I utilized a MAX patch that randomly the pitch and beat I built viewing each clip as a stage position. I used 2 instances, so I could have a place for each clip and I selected points in each clip to modulate. I then added EQ. Have a good day!
A wide range of tones. 1:43 has some HTS that moves so fluidly.
The drum sounds and bleep bloops interact very nicely together. The build starting at 3:12 is full of pressure and has you just wanting to run. To where I don’t know but it resolves to comfort.
The interaction of the tones in the latter half of the song was jawclenching and provided many body sensation. Thank you
Those snaps are popiN’!
Well done, it would play nicely thru some Jack Daniels. I hope I don’t get lost.
Here’s my interpretation…
Hello everyone, long time no hear!
Tetrad Convergence (disquiet0338)
Back from an unexpected Junto absence and just in time to muck up fellow participants work. It is always with a bit of trepidation that I tackle these types of prompts, the possibility of offending not just the listener but the creators as well, adds an extra level of expectation that hopefully I can pull off. Having enjoyed this groups work for a few years now did help to make it a bit easier.
I wanted to keep the originals intact so I instead focused on time and effects. IkJoyce’s piece was sent to Perforator gate mask for a rhythmic feel with a bit of Pan and Tremelo for space. Subsepai’s piece was given a mild Kosmonaut delay, Audio Obscura’s some ADverb2 and then both swapped left and right fields while changing direction every other section. Sevenism’s piece was stretched while adding DLYM delay and a bit of stereo width. All of these were AHU3 plugins in Cubasis. The resulting mix down was sent to Audioshare where silqequalizer crashed while doing a final mixing. Luckily the second time it worked and a little low end was added while bringing down the top a bit. Thanks to IkJoyce, Subsepai, Audio Obscura and Sevenism for letting me mangle them all And as always, thanks to Marc for making this happen. It’s good to know its here when I can make it!
I absolutely did not create the feeling that a live performance was captured in this track - but nevermind. I wanted to get busy with processing and was short of time so… this happened:
Sorry it doesn’t meet the brief!
Still stress testing the workflow on using a totally linux focussed audiovisual environment. The samples were cut into multiple small chunks and played through using tidalcycles into an ambisonic pure data environment and output as binaural into audacity. Some usability problems with getting levels right in a many source speaker environment, but overall a positive experience.
Hi Ya’ll, been a while.
Audio excerpts from a performance at Naviar Haiku Fest.: Ikjoyce, Audio Obscura, Subsepai, and sevenism. Audio was stretched, cut, duplicated, arranged and affected in ableton. No additional sound sources added. Experimenting with multiple instances of beat repeat, granular warping, and a delay plugin called mikron cascade. Not really reflective of a live performance, but… thanks for listening.
Now comes one of my favorite parts of junto participation; listening to other peoples interpretation, thanks.
Greetings from Somogyvámos, Hungary!
I was travelling from Spain to Hungary, so It was difficult to allocate time for this.
About the process:
It al started because, ikjoyce’s melodic line made me think about, that first time when the Rite of Spring was performed, in Paris 1913…it was quite a scandal, with people shouting, fist fighting, and throwing vegetables. Conceptually very very difficult for that time, and also difficult to perform such things…a breaking point from the same guy who composed Firebird a few years before.
Anyway it made me think of slow motion of that time, that ikjoyce melody is almost like the first melody on Rite of Spring…some things getting broken here and there…Igor looking all that mess…starting 20th century music almost bare hand…
On the other hand I thought of subsepai, sevenism, and Audioobscura’s as what other instruments would play on a classical quartet,using filters, delayed delays, reverbs, and phasers.
Finally a touch with Paulstretch, btw I could not believe it could extend that innocent minute to more than 2 trilllion years!
I am impressed with so much talent here!
I imagine this quartet has some issues…
The source material was awesome on its own and wonderful for listening. I really enjoyed completing this project. I learned a lot about my sampler along the way.
I loaded the four samples into my Digitakt and completed all editing there. All of the sounds you hear were created from those samples, including the bass drum. I played the pattern chain through the Analog Heat while recording on and monitoring through the Infinity looper. After Reaper and Ozone 7 you get what we have here!
Mostly Frame (Reaktor ensemble from https://reaktortips.com/) with extra modulation from Bitwig’s modulators. Used Bitwig’s reverb, and compression from Unfiltered Audio’s Zip.
Created with 4 tracks of granularized Naviar Haiku via Clouds, sequenced by Ornament and Crime, with light lifting from Maths. Processed for consumption in Ableton Live. Hope you enjoy it!
First, the samples were prepared in Twisted Wave:
The Audio Obscura track was pitched an octave higher.
The lkjoyce track was chopped up into sixteen mono samples, eight from each channel.
The speed of the sevenism track was increased to 1600% of original.
The speed of the Subsepal track was increased to 400% of original and then chopped into five stereo samples,
Then, the samples were sequenced in Numerology Pro, placing each at a separate stereo position.
The Audio Obscura sample was looped, with an LFO modulating Numerology’s Pitch Shifter to increase the pitch by an additional 0 to 659 cents at 50% wet. It was intended to be the driving beat throughout.
The lkjoyce samples were played back duophonically, using two sequencers at different rates, with a third sequencer controlling the track’s mute button to provide a pulse. Numerology’s delay effect was used.
The sevenism sample was looped and an LFO was used to modulate the track volume. Glitchmachines Convex, Glitchmachines Cryogen and Audio Assault Dirt Machine were used as effects.
The Subsepal samples were sequenced randomly and fed into Numerolgy’s reverb.
Generated using 4 instances of Tardigrain, Rozeta LFO modulates some stereo panning and gain, chord/note changes are manual… additional reverb and grainy delay added too… another all iOS production… iPhone 6.
Thanks for checking it out, I will return to this project as it yielded many beautiful drones!!
wonder what would happen if the tracks people posted here were to be used as source material.
Thanks everyone. Really enjoyed listening to such wildly different interpretations… And it was great struggling to identify my source audio sometimes!
These are all fantastic, thanks everyone who has contributed, I am humbled to hear a part of my set improved and re-purposed over and over again!
Congratulations all for being part of such a magical community