Disquiet Junto Project 0324: Factory Floor


#1

Disquiet Junto Project 0324: Factory Floor
Make music for newsrooms, design studios, and other collaborative workplaces.

Step 1: This is the latest in a series of Junto projects about background music. Consider what sort of music is appropriate for collaborative workplaces, such as newsrooms, design studios, software development teams, and so forth. Think about music that (1) isn’t distracting and (2) suggests momentum.

Step 2: Record a piece of music that applies the thinking arising from Step 1, and that makes sense played on repeat or as part of an imagined playlist of like-minded compositions. The length is up to you, but consider keeping it between three minutes and six minutes.

Background: This project is somewhat similar to another recent project that was part of the background-music series. In this case, to probe the concept further, most of the previously proposed constraints have been removed.

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0324” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0324” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Please consider posting your track in the following discussion thread at llllllll.co.

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Other Details:

Deadline: This project’s deadline is 11:59pm (that is, just before midnight) wherever you are on Monday, March 19, 2018. This project was posted in the afternoon, California time, on Thursday, March 15, 2018.

Length: The length is up to you. Between three and six minutes seems about right.

Title/Tag: When posting your track, please include “disquiet0324” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track online, please be sure to include this information:

More on this 324th weekly Disquiet Junto project (Factory Floor: Make music for newsrooms, design studios, and other collaborative workplaces) at:

https://disquiet.com/0324/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0324-factory-floor/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

The image associated with this project is by kenmainr and is used thanks to a Creative Commons license:

https://flic.kr/p/dPaQ96

https://creativecommons.org/licenses/by-nc-sa/2.0/


#2

The project is now live.


#3

https://soundcloud.com/user-208393504/red-room-disquiet0324


#4

https://soundcloud.com/user-507251108/ambient-disquiet0324


#5

here ya go!


#6

Consider what sort of music is appropriate for collaborative workplaces, such as newsrooms, design studios, software development teams, and so forth. Think about music that (1) isn’t distracting and (2) suggests momentum.

For this one I decided to rework a personal project from last year, a track I composed while unable to move from a certain place, but looking at the open sea through the window, music that could be kinetic and could wake a certain travelling envy, but was created with the stillness of a working space in mind.
Travelling without moving, as the song says.

this junto version is less strong in “crescendo” and has no guitars compared to my longer and more dynamic original, this is a more repetitive synth and electric piano driven version. I can imagine people in the same room/workspace listening to this, having the wide-open visible through their windows and experiencing some kind of healthy, drug-free energy rush.
Personally, if I were working in a confined space, I’ll take a long version of this , say 8 hours, with a never stopping crescendo from the start of the working shift till the culmination, when everybody is good for the day and can go home…
Like Max Richter’s “Sleep” but the opposite…

Love
DD


#7

#8

#9

Called this “fake it til you make it” because I haven’t done this for a very long time - mashed a bunch of samples together and made an upbeat piece. I wanted to make a piece with some changes and energy, while not being too jarring or flashy.

Ableton packs: Loopmasters and Unnatural Selection @ 140 BPM.


#10

“Background music for collaborative workplaces designed to create momentum without being distracting” describes all of my music, really.

Sounds:

  • Samples of “Soul Pride” by James Brown vocoded through the Ableton Wavetable synth Bright SAW Lead preset, and beefed up a bit by 909 drum machine.
  • Samples of “Better Git It In Your Soul” by Charles Mingus.
  • Another Wavetable preset called Echo Bay, played through a MIDI arpeggiator on the Push.
  • A drum kit made from samples of “Billie Jean” by Michael Jackson, played using Note Repeat on the Push.

#11

The playlist is now live, 10 tracks and growing:


#12

Here’s mine. I’ve recently got hold of a couple of new Eurorack modules (Mannequins Just Friends and Cold Mac) and they are on some core modulation duties here - the three melodic parts are driven by the Just Friends and are intended to have some form of phasing quality. I was working from home today so there’s a recording of a rainstorm in the background, together with some dronework by the 4MS SMR.

I’m not sure how close it is to the collaborative workspace piece, but I’m quite pleased with the results on this one.


#13

I enjoyed this Project. Thanks for listening <3


#14

struggled with this.

had classical instruments going through randomized arpeggio (iris 2, live 8) sounded a bit newsroomy motion but not so background. stretched and blurred to a drone and had the arpeggio coming in sometimes


#15

Hi All,

Not sure which employers would foist this on their employees to keep them productive! Maybe in a parallel universe …

This week I’ve been playing with an office door, Bastl Bitranger and Borderlands Granular - all blended in Ableton …

Have a great week!

h u :slight_smile:


#16

First time I’m taking part in this exciting project.

This tune resembles how I can feel about my work place and the situations that I come across during the days. It’s sort of uplifting and in the background, but still there are elements that disturbs me and tries to get my attention.


#17
  • Consider what sort of music is appropriate for collaborative workplaces, such as newsrooms, design studios, software development teams, and so forth. Think about music that (1) isn’t distracting and (2) suggests momentum.

A while back I wrote a 45 minute piece for myself to listen to while on the elliptical. The idea was to provide a specific rhythm throughout my workout on which to base my actions. As I worked my legs and arms the music eventually fell into the background, allowing me to think of other things.

I decided to use this general idea with Coding Factory, a considerably shorter piece, that would allow one to either listen to what is happening or let it slide into the background so that other thoughts could take over.

Coding Factory was written for nine solo instruments, Flute, Oboe, Clarinet, Bassoon, two Violins, Viola, Cello, and String Bass.

The score is available at bit.ly/2FISGqn


#18

Took this one as a bit of a technical challenge - could I put something together that would fit on a Spotify playlist like “lush low fi” or “mellow beats”, both of which we play at work pretty consistently. Think it works to that end. Not sure how I feel about structure and having a beat. Been a while since I paid attention to either of those things in a recording. That said, I think I could reasonably slip this song into a playlist at work without anyone wondering where it came from. I think there’d also be a 3% jump in productivity. :construction_worker_man:


#19

#20

“The cybernetic revolution has developed more rapidly than many could have foreseen. We are entering the second industrial revolution in which human physical energy—[not only] hands and arms—but also the brain and nervous system are being replaced by machines.”

If you’re the type who follows technological trends, you might think the above was written by a post-2015 Silicon Valley scribe on the emergence of AI. In actuality, it’s a quote from Erich Fromm’s classic book Escape from Freedom, written in 1941. Suss Müsik can’t decide whether to be humbled by such prescient statements or depressed beyond comprehension.

Any attempt to create a work of art that avoids distraction and suggests momentum is bound to fail by at least one criteria. Cognitively speaking, we’re more likely to get into a groove when we minimize distractions. However, it’s well known that humankind’s greatest innovations are the result of expanding one’s realm of possibilities beyond current modes of working. It could be that the true nature of collaboration is where machines and humans each perform the tasks to which they’re most suited.

For this weird piece, Suss Müsik attempted to replicate the above approach by playing a series of looping phrases on piano, organ, sax and percussion. The piano and organ were treated with a Moog MF-101; the sax was passed through a Red Panda Tensor on maximum randomization. The percussion is various stuff we had lying around plus a CR-78 emulator.

The piece felt a bit … dunno what, so we added a vocal component in the middle fed through a Korg 411fx. The text was written by M. Tegler and recited by C. Koustourlis. Suss Müsik doesn’t know what it means, either.

The piece is titled Parabiosis, which is the artificial joining of two anatomic organisms for the purpose of scientific research. The image is a distressed coupling of two computer chips.