Used all Ableton presets: tingklik, alto sax, tambourines (first track made in Ableton 10). Had the soundtrack to and scenes from “Powaqqatsi” on the mind. Enjoyed the challenge of creating something upbeat that was supposed to signify something like “happiness.”
That’s a sweet-looking ukulele.
Cheers, I bought it secondhand on Ebay and couldn’t find anything online about it.
Seems to be modeled on Ovation guitars with those pretty sound holes and a black rounded back on the body.
Recording on the road, at 37°09’01.7"S 56°53’06.9"W
Used what I have with me: the Requinto on the photo (taken on recording location) an instrument I bought in Tegucigalpa 22 years ago that proved to be a nice travel companion and perhaps the worst instrument I own. A real bastard when it comes for tuning and playing comfort.
8 tracks of it recorded with an AKG 451, then I converted one melody track to midi and triggered a lead synth on z3TA-2.
Added some upright bass notes from my vault, notes I recorded 13000 km away from here long ago, or in a different timeline…
A major, 168bpm in 7/4 time.
Created for Disquiet Junto Project 0321: Let’s Active , 24th an d25th February 2018.
Killer reference. Mom brought my sister and I on a daytrip into NYC > 25 years ago where the highlight was Olatunji at SOBs. There were nearly as many members in the band as in the audience. Drums of Passion still gets touched at least once a month.
After listening to some of the songs in the thread and reading the posts I ended up reading through the paper, which I enjoyed.
I’m thinking it would be interesting to research up on the individual components of music that invoke arousal (tempo was one that was suggested in the paper), regardless of whether it’s sad or happy, and then also looking at the psychological profile of the subjects (were they introverts? add/adhd? or any other characteristics that might have some kind of interesting correlation to follow up on etc.)
My mind did wander a bit while reading the paper, but this was a cool project.
Sort of kind of made a canon or round for this project. Used six instruments. Piccolo, glockenspiel, toy piano, banjo, sax and celeste. Some are samples played in sforzando a sfz player and some are approximations done in Analog 3 by Arturia. It starts with a five bar phrase on the piccolo and then each instrument comes in one measure later playing the same phrase. Done in Reaper version 5.46.
Photo by Nathan Dumlao on Unsplash
I tried to stick to the brief… and, wow - this came out SO unlike me!
Baritone sax sampled from Charles Mingus; pandeiro sampled from Glen Velez; tambourine, piccolo, vibes and toy piano played by me.
Love the Pandeiro and sax
Here’s mine: https://soundcloud.com/plusch/focus-disquiet0321
Baritone sax and piccolo from Kontakt, xylophone from Chromaphone 2, tambourine from freesound.org/people/shpira/sounds/317100/ and freesound.org/people/InspectorJ/sounds/411921/, banjo from Banjo Nilsson at www.musicsamplelibrary.com/.
i don’t listen to a lot of happy music - i can’t focus on it. i’m drawn more to melancholy music, but really i prefer complexity, depth, shifting ambivalent tone. i agree with the point in the discussion that preference for ‘sad’ music might mitigate the effect.
i wander as well if it’s different for musicians - i’ve trained myself to focus on ambient drones, on the minutiae.
i followed the instructions exactly with the intention of gentle subversion. if i’m feeling sad that can come through in the music regardless that it’s in a major key.
i used a ukelele sample and an approximation of a piccolo (crossed with a cat), randomized tone, fast arpeggio, lots of variation.
Ok, so a bit late to the party this week, but I was out of the country, had an assignment due, and my wife has bronchitis… so excuses out of the way, I made this weird thing last night:
This is Pamela’s new workout triggering Tonnetz Sequent, the 3rd and 5th outputs being used to sequence two A-110 oscillators that are ring-modulating each other. The root output is going to Tides for a second (third?) voice. The filters are resonant, with one having the resonance pinged up ocassionally which could be considered an extra voice. There is also some white noise going through a filter that is variously being controlled by a variable envelope and some S&H LFOs. Some delays in-modular, pus three different delays via the mixer. Lots of live tweaking. It turned into this crazy beast - but it certainly demands your attention!
A piccolo, two xylophones and a tambourine. 130bpm. C major. It rides the edge between cartoon music and something… I don’t know.