Disquiet Junto Project 0326: Wave Turntable


#1

Disquiet Junto Project 0326: Wave Turntable
In collaboration with composer Danny Clay, make music for his exhibit with artist Jon Fischer using only sine waves and turntable surface noise.

Step 1: Tracks in this project will be played as part of a free event in San Francisco at the McEvoy Foundation for the Arts (mcevoyarts.org) on Saturday, April 7, 2018, for an exhibit by composer Danny Clay (dclaymusic.com) and artist Jon Fischer (feather2pixels.com). The project was developed in collaboration with Clay. Before proceeding, consider the sort of music that might be conducive as partially-heard, partially-background music for an art event.

Step 2: Compose a short piece of music using only sine waves and the surface sounds of vinyl played on a turntable. Those two sources are inspirations for the Clay/Fischer exhibit. (The cover image to this project shows some of Fischer’s turntable art.)

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0326” (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 “disquiet0326” (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, April 2, 2018. This project was posted in the afternoon, California time, on Thursday, March 29, 2018.

Length: The length is up to you. Roughly two to four minutes sounds about right.

Title/Tag: When posting your track, please include “disquiet0326” 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 326th weekly Disquiet Junto project (Wave Turntable: In collaboration with composer Danny Clay, make music for his exhibit with artist Jon Fischer using only sine waves and turntable surface noise) at:

https://disquiet.com/0326/

More on Clay and Fischer at:

http://dclaymusic.com
http://feather2pixels.com

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-0326-wave-turntable/

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 artist Jon Fischer from his exhibit with Danny Clay.


#2

The Junto project is now live.


#3

#4

samples, ring modulator, tape delay, eq/mixer


#5

beatmaker2


#6

Hey All, All sounds from freesound- see sc for description. I ,personally, am the idiot. Spring is in the air and I am sprung. We had a rather large black bear stroll through our back yard. Renoir never had to worry about no bear. Hope you are all well.

Peace, Hugh


#7

Patch was written in Ableton. Most of notes produced by a random generative midi effects. Three main parts:
A. A simple synth based of a sine wave
B. The same synth with a longer decay and different filtering
C. Small micro loops of turntable noise layered and cut up


#8

I browsed through Jon Fischer’s works as I wondered how to approach this project, and what struck me was the fluidity of the works - in many of them, the colours seem to ebb and flow onto the surface. Each colour has its own rhythm and quality. Which then reminded me of water - and oceans.

When making this track, I contemplated on the idea of waves, and how they tumble through and onto each other as they approach land. Each has their own time as they individually navigate the geographies of the shoreline.

Layers 1-4: various sine frequencies
Layer 5: Vinyl sound
Layer 6: Vinyl sound, run through the Berlin resonator and Great Buddha phaser effects in Ableton 9.

PS: Thanks Danny and Marc for this!


#9

here ya go! x


#10

this is so lovely! seems so ‘right’ for a gallery sort of space.


#11

The playlist is now rolling:


#12

Happy Easter Everyone!

Just iZotope Vinyl and an Ableton sine synth …

Have a great week!

h u :slight_smile:


#13

generated a sine wave in audacity, used paulstretch for some interesting random amplification and distortion
pulled into protoplasm at 6 different semi/octaves
and had that going thru izotope vinyl - gradually throughout the track i upped the warp depth and wear
just played live for about 7 minutes - wasnt very good at playing today, so added some preverb to hide that a bit. 2 notes at once so 12 concurrent layers with all the different semi/octaves (i really like the layering in jon fischers art, was inspired by this)
mastered in audition


#14

Title says it all: various samples of vinyl surface noise obtained from Freesound.org, processed through Ableton drum buss and echo (the evocatively named “diffused long cascades” preset), and some simple improvisation on wavetable synth (the equally evocatively named “ghostly mirror” preset). The vinyl noise samples are all trimmed to the same length and quantized, and the echo/delay is tempo-synced to give things some rhythmic coherence.


#15

first Junto track in a while and not sure if I did it too quickly but used modular with sine going through Magneto with some LFOs for the rhythm and assorted 78 records for the crackle


#16

sounds great, nice work :slightly_smiling_face:


#17


If this shows up. Soundcloud seems a bit unhappy right now.


#18

The vinyl noise comes from Plaits in Particle Noise mode. Sine wave piano tones come from Just Friends. There is a lot of movement happening behind the piano. This comes from a slightly modified version of @speakerdamage’s creative Cold Mac/3 Sisters patch I saw earlier, in another thread.


#19

I love records, old and new! Nice prompt and glad to make it on time :wink:

Video fun - https://youtu.be/LwNn8ltDkvA
Seventy-Eight Sine(disquiet0326)
Some time ago spxcewaves and I recorded a tub full of old 78 records. This piece uses the starting needle sound of the record ‘My Belgian Rose’ played by Prince’s Orchestra circa 1919. The roughly 4 second sound is bookmatched and used on three tracks to create varying lengths of undulations. Each were given effects, (tape delay, filter and overdrive) that spawned a three part choir consisting of breathing, waves and static. The fourth track is the original sample with panning automation and a touch of RoomWorks. Micrologue provided the detuned offset sine oscillators with a tweaked amplifier envelope giving a more bell like attack. Recorded and thrown together with Audioshare, Cubasis, Duplicat and Waves. Photo - Sample source and friends!


#20

Taking direct inspiration from the name and theme of this week’s project, I tried to create a feeling of rotation through the pure sine waves. I used eight sine oscillators panned across the stereo field. While recording I played subtle movements on the pitch of each oscillator to create phase shifting and constructive/destructive relationships in the tones.

All sounds other than the sine waves are short recordings of records playing on my stereo using my field recorder, both recording the speaker output and the raw sound of the stylus on the record at close range. These have been pitched and amplified a little.