Disquiet Junto Project 0342: In Sea


#1

Disquiet Junto Project 0342: In Sea
The Assignment: Record a piece of music in tribute to Terry Riley’s In C using only samples of water sounds.

Step 1: You’ll be recording a piece of music in tribute to Terry Riley’s In C. (If you’re unfamiliar, read up and listen.) Don’t use the actual composition. Consider aspects of it, and choose ways to emulate them, to extrapolate compositional ideas from them.

Step 2: Record a piece of music employing the decisions you made in Step 1. Only use samples of water sounds as your source audio. (Side note: collaborating with others is encouraged but not necessary.)

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0342” (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 “disquiet0342” (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: Post 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 Monday, July 23, 2018, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the morning, California time, on Thursday, July 19, 2018.

Length: The length of your track is up to you.

Title/Tag: When posting your track, please include “disquiet0342” 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 341st weekly Disquiet Junto project (In Sea / The Assignment: Record a piece of music in tribute to Terry Riley’s In C using only samples of water sounds) at:

https://disquiet.com/0342/

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-0342-in-sea/

There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in.

Image associated with this project is by Joseph O’Callaghan and used, via Flickr, thanks to a Creative Commons license:

https://flic.kr/p/mZLXwL

https://creativecommons.org/licenses/by-nc-sa/2.0/


#2

The project is now live.


#3

Vonna’z Sea Disquiet 0342
Disquiet Junto Series

Muse score was used to draft a piece that was 1 page in length attempting to not have any repeated measures. I utilized multiple rhythms to mimic a rain storm. I used samples slices that I have of captured rainstorms in Denver. I used 2 separate storms. I grouped the slice with 13 instances of them playing thru the score. I added compression with sidechain.

I then used a second storm to play thru the MIDI and played with the Curve2.

I approached this from how would this possibly be played live with the 1 sheet and rain sticks and an analog synth based instrument. The instrumentation at minimum would be 15 rain sticks or other water instrument, with a min of 2 playing together. The analog synth is recommended to have an anchor point with in the score when possible.

I considered the Curve2 a form of synth, so if there is access to a sequence based analog synth that could have a water clip as the base that would be awesome to have trigger off the notes. Vonna’z_Sea_Disquiet_0342.pdf (188.1 KB)


#4

Hey All, I am on my way to the beach with the kids this weekend so this was a fun assignment for me. The title comes from the actor Danny McBride in the movie Foot Fist Way to describe a level of inebriation that borders on complete incapacitation.Hope everyone is having a great summer. I am an old man so it seems like summer is just a long weekend now.

Peace, Hugh


#5

I looked for some samples of water, rain and ice and found a few that I liked. Then I let my mind wander…Ethel Waters…Maxine Waters…waterboarding…

Most of the samples are intact and looped, although a dripping faucet sample was edited down to create the cowbell-like percussion.

The title, well…it’s a strange time to be an American. Or anybody.

And the dog pic is a Goya detail. Have a great weekend :slight_smile:


#6

hey y’all! Cool prompt. After listening to the original Riley piece I decided to see what I could do with a single source sound–a droplet of water falling into a pool. I stuck it in a ChucK program and did various things with echo, pitch shift, playback speed, reverb and so on. Here’s the video (Soundcloud in the comment):


#7

soundcloud version


#8

prep: https://teropa.info/blog/2017/01/23/terry-rileys-in-c.html


#9

i typed water drop into freesound and listened to some of the samples (looking for more tonal elements) then i remembered/noticed that freesound plays the previews concurrently and that fit into the idea of In C so i just started recording - starting off playing the quieter ones and bringing in the louder pourings. i’d scroll down and when one of the 15 samples finished i’d start playing it again.

i pulled the most tonal sample into iris 2 (toilet dripping: *'d below) and made a ‘stringed’ instrument from it (frequency selection, lfos, chorus, reverb, delay, echo) played something and had this repeating too.

i’ve kept it relatively sparse in case anyone felt like adding to it (in the spirit of collaboration!)

i used these cc samples:




https://freesound.org/people/dobroide/sounds/23094/ *
https://freesound.org/people/Thoribass/sounds/251397/
https://freesound.org/people/Edo333/sounds/396059/

the other samples are public domain


#10

"‘Akvo’ (Esperanto for ‘water’) is an experimental musical work inspired by the words of Marc Weidenbaum: ‘Record a piece of music in tribute to Terry Riley’s ‘In C’ using only samples of water sounds.’ It took two-and-a-half hours to compose.

Water–still and silent in its natural, undisturbed state–requires gravity and an object or substrate to commingle with in order to unleash its signature sound; hence, all of My ‘water samples’ were the captured sounds of water interacting with an object [a concrete pavement, a two-gallon tin bucket, My rounded mouth], or along a substrate [a stream bed].

(Fortunately, it has been raining often for the last week in My southeastern-North American locale. I was able to depend on it to afford Me fresh sounds for this experimental, musical piece; rain arrived, yet again, today!)

The stream that runs behind My home provided Me the sampled fodder for the sustained, yet undulating, pad that appears early on in this one-minute and five-second piece. The stream sample, originally forty-seven seconds long, was time-expanded to about a minute’s duration, and then ‘juiced’ of its harmonic content using various software plug-ins [various choruses].

Against that background, I inserted a sample of water droplets landing in a two-gallon tin bucket with about two inches of water already in it.

Then, I grabbed a bottle of filtered water from my refrigerator, took a generous swig, and captured My mouth making popping noises. I time-expanded the result, and ran it through a panning phaser plug-in.

A loud water droplet with an extremely ‘hollow’ sonic character provided Me with the base from which to synthesize the melodic notes for the arpeggio that appears twenty-eight seconds into the piece.

I timed all of the resultant rhythms and musical elements instinctually, albeit to coincide with sonic cues already present and suggested within the ‘stream’ and ‘bucket’ samples.

Three of the four tracks were all run through three instances of an identical reverb plug-in; each, however, were treated uniquely when it came to setting decay time, equalization, and pre-delay, as to suggest depth and positioning in the stereo field."

~ Michael Ash Sharbaugh


"More on this 342nd weekly Disquiet Junto project (“In Sea” / The Assignment: Record a piece of music in tribute to Terry Riley’s In C using only samples of water sounds) at:
https://disquiet.com/0342/
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-0342-in-sea/ "

~ Marc Weidenbaum

"‘Akvo’ (Esperanto for ‘water’) is an experimental musical work inspired by the words of Marc Weidenbaum: ‘Record a piece of music in tribute to Terry Riley’s ‘In C’ using only samples of water sounds.’ It took two-and-a-half hours to compose.

Water–still and silent in its natural, undisturbed state–requires gravity and an object or substrate to commingle with in order to unleash its signature sound; hence, all of My ‘water samples’ were the captured sounds of water interacting with an object [a concrete pavement, a two-gallon tin bucket, My rounded mouth], or along a substrate [a stream bed].

(Fortunately, it has been raining often for the last week in My southeastern-North American locale. I was able to depend on it to afford Me fresh sounds for this experimental, musical piece; rain arrived, yet again, today!)

The stream that runs behind My home provided Me the sampled fodder for the sustained, yet undulating, pad that appears early on in this one-minute and five-second piece. The stream sample, originally forty-seven seconds long, was time-expanded to about a minute’s duration, and then ‘juiced’ of its harmonic content using various software plug-ins [various choruses].

Against that background, I inserted a sample of water droplets landing in a two-gallon tin bucket with about two inches of water already in it.

Then, I grabbed a bottle of filtered water from my refrigerator, took a generous swig, and captured My mouth making popping noises. I time-expanded the result, and ran it through a panning phaser plug-in.

A loud water droplet with an extremely ‘hollow’ sonic character provided Me with the base from which to synthesize the melodic notes for the arpeggio that appears twenty-eight seconds into the piece.

I timed all of the resultant rhythms and musical elements instinctually, albeit to coincide with sonic cues already present and suggested within the ‘stream’ and ‘bucket’ samples.

Three of the four tracks were all run through three instances of an identical reverb plug-in; each, however, were treated uniquely when it came to setting decay time, equalization, and pre-delay, as to suggest depth and positioning in the stereo field."

~ Michael Ash Sharbaugh


"More on this 342nd weekly Disquiet Junto project (“In Sea” / The Assignment: Record a piece of music in tribute to Terry Riley’s In C using only samples of water sounds) at:
https://disquiet.com/0342/
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-0342-in-sea/ "

~ Marc Weidenbaum


#11


Terry Riley Don Cherry


#12

Several water samples, drops on a glass, waves of the sea (Baltic and South Atlantic) , a brandy glass hit with a stick, rain drops (field recording) + several instances of Chris Watson’s Ice and Water Recordings for Geosonics. And a grand piano.

Photo by Tim Marshal


#13

Hi. First time contributing to this project. I am pleased to see something like this exists!

This is a very quick track done entriely in iOS on an iPad in about 30 minutes or so.
I did a quick field recording of some ocean waves on the coast of Maine while on a walk with my children.

I saved two loops of the waves in the AudioShare App.

Using Dropbox I moved the samples into

  1. Elastic Drums
  2. Spacecraft Granular Synth
  3. Borderlands granular

I loaded these Apps into AUM and played the loops live. Gradually fading the loops in and out in the different samplers.

Finally sent it into Final Touch for some probably completely unnecessary mastering. :slightly_smiling_face:


#14

Hope all are well!

Reinfallen (disquiet0342)
A vague shadow of a tribute this week, time has dictated a quicker and less involved homage to Mr. Riley’s work. A more manageable 11 phrases for 6 instruments and lasting a mere 2:20 minutes. I did maintain other aspects, including phrasing and the “beautiful girl” “Pulse” for some rhythm. I also managed to keep it entirely water based samples. The first of which is a holdover from last weeks session, the drop in a bucket. This acts as the pulse and has been eq’d with a mild verb. Another instance layers and shadows, and is has a large assortment of effects: Eq, Kosmonaut, RoomWorks verb and DLYM chorus/flanger. I tried to effect a different frequency and phrase while keeping a similar sound. Various samples from a recorded sink faucet are spread across two tracks, one with Mani Lofionic Analogue Chorus and RoomWorks and the other with Eos2 and automated panning. The longest phrase, which is somewhat choral like, is a stretched recording of the Atlantic, with both eq and RoomWorks again. The final phrase is a heavy rain with heavy manipulation. It’s a looped sample that undulates and is frequency enhanced around 110Hz, has a comb stereo spread, a bit of RoomWorks verb and a perfect amount of Nebulizer sound mangler, mangled but still recognizable. I hoped for this shortened session to sound of a deep, dark and disquieting(pun if you got one!) place that blurs the line between a sentient being and a cold unforgiving grave…


#15

Had a surprising variety of water recordings waiting for this prompt, including Valla Beach, Ebor Falls and the Murray River.

Selected short phrases, applied gates and also resonators. Some delay and reverb too.


#16

Welcome to the Junto!


#17

I took 4 samples from freesound.org and looped them at different length.


#18

For this piece, I wanted to explore the possibilities of one moment/one sample, and also kept in the mind the idea of phrases being left to chance. I remembered doing a field recording at John Forrest National Park where there was a disused rail tunnel [Swan View Tunnel], and recording water droplets falling from its roof.

Before being decommissioned, the Swan View Tunnel was known for its penchant for near-asphyxiation due to its narrowness and gradient, and indeed one driver did die from that in 1946.

I wanted to create a soundscape that invoked a sense of heaviness. I spliced my original field recording in two - section one [the main section] had the droplets only, while section two [which acts as a bookend] had a plane passing over.

Layer 1: Water droplets
Layer 2: Water droplets - slowed 800%
Layer 3: Water droplets - slowed to 800% and with resonator
Layer 4: Water droplets with Great Buddha phaser
Layer 5: Water droplets with overhead plane


#19

The playlist is now live:


#20

Disquiet Junto Project 0342: In Sea
The Assignment: Record a piece of music in tribute to Terry Riley’s In C using only samples of water sounds.

Water Music disquiet0342

Inspired by Terry Riley’s “In C”, the sound of water dripping from a faucet into a bowl. I recorded a “drip track”, a repeated drip which plays throughout to represent the high Cs in the piece “In C”. Also used the sound of water pouring into a bowel. Lots of layering and moving between motives. Ring modulation used at the end to create the metallic sound. Played in Samplr with delay, recorded and edited in Audacity.

The first time I heard “In C” in San Francisco in the 1960s, the high Cs were played by a Moog synthesizer. I had never seen one and didn’t know what it was.