#28

3 Likes
#29

Only had about 2 hours but had to give this one a shot anyway:

Rolled 13 for melody and 4 for rythm. I used SuperCollider to genrate the resulting sequence as midi and fed it to my TX7 (the bell sound). I added some variation that will occur after one complete cycle and guarantee that the cycle wont repeat for 10 minutes or so.
Threw a beat under it and made some pads with the Mopho :slight_smile:

1 Like
#30

My first Junto! (Apologies for the clicky track, got 2 child free hours so had to rush).

I rolled 18 + 5. Which gave me a straightforward melody. Decided to play it on guitar. So sequenced some drums in ezdrummer and layered a simple chord progression which was doused in Neunaber Wet reverb. For the lead I played with the notes generated and in a couple of sections repeated the phrase with palm mutes then fully picked. This had wet reverb again with the Catalinbread Belle Epoch tape delay on it.

A useful workout for a Sunday!

2 Likes
#31

So this is the first thing of any significance that I’ve done post-baby and post-reinstallation of noise table. It’s also partly an exercise in getting to know my new QuBit Mixology module.

1 Like
#32

So glad you could join in. “Post-baby” was a long time for us, as well.

#33

Welcome to the Junto!

1 Like
#34

https://soundcloud.com/michael-anim-nyame/vist-montpellierdisquiet0298

With no 20-sided dice to be found, I generated random numbers from a lottery number generator and picked two numbers less than 20. This gave me 7 for pitches and 10 for beats. I used this to create my backing track. I then added a drum pattern with suitable filtering and modulated fading synth to complement the backing track.

3 Likes
#36

https://soundcloud.com/ohm-research/lcd20-disquiet-0298

3 Likes
#37

Like the sound of that kick drum

1 Like
#38

I rolled 10 and 5, the star of the show was a Klavis Twin Waves, also my first song with it.

My third take at this (one shot), drums and melody sequenced. Everything else was enveloped and knob twiddled.

2 Likes
#39

Had a lot of fun with this one! 12 & 18. This was my first play with the Ornament and Crime, triggered externally so I could get the polymeters going. Recorded in one shot, ran out of patch cables.

2 Likes
#40

rolled a 1 and 12. so i got notes A F E E and rhythm 448888 (altho i misread as three 8s)
appropriate notes as the nearest chord is FACE and i’ve got pretty bad tooth/ear/headache at the mo.
made in a daze as i got back from rhodes at 2 this morning and had work today.
the drone is from the plane sound. the beat is from a (literally) shitty hotel bin closing. tried to do 10bpm but it was in audacity so fuzzily quantized…
pitch shifts just done in audacity, beat mastered a bit in audition, extra delay and echo reversal stuff in audacity.
pad made from the plane drone at 6-8 octaves higher with izotope vinyl, six string ambience, podfarm fx

3 Likes
#41

As shown, I rolled a 13 and a 14. Notes were DCAGAF, beats were a half note then two quarter notes.

Then I thought I’d roll four 10-sided dice to determine tempo, getting 99 and 93. That led to 192bpm but the track has a halftime feel, I think.

This track was recorded quickly using a Jomox kick and the 707’s high hats through chorus and Space Echo pedals.

I played the chords on my MIDI guitar and ran them through an Oddity pad, before adding a bassline.

The track opens with D minor but I decided to experiment with a bassline in G, as I remembered that I find those two chords hard to distinguish.

The result, like Dungeons and Dragons, doesn’t really resolve.

And, again like D&D, I found myself in a daydream every time I’d hit play. If there hadn’t been a deadline of Monday night, I mightn’t have ever exported this result.

3 Likes
#42

Random GAB

  • I rolled a 17 and a 19.
  • The base line throughout is the sequence generated by the dice roles. It took 12 bars to repeat.
  • On top of it I put a bII V I Dorian b2 chord progression, the airy pads are whole tone chords. Both contained G A B.
  • Didn’t have enough time to put a melody or any riffs over the top.
  • The 12 bar phrase repeats with variations over the top.
  • The 12 bar phrase is played in double time a couple times.
  • Sounds came from Alchemy and Sonovox EightyEight 2.
  • The drums were a couple loops from Logic.
3 Likes
#43

Here’s mine: https://soundcloud.com/plusch/perchance-disquiet0298

No time for a description right now – I’ll try to get to it later.

4 Likes
#44

I rolled 11 & 60, which gave me 6 pitches, and 4 durations totaling a 4/4 measure. This repeats rather quickly in only three measures. So the material was rather limited to work with.

So worked by elimination - pulling out notes from the line and distributing them around three instruments: Hocket, sometimes clear sometimes abstract.

It was pretty much done when the connection to games (D&D, dice) struck me, and had the inspiration to add the kids.

Beeeeeedaaaaa-Balarrrga!!!

4 Likes
#45

https://soundcloud.com/alecvance/d303-d909-disquet0298

This project was a great excuse to get more familiar with the TB-03 and TR-09, which are pretty good new hardware emulations of the 303 and 909. I took a pretty literal approach for composition, rolling a 2 for AFEE (the notes on the 303, although I switch the octaves up a bit) and a 12 for ♩♩♪♪♪♪, which lines up pretty straightforwardly. I also decided to add my own random approach for making the drum pattern: starting with 4 on the floor for the bass drum, I then added the low tom by rolling a die to see how many hits it would get and then making that many rolls to find the beat (1-16) that each strike fell on. I did the same for most of the other drums, although I did end up making some minor edits to that. This song is so basic, it’s in mono and only uses the TB-03 (delay is built in) and TR-09!

2 Likes
#46

Rolled 11 and 5. Used Reaktor Blocks. Sample from the DragonStrike VHS game, circa 1993.

I don’t know. I kind of have a thing for owlbears.

3 Likes
#47

Started with the random thing as described. Then did random offsets of that, then did some random doubling of certain parts and random halfing of certain parts.
This is joint work with WL Altman.

3 Likes
#48

https://soundcloud.com/triermusic/tiny-feedbacks-disquiet0298

A week late and a dollar short.

I didn’t go into the project with anything in mind, but I ended up with a series of long-ish tones that seemed like a great cantus firmus (or bassline) and the seed for an art song.

I dusted off my first-species counterpoint skills and came up with notes to harmonize with the bassline on the downbeat of every measure and thus sketch the outline of a chord progression.

Then I added more notes following those “guide tones” to have a complete melody.

The title comes from a text a co-worker sent me about some PA issues. I brainstormed and came up with a couple of verses - the first verse ended up being something completely different from what I expected, the second verse was more what I imagined the text would be about.

Production wise, the piano sounds came from my Nord Electro (an upright piano patch, which in retrospect is a little clangy and did not have enough sustain for this project). The synths in the second half of the song are the initial bassline, twice as fast and pitched higher, and starting after each other in canon. One of the synths is then constantly transposing upward to create a tilting melody. The final arpeggio is all of the notes from the cantus firmus stretched in duration so they overlap and run through Ableton’s arpeggiator.

I am not a great singer :slight_smile:

Lyrics:
Stuck on a deep frame
Hung on a wall, I’m
gazing
at loping hillsides and then
I’m lost (I’m lost)
in layered landscapes
in blue on blue
in flaking poster paint
scattered glass spatters
nothing’s perfect anywhere

pops and ex-plosives
ligament snaps like
static
they interfere and then they
open fissures
like local weather
or aliens
the message is unclear
rabbit-eared radio
nothing’s perfect anywhere

2 Likes