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…
Disquiet Junto 0286:Digitap Usel Apuse
I. I created this project by cutting and pasting samples from a Computer Music Magazine DVD into Reaper
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 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
I won’t deny that projects like this help to alter modes of creation. Sometimes a kick up the backside is what we need to prevent stagnation. At the same time, restricting this so much made this assignment a particularly tough one. Many people have been breaking the rules here, and for good reason; it’s hard to make something that actually sounds objectively good from a sonic standpoint. One either has to submerge themselves in experimentalism or simply say “fuck it” and ignore the rules, which honestly defeats the purpose of this sort of thing.
The problem for me here was the lack of layering. Not being able to process is one thing, but not being able to build is in a completely different universe. Even chiptunes have layers. Of course, music can be made in many different ways… it’s just that this particular mode of working is so alien to me that issues arose. Once I got into the thick of it, I felt like I was losing my mind.
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.
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
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.
short and choppy one here - perhaps
enjoy - but dont blink
random walk , random day, random cuts
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.
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:
- 365 Foreign Dishes, narrated by Arielle Lipshaw, a public domain audiobook from LibriVox: https://librivox.org/365-foreign-dishes-by-unknown/
- “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::
- "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::
- “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.
first junto submission, nice to have some time over the holiday weekend to experiment!
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.
my entry for this week:
some basic info:
I sliced a drone/feedback piece I had made into 8, by loading this 128 note loop into Sector on the iPad … I created several probability sequences as well as random triggering of each section, each of which could be sliced further and played forwards or backwards, I directed the process along it’s way by selecting the sequences to trigger/slice/repeat etc. in semi-random sequences as the track evolved…
thanks for checking it out…
for over a decade i’ve been collecting unspooled cassette tape found out in the world, physically splicing it back together and inserting it back into a cassette shell.
at this point a collection of over 200 tapes has been amassed.
lately i’ve been using these tapes as raw material to produce new things.
the tracks used in to make what you hear here were made from tape found in Minneapolis and San Francisco in 2005, Kansas City and Aksaray in 2006, Los Angeles in 2007, and Chicago in 2010.
My first submission for the weekly Disquiet Junto project!
For a brief time as a teenager, I was a tape making machine.
Rap music was hard to come by where I grew up. It wasn’t on the radio much and no one I knew had much money for buying new music. I did have basic cable though… Every day after school I’d come home and record songs from Yo! MTV Raps and Rap City onto a VHS tape. Then I’d hook the VCR up to one of those janky boom boxes with the removable speakers which was meant to look like a shrunken component stereo system. With the two tape decks I would assemble mixes from songs that were on TV. Cutting out any pre-song talking. Dropping bad verses. Awkwardly looping the good parts. Eventually making my own skits to go between tracks (grab some of Heavy D trying to pick up a girl in the bit before the song starts, replace her lines with Ed Lover saying crazy shit).
For this weeks project I added some extra limitations of my own, to try an bring back that chunky timing feel. I tuned off all grid snapping in Bitwig. Kept a single zoomed out view while working, avoided fades on individual bits (keeping any pops) and only deleted a part if I was willing to delete everything after it (no editing and shifting clips in time).
I stuck to all of them but the last. I couldn’t resist a little timing tweaking at the end.
The only processing is a bit of tape saturation once everything was finished.
The result isn’t anything like those old mix tapes. It’s more collage than song. Repetition and textures anchored with vocal snippet’s from “The Pelt” (a spoken word album by Doseone which is also in a pause tape style - it’s full of lovely cassette button clicks).
I ran out of time trying to piece together the end. The collection of parts I ended up with didn’t point to an obvious resolution. Still, I like where it landed.
Thanks for listening.
great hearing everyone’s pieces this week, enjoyed the variety of approaches people took to such a restrictive project. seemed to be about an even split between those who composed in a DAW/timeline and those who generated their piece algorithmically/stochastically. maybe i missed this, but did anyone approach the project improvisationally or by recording a live performance? i am always interested in the interaction between how something is made and how it ends up sounding.