I have made many a dry mix, but building without layers was the biggest hurdle…and I failed that hurdle in the end! I made the final mix down and was ready to post, but felt something was missing. In the end it has to be your piece, something you like and unique to you. That is what makes the Junto great, every different interpretation of guidelines and unique structure are covered in the fingerprints of each creator. And it is good. So bask in the difference and make music you like, with the Junto as your inspiration and gentle guide! Sermon over, now get back to making noise!! ;-D

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#28

Hi, This is my first entry to the project. I’ve used a couple of mixes that I created using a q&a with William S Burroughs which I set to music.

I’ve cut sections up into smaller pieces and then randomly pasted them back together. Being unable to layer sounds actually made this process easier. It reminds me of remembering a dream that chops and changes and is completely in the wrong order.

https://soundcloud.com/andrulian/dreamrecollection

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#29

short and choppy one here - perhaps

enjoy - but dont blink

richard

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#30

random walk , random day, random cuts

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#31

i chopped and chopped, more or less arbitrarily; certainly whimsically

the sound sources were pretty much all recorded in last week - all my preoccupations’re featured - rain, train stations, electricity generation - yadda yadda - with additional hiss & answerphone blips.I tried to edit and interpolate and chop and chop again until it sounded… well, if not organic as such then at least… unintentional? Which it was, at least a little bit, anyhow.

i encourage everyone to mock my difficulty in spelling arbitrarily consistently.

3 Likes
#32

Okay, I’ve never done a Disquiet Junto before.

I repurposed a generative rhythm program written in ChucK to randomly assemble a track from four sources:

  1. 365 Foreign Dishes, narrated by Arielle Lipshaw, a public domain audiobook from LibriVox: https://librivox.org/365-foreign-dishes-by-unknown/
  2. “A media luz” performed by Frank Cunha and Joachim Flores. Recorded for a WPA project (U.S. Government), therefore public domain. http://memory.loc.gov/cgi-bin/query/D?c…/temp/~ammem_gsD1::
  3. "La estrella del Oriente " performed by Cruz Losada. Recorded for a WPA project (U.S. Government), therefore public domain. http://memory.loc.gov/cgi-bin/query/D?c…/temp/~ammem_VM7L::
  4. “Food Grinding Valves” – a noisy test drone performed by myself on the Tocante Bistab: www.youtube.com/watch?v=j8RbKYAIxKk

The only additional processing was normalizing sound volumes of files. The four samples were mono, but spacially arranged by the ChucK program.

While looking for public domain recorded material I discovered how few sound recordings in the U.S. are in the public domain. Basically, anything recorded before 1972 is subject to state copyright laws, defaulting to common law, and will not enter the public domain until 2067. Recordings published by the federal government are generally safe, however.

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#33

first junto submission, nice to have some time over the holiday weekend to experiment!

https://soundcloud.com/joseph-branciforte/july-3-2017-disquiet0287

i tried to stay true to the strictures of the assignment, even though it was initially difficult to find something musical to say. i settled on an explicitly rhythmic approach (not my normal thing), chopping up an existing ambient piece of mine into 16th note chunks in my daw and reassembling them into new sequences. i was interested in creating small melodies and larger structural units from material that was largely static harmonically. by juxtaposing small chunks with contrasting spectral content, i was able to imply some sense of harmonic development, or at very least, accent patterns.

short video of the daw sequence:

a process-related note:
over the last year, i’ve moved away from composing in a daw to working almost exclusively with a hardware- and modular-based setup. returning to the computer for this project confirms that i am moving in the right direction, i.e. away from the daw. i found the work more tedious and no more fulfilling than working without the daw. although the ability to endlessly edit and re-arrange opens up some compositional possibilities that i might not have explored, the process leaves me with little sense of closure or place. if i were to try something like this again, i’d probably build something in max/msp that would allow me to chop up a long sample and improvise new patterns in realtime.

2 Likes