Disquiet Junto Project 0336: Open Mic


#76

hello all
I hope everyone is well

I took the mics into the garden, this is the half finished result.
rehashing old ideas with new tools, sounds nice to me…

3 scales ( [E, B, F#, C#, G#], [B, F#, C#, G#, D#], [A, E, B, F#, C#]) > 75 wav > semi random seqs > pitch down 2 semi tones


#77

I definitely would like to listen more of this, I also think that what you do with radio snippets and samples is great on top of pads.


#78

Hey guy, I couldn’t do a SoundCloud this time as I preffered this piece. It’s a jam made of 3 elements, first is about 2 minutes, made of a pad and some synth lines, then a sort of polyrhythmic mallets motif and then that opens up for a more groovy, busy part.

At that time in Tokyo I was not able to record it and mix it properly so I guess that would be a normal suggestion :joy:,

There was a fourth part where the polyrhythmic part passed through a ring modulator that gave it a nice touch but could not be recorded.

Should I polish it a record it properly?


#79

Fantastic work. The sound is sublime. Like a snapshot of a frozen lake. However, it doesn’t really go anywhere.

This could go in so many different ways.

Some examples of what you could do: glitch percussion, a slow, groovy bassline, swelling synths, samples of field recordings pushing through. I see huge potential here!


#80

Thanks for the response. The guitar part is basically just jerking around on the same 7th chord the whole way through. I’ve gotten used to it I suppose, and it kind of works even through chord changes implied by the bass line. I’d imagine that a real guitarist would do something more interesting.

Lyrics wise… erotic? Hmmm… Ive lost touch with my Russian friend after she got married, so I’m looking for someone to provide vocals/noises. :smiley:


#81

Hey folks, here’s a piece that’s unfinished in more than one sense. It’s a “live coding” algorithm written in ChucK. It’s a work in progress in the sense that I haven’t decided how to parameterize and structure the algorithm or the way in which I use it–basically I alter volume, time, and base pitch throughout (it generates tones by randomly selecting from a scale based in that pitch).

I’d be very happy for feedback on the following:

the selection of tones: are there too many tones in the scale? (is it too complex)?
dynamics, it goes from very soft to pretty loud, maybe better to have a more gentle curve?
somewhat repetitive–at one point I had overlaid some gentle percussion and a basic sine wave fundamental. maybe other elements? rhythmic noise?

if you’re interested in the code, it’s below the link:

/*
degree ratio
2m 1.066666667
2 1.125
3m 1.2
3 1.25
4 1.333333333
tri 1.40625
5 1.5
6m 1.6
6 1.666666667
7m 1.8
7 1.875
12 2
*/

Moog s => Envelope e => NRev r => Echo echo => Echo echo2 => Pan2 p => dac;

0.5 => echo2.mix;

.9=>r.mix;

[1., 1.25, 1.3333, 1.40, 1.5, 1.6666, 1.875, 2.0] @=> float scalepick[];

660=> float basefreq;

0 => int index;

1=>e.keyOn;
.6=>s.gain;

while (true) {
Math.random2(0,scalepick.cap()-1) => index;
Math.random2f(-1.,1.)=>p.pan;
basefreq*scalepick[index]=>s.freq;
// 55.=>s.freq;
1=>s.noteOn;
2.5::second =>now;
}


#82

Thanks for the response. I think I was after a funkier bass line, I’m not great with “funky playing”, so what I ended up with was a filler until I came up with something better. Which hasn’t happened. The bass line works ok, but a better player would do a better job. :slight_smile:


#83

A soothing and entrancing piece. Honestly, wouldn’t change any part of it. The sounds from nature provide a perfect bedding for this tranquil atmosphere. Have no idea where this was recorded but we want to live there. Nice work.


#84

The opening minutes are eerie, almost ghostly, and it’s fun to see you performing these sounds in real time. The mallets seem to come as a surprise. Actually really love how they simply repeat the same phrase until the cello/bass makes its appearance. A possible area of exploration might be a bit more variety in the lower tones. Things seem to stall around the 3-minute mark until the drums kick in, then it almost sounds like a totally different piece. It’s definitely an interesting listen, almost bordering on prog-rock (!) near the end. Great work.


#85

To start: absolutely love your thought process behind this piece. The tonal scale seems just right – not too complex, not too simple. It almost has a John Adams Common Tones in Simple Time sort of vibe to it. Really love how it switches scales about two minutes in. Not sure that we’d add any rhythmic noises or percussion, as that might cheapen the experience. Could seriously envision monks chanting these notes at midnight. What might possibly be interesting is a bit more roughage during the final minute – perhaps a gradual introduction of white noise distortion. Then of course, a proper fade out to complete this wonderful piece.


#86

Here is an unfinished drone / ambient piece. I’m never sure where to take these things.

It’s comprised of a pitched down field recording of birds, a snippet from an old sufi cassette tape, a ripped youtube recording of a piezo mic recording ants walking (similar to a vinyl crackle effect), and a self-generating aalto patch with some additional software fx and modulation.

I think I may add some upper harmonics to the synth part and cut the low end a bit more. Is it too muddied? Should I introduce a new element or refine what I have?

I began this week’s junto eager to give feedback on others – @SussMusik is owning this right now, amazing job – but realized it’s really hard to give feedback on experimental work! Will try to dip into a few selections before the week’s end.


#87

Greetings all! This is a track I began using some of sounds form the modular “blocks” in Reaktor to form the main synth sound. It is, in part, an attempt to get away from a bad tendency to use to many sounds rather than exploring what can be done with less sonic material. Any feedback and ideas is more than welcome. I’m particularly wondering if quieter sounds leading up to the main synth line are too floaty and whether they feel like they only exist to provide contrast for the main line. I also wonder if the role the percussion sound plays is sufficient or if something with more complexity might be worth exploring. Thanks in advance to all responders. I will try to give a listen to everything and comment as the week goes on.


#89

I started this one a year ago. I had quite a few “sound effects” or “source” records, and the self-imposed rules was to make a mix from records only, to justify buying them. In the second half is a “bass line” made from moving a needle on and off a low tone in a record. Similar to my other submission some ideas are there but composition needs to be tightened up.

This was strongly inspired by the Tape-Beatles, esp. their release “The Grand Delusion”, some of which I saw them perform when they toured in the 90s. I have that CD and “Music with Sound.”


#90

Thanks for taking the time to listen and comment, I really appreciate it. I will explore what to do regarding the low register, the mellotron cello might be blocking some other options. There was a little when the mallets start, the tambourine shouldn’t start right away so it takes a bit to get it’s 4/4. And the another funny thing is that the ambient/eerie part, the second rhythmic part and the (still not there) ring modulated part is actually the same mallets with different fx!


#91

It’s a very compelling listen, especially in the opening moments with what sounds like a distant flugelhorn or something accompanying the birds. The deep tones that arrive at 1:45 are majestic. Repeating a comment made to another contributor, check out Shouting at the Ground by Zoviet France (especially the track “Shamany Enfluence,” which this very much resembles). It’s not muddled at all, and the composite chords you’ve created are actually quite emotionally dense. If anything, the piece might benefit from reduction – pulling back some of the harmonics to reveal hidden textures. Lovely.


#92

This is tremendous fun – love these little two-minute sketches that pack a lot of content into a small package. There’s a vague quality something like Yellow Magic Orchestra as it opens, then it goes all Prefuse 73 and Mouse on Mars with the smashing bits – great stuff. Really like the melody that holds it together. Only possible area to explore might be to expand the panning range of the hits, perhaps have them arrive from different parts of the listening field (one from front-left followed by one from behind-right, etc.). Really use the space. Nice work.


#93

Straight away this brings to mind the work of Erik Lindgren on his Arf! Arf! label – check out Dig Archaeology Vol 1 if you can find a copy. It’s almost as if Negativland were commissioned to do an instructional audio piece for air traffic controllers. The only comment that comes to mind is to explore the call-and-response more fully, perhaps expanding the time between the bits of voiceover. That might allow more layers to reveal themselves, to perhaps tighten up the composition for you. Also, don’t be afraid to add a bit of musicality to the more abstract components – could you work with the intonation a bit? This brought a smile, thank you for sharing it. :grinning:


#94

My first idea to complete the track was to add a improvisation bass clarinet or Didgeridoo. Wildlife and Frozen lake are pictures present in my readings of this moment. I feel that all the ideas expressed are good


#95

Had a toasted sandwich the other day but haven’t finished a track to edit the video yet.


#96

Did it! I brought in some Coltrane and it sounds awesome. Thanks for the inspiration.