Disquiet Junto Project 0336: Open Mic


#63

Atonal Exit Strategy is a band name waiting to happen. :grin:


#64

The first minute is glorious, especially when the bass kicks in at 0:58. It resembles some of what The Pop Group, Rip Rig + Panic, Flowers of Romance-era PiL, etc. were creating in the very early 1980’s. Maybe it’s the angry sampled voices being applied to rough, rhythmic structures. It’s an exhilarating listen. Feels as if something should happen between 2:10 and 2:25 – maybe bring the drums further into the mix, like what happens at 2:32, crunch up the midrange EQ, and just let them hammer away for a few bars with no voices. The guitar phrasing at the end is nice, perhaps consider making it a rougher, more abrasive sound – think Keith Levene’s work on PiL’s “Careering” or Andy Gill on Gang of Four’s “To Hell with Poverty.” Playing with a metal pick is fun :slight_smile:


#65

We could start with naming a track …:crazy_face:


#66

@SussMusik @krakenkraft

‘Liquidation’

‘Deviating Contingencies’

‘Internal Breakcore’

‘Loss Infusion’


#67

This unfinished track has sat in my logic folder untouched since Jan 6th. To be completely honest, I had forgotten about it until this morning.

Outside of the creation date, I only know that I sequenced all of the melodic parts with Arc/Ansible. Although, I am fairly sure that I hear Rings, and that the ER-301 did drums/processing.


#68

Fun little melody happening there. At the 0:30 mark the introductory keyboards are most welcome. There’s a subtle Asian flavor throughout that recalls Bill Nelson’s Chimera. Maybe play that theme up a bit with some interesting polyrhythms, using both percussion (thinking hard hits with lots of reverb) and koto-style keys. Also hearing where there could be an almost choir-like sound rising in the background: a sort of “aaaaahhhhhhhh” Gregorian chant type of thing (difficult to describe in writing). This is a great start – develop it :grinning:


#69

Beautiful. The “underwater” quality that abalone mentions is part if its intrigue but at times I felt like I wanted some of the voices to stand out just a bit more in the mix (e.g. the brassy sound later towards the middle)


#70

Good Day! Generative Music Studies combining random process layers, attempting to understand. While exploring concepts of Diana Deutsch’s theory of Speech to Song Illusion.
SquirlZ Sciuridae Generative disquiet 0336: Open Mic

Disquiet Junto Project 0336: Open Mic
I would like feed back on concept, style, bloop bloops.

What are your feelings on the creatures are they cute or scary?


#71

I like this, there’s a “randomness” in the notes of the main riff, like routing a midi percussion track to a pitched instrument. I like the tonal ambiguity this has.


#72

Thank you @DeDe and @SussMusik for the encouragement and advice. :grinning:


#73

This is lovely. Beautiful evolving tones and melodies.

The only thing I’d suggest is doing some EQ work on the glockenspiel-like instrument that comes in about half-way through. Some of those high frequencies are a little painful.


#74

Thanks for this feedback. How did you listen to it?


#75

A strange, wonderful journey. The bloop bloops are nice and could be embellished with even more tonal textures. When the bloops stop at the 2:30 mark the drums are noticeable for the first time. The speech-to-song concept is stronger here, especially when the drums build at the 3:30 mark and the vocals become more pronounced. It somewhat recalls Markus Popp’s collaboration with Christophe Charles – check out the last track on their album Dok, which is a lovely extrapolation of found speech converted to sound structure. The creatures are neither cute nor scary, more intriguing and mysterious. Like watching a documentary, we want to know more about this world they inhabit. With a bit of space between the layers, you might discover ways to reveal even more of this amazing ecosystem to us.


#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: