Disquiet Junto Project 0327: Time Zoned


#41

Funky spacey recognizable


#42

I’m temporarily obsessed with the free plug-in Plogue Alter/Ego and I wanted to see if I could make it sing in Esperanto. The lyrics for the vocal parts were taken from Proverbaro Esperanta, the collection of proverbs compiled by L. L. Zamenhof, the creator of Esperanto.

7/4 time – Stereo Left – “Alia tempo, aliaj moroj.”
3/4 time – Stereo Center – “Estis la tempo, ni ne komprenis - pasis la tempo, la saĝ’ al ni venis.”
2/4 time – Stereo Right – “Tempo flatas, tempo batas.”


#43

this is mine… I think I might have used a short sample of @ioflow piano from one of the lines remix projects…hope this is ok.


#44

long time listener, first time contributor.

a) 2/4 - electronics
b) 7/4 - live drums
c) 3/4 - piano improvisation


#45

Signed up to the disquiet junto mailing list a while ago and am glad I finally got around to doing one!

Begins with rythmic elements in 2/4 which build and change but carry through the whole song (made on Elektron Machinedrum). The bassline comes in next in 3/4 and plods along for most of the song filtering up and down (made on microKORG). Finally everyones favorite time signature 7/4 comes to the party a little later with a wondering melody (made on a Waldorf Blofeld).

I started by thinking a lot… too much even, about how these time signatures might work together to create phrases. 3 and 2 gives phrases at 6, 3 and 7 at 21, 2 and 7 at 14 and finally the whole thing should wrap around at 42. When I finally got some time on the weekend to start working I found none of this very helpful and just went about creating a 7 beat phrase that I liked. Then played around looking for a good voice for it. Next I made a simple harmonious bassline in 3 and finally added some rythm with the 2.

Recorded in one take, sequenced with an Elektron Octatrack and mixed on a Yamaha analog mixing console.


#46

As several others have observed, 42 is the answer to life, the universe, everything, and this Junto assignment. So I put on my two Zaphod Beeblebrox thinking caps and approached this piece as a mathematical problem. A piece composed in 3/4, 2/4 and 7/4 will converge every 42 beats: 14 measures of 3/4, 21 measures of 2/4, and 6 measures of 7/4.

More math: I decided to use three chords during each 42 beat phrase, and make the chords change on measure boundaries even though the measures don’t line up. The 7/4 line plays each chord for 2 measures. The 2/4 line plays each chord for 7 measures The 3/4 line plays 5 measures of the first chord, 4 of the second, and 5 of the third. Careful selection of the individual notes around the chord changes allowed this to work without dissonance.

Created in Live with Ableton instruments. Playing each time signature are: cello on 3/4, bass on 2/4, and guitar, violin and flute on 7/4. Live handled the multiple simultaneous time signatures pretty well.


#47

Much struggling with Reaper. I love Reaper, but have never tried to do anything in multiple time signatures (let alone anything other than 4/4 or 12/8). Wish I would have just done something that took advantage of the premise rather than fought it the whole way through, but there you have it :slight_smile:


#48

Let me know if your track doesn’t show up in the playlist. The SoundCloud interface has been a bit jittery lately, and sometimes it doesn’t take. The play list is here:

http://soundcloud.com/disquiet/sets/disquiet-junto-project-0327


#49

Now the noise gets some creepy crawlies :wink:


All moving parts shot on location with a Samsung Galaxy S4 and exported to LumaFusion on iOS for manipulation.

#50

Well I wasn’t able to pull this together into a finished thing but, and probably because, I spent all the time jamming around and learning how the ratios can work together. I had a go at running a stream though for a couple of friends which in highly skippable form is here:

Drums are in 7/4, there is an STO bassline at 2/4 with a pair of Mangroves which a root-noted by the 2/4 STO with a 3/4 sequence of their own running on top


#51

So for this project I have 3 “melodic” lines in 3/4, 2/4, 7/4 - but I took a little artistic license and each phrase may be more than 1 bar of each meter. Initially the drum tracks were meant to be guides to create the melodic lines against, but I decided to use them because i liked where it was going. I tried to mix up the arrangement to show off the combination of the 3 different lines coming in and out, and briefly showcase each by themselves as a “solo”.

Gear-wise, I used this as an excuse to exclusively use only instruments and effects from within Ableton Live 10. Except for mastering, which was Izotope Ozone 8.


#52

This seemed like a fun counterpoint challenge. I wrote a melody in 7/4, worked out a bassline in 2/4 (2/4 seems appropriate for a bassline), and then added an inner voice in 3/4.

I’ve been revisiting my favorite They Might Be Giants recordings, so I thought a “yo yo yo” swarthy pirate accompaniment would be fun. I’m not as quite as hearty as them though.

It works pretty well, although it may not be apparent from my faulty intonation.

Edit: Took some time today to do some serious edits and add some studio polish.


#53

This is great! Very musical application of the prompt.


#54

Here’s a trippy dub techno track played on hardware. Arps are Volca FM in 7/4, chords are Volca Keys in 3/4, and the kick drum is Volca Kick in 2/4.

When I read this prompt, I already had these three instruments hooked up, and anyone who has ever used the built-in sequencers on Volcas knows that they are perfect for quickly writing in polymeter. I had a ton of fun making this in only a couple days! Great prompt that got me out of the 4/4 zone.

Reverb is from a Zoom MS-70CDR. Mixing and compression from Volca Mix. Mastered with LANDR.

edit: here’s a video! https://youtu.be/CTFF-BF2Xns


#55

Hi folks!
109 bpm x 3 minutes = 327 beats
3 separate one minute tracks layered/mixed/looped
To combine into this final piece… all drums sequenced using Euclidean sequencing via Rozeta Rhythm - 7/4 2/4 3/4 - bass line is also 7/4 with some probability effecting accented notes and note order, another sequencer -Rozeta Collider - is employed using a grid of Seven. Synths, Drum machines and EFX employed:
Tardigrain by Humbletune
Ripplemaker by Bram Bos
ReSlice by VirSyn
Moog Model D
Axon by AudioDamage
Ruismaker FM by Bram Bos
Troublemaker by Bram Bos
Phasemaker by Bram Bos
QuatroMod by AudioDamage
AUM by Kymatica
Eos by AudioDamage
ApeDelay by ApeSoft
FilterStation by AudioDamage
DubStation by AudioDamage
Replicant by AudioDamage
FuzzPlus by AudioDamage
Dedalus by AmazingNoises
GliderVerb by AmazingNoises
Reverb by AmazingNoises
Kosmonaut by Bram Bos
Thanks for checking it out!
J :slight_smile:


#56

Sounds like if Music for Airports was written by Philip Glass, in the best way! I love the limited amount of pitches. It felt like there was some internal logic that I could hear but not understand - which is a feeling I dig. The photo you chose really adds to that sensation.


#57

Wonderful sounds, and lovely to hear a more “abstract” approach!


#58

Thanks for the abstract