Disquiet Junto Project 0318: Linear Training

[bendu]

I recorded a twenty inch quartz crystal bowl for my piece. I got carried away and couldn’t get a five to ten second recording that I was happy with. The thing sustains for a very long time. Actually when I would play back the recordings it would start making sound again all on it’s own.

[swhic]

https://soundcloud.com/swhic/emmas-piano-disquiet0318

piano recording>er-301>filter+am from pamela nw via addac 802.
recorded on a portable recorder via a bass amp.

[barnjazz]

first disquiet! this was fun!

recording of a triangle oscillator from 0-coast
SQ-1 for rhythmic gates and cv sequencing
maths for enveloping and LFO processing
three sisters for filtering
cold mac for panning
dixie ii for LFO-ing
little bit of reverb from ableton

my girlfriend said it sounded like it was the soundtrack to carrying out some important mission underground/in a tunnel, which i don’t disagree with.

[paulf]

started with 10 seconds of ride cymbal struck with felt beater attempting to produce a single tone increasing intensity-
no sounds other than this recording used with digital processing to create mechanical pulses, blips, harmonics and so on- soundscape of alien cymbal factory!..not sure if aliens make alien cymbals or if the factory is on auto-pilot anyway:)
https://soundcloud.com/edmundio1/aliencymbalfactory

[Ethan_Hein]

https://soundcloud.com/ethanhein/tones-disquiet0318

Everything in this track was made by processing a single note played on the Ableton Wavetable synth. The speech is vocoded using the synth note as the carrier. The percussion is the note sped up enormously, distorted, and pitch shifted down(for the kick) or up (for the hi-hats.) The melody is the synth note sped up and pitched up and down. The background texture is the note stuttered by a couple of Max For Live effects.

[otolythe]

Whenever I hear the word tone I think dial tone

https://soundcloud.com/otolythe/dialtone-disquiet0318

For tone I used a dial tone from an old rotary phone. After running it through echo, stretching, and reverb filters in Audacity and GarageBand, came up with an interesting rhythm, as well as some associated tones; final tweaking was of volume, which yielded some additional tones that only emerged when the whole thing was quieted down. The rhythm is from the recording also including the hanging up/cutting off sound at the end, which acted as a marker once the tracks were turned into loops.

[whitenoises]

First time trying the Disquiet Junto!

https://soundcloud.com/gregwht/storm-disquiet0318

My initial tone came from the Make Noise STO, a variable waveshape modulated by Pamela’s New Workout. From there I recorded several processed versions of the tone through a number of modules, like Mutable Instruments’ Clouds and Rings, and Qu-Bit Electronix’s Tone. I then brought the recordings into Ableton for further manipulation (EQ, reverb, panning, tremolo)and arranging. I also walked through some of the process on instagram, which can be seen on my archived story @gregwht.

[samarobryn]

@kimchiboy @whitenoises welcome aboard!

[disquiet]

The documentation that @whitenoises put up on Instagram is great. Do check it out if you have a chance. I love that you paused for Star Trek. We need to do a mirror universe Junto.

[name_constant]

Hey there, I’m skipping projects quite often in the last years but I hope that will change again soon.

Here’s my contribution:
https://soundcloud.com/name-constant/fun-in-the-pig-house-disquiet0318

From the description:
Process: This is again just a single recording of modulating one note played by Aalto. Since there was a rhythm emerging, I checked again if I was cheating on the original task, which said to modify the single held tone and nothing else. So I made sure that only one voice of the synth was activated. The rhythm comes by step filters and other stuff Aalto does. Altering one held tone could also mean altering its pitch, actually. and one the other hand, if the held tone was only one single sine, no alterations would be possible anyway because of the lack of overtones. So maybe we can even say that everything is possible with a recording of one held tone with all the effects and filters and stuff we have. Just some thoughts.

[whitenoises]

All hail Emperor Disquiet.

[papernoise]

Process: the initial material is a 10-seconds-long recording created by playing a held note using the Leaf Audio Soundbox (bowed on the springs), which serves as an excitation signal for a physical modelling synthesizer(Mutable Instruments Rings).
This initial material was then processed using the following methods:

1. slowed down to 50% of the initial speed and slightly lowpass-filtered
2. processed using a granular texture generator (Mutable Instruments Clouds) with various random CVs modulating the parameters
3. processed using Clouds with a sequencer triggering the grains, and passing the individual clusters of grains via a lowpass gate (Rabid Elephant Natural Gate)for some rhythmic textures
4. processed using Clouds and a delay (Alright Devices Chronoblob), with a slow LFO modulating the delay time
5. processed with a waveshaper (Mutable Instruments Warps)
6. processed with a ring modulator (Mutable Instruments Warps)
7. bitcrushed and decimated(Alright Devices T-Wrex) then lowpass-filtered
8. distorted by overdriving the input on Mutable Instruments Ears
9. processed using a convolution-based reverb (Reverberate)
10. processed via a highpass filter and a modulated, quad comb filter (Melda MComb).

The resulting materials were then edited together into one piece without further modification, with only a bit of reverb and stereo widening added.

[Segon]

Hi there,
The held note comes from a cheap analog synth. It goes through a pedal distortion, tremolo, crystallizer, low-pass filter, reverb, OTT and drive tube. Then played in chords.
The track is dismantled in the epilogue, so you can hear the bare note.

[vgmrmojo]

https://soundcloud.com/vgmrmojo/0318disquietfinal
0318disquiet
Inserted a virtual instrument track into Reaper. Inserted a Reaktor synth on to this track. Recorded one tone (F#) for approx.10 seconds. Copied then pasted this item 9 more times. Added a different FX to each pasted item.

1. No FX
2. Delay
3. Minifilter
4. Reverb
5. Crossfader
6. Reverb
7. Bass processor and delay
8. Tremolo
9. Stereo chop chop
10. Ring Modulator and ping pong pan
    Mixed and rendered in Reaper

[kirklandish]

The original tone came from a Juno 60 (thanks to my roommate!) sampled into my OP1. I then played the sample into a handheld cassette recorder and played it back into the OP1 at half speed and through some guitar pedals (reverb, filter, delay). These sounds are used to create keyboard tones using the synth sampler and loops using the drum sampler. The Nitro filter was heavily used throughout. All recording and mixing was done in the OP1, with some EQ and reverb applied to the final mix in Ableton.

I’ve been pushing myself to try and do more complete work in the OP1 and while I don’t love the final product I had a lot of fun, work-shopped a lot of ideas, and learned a lot in the process. This is my first disquiet and I plan on doing more now - having a deadline really helped me get over my analysis paralysis and actually say “ok, it’s finished.”

https://soundcloud.com/kirklandish/disquiet0318-linear-training

E: I haven’t listened to everything yet, but very impressed with the variety of approaches so far. Not at all what I expected!

[Zedkah]

my submission is here…a little screachy maybe
https://soundcloud.com/zedkah/reedwire-disquiet0318

also pleased to have done 3 juntos in a row…havent managed that in a while.

richard

[rknLA]

https://soundcloud.com/auxels/4500-087-pluck-disquiet0318

Combo 4500 / Junto.

The source tone is a plucked c# octave on my guitar, through my normal effects rig. I did about 4 or 5 effect passes, and in doing the effects processing, found that I quite enjoyed the simple act of layering them all together. The timing of the single pluck, plus the ring out of the effects, reversals, etc, fits in nicely with the timing constraints of the 4500 project.

[plusch]

Just a brief one from me this time: https://soundcloud.com/plusch/toned-disquiet0318

https://soundcloud.com/plusch/toned-disquiet0318

[SynthAvesta]

This time I was not very inspired and with just a few minutes before the deadline, I decided to produce something random.

Warning: There is no prize for those who listen the full two minutes!

I recorded about 10 seconds of a C note in my Hohner soprano recorder. This was my held tone.

In Ableton Live I insert three drum racks in thre midi tracks.

The first drum rack contained the original recording plus seven processed samples from original:
a) Through Korg Monotron tweaking VCF cuttoff and peak.
b) Through Korg Monotron tweaking LFO int.
c) With Ableton Live auto filter
d) With Ableton Live chorus
e) With Ableton Live redux
f) Processed wwith VST Pecheneg Tremolo
g) With Korg MS-20FX

The second drum rack contained eight times the original recording but each one with auto filter set to a different frequency.

The third drum rack contained eight times the original recording but transpose to each note of diatonic scale.

Each drum rack was preceded with Ramdon midi effect.

Reverb, delay, stereo enhancer… and click to play.

[josephbranciforte]

for this week’s project, i again used the makenoise 0-coast as my source.

http://soundcloud.com/joseph-branciforte/february-5-2018-disquiet-0318

(note: very little of interest comes across on latptop speakers or earbuds, so if you have headphones or good speakers, use those to listen.)

i began by recording a single tone on the 0-coast into my daw. the tone was harmonically rich, with lots of overtones generated by using the slope section in cycle mode as an fm source. i then used izotope rx to slow the recorded audio file down by various very small amounts. this produced 4 additional files that, when looped and panned across the stereo field, produced interesting phase relationships, stereo movement, and emergent overtones.

next, i processed the tone using a hexe revolver pedal, recording 4 additional files into my daw.

i looped all 9 files (the original, plus the 8 processed files) added various lowpass filters to differentiate the voices timbrally, and then chopped up the audio files semi-randomly, muting chopped regions to create microrhythms and some sense of compositional development.