Disquiet Junto Project 0342: In Sea


#21

Hi, uneducated as I am I had to read up a little on In C and listen on Spotify. I used my phone to record drips, drops and the pouring of water in a few different containers. Chopped up different loops, sometimes one-shots and arranged patterns in Live. I did very little to the sounds, just added some reverb - but to get some low end content I tuned down a “drip” four octaves and got some kind of bass drum.

All done fast, random and in the spirit of happy accidents.


#22

This was a fun exercise to do.

I filled my kitchen sink with water and recorded various sounds, including a tap running, splash and drips. I then put these into the modular via a Morphagene and a Disting, and created an additional couple of watery sounds using self-resonating filters to give me four main voices.

I then looked at the score for In C and used some of the principles, rhythms and intervals therein. And chucked all this through far too much reverb as I have a new one and wanted to try it out. A feedback loop from the Z-DSP goes through a Spectral Multiband Resonator which provides the drones.

I have the In C - Mali recording of the piece and it felt like that some of the rhythms I produced sounded familiar.


#23

Drip Filter [disquiet0342]

I used a recording I made some years ago of water dripping into a large porcelain bowl. The single drip motif imitating the piano is an obvious anchor, treated to sound a little more percussive. The entire recording is compressed, re-stretched and reverbed, made to descend six semitones with a progressively stretched ending and replicated seven times at different pitches.

Then the recording was treated using The Mangle, and the result was replicated and – in one case reversed – and, er, dropped into several places in the mix, according more to whim than any sense of musicality, and certainly with NO intention of replicating the wonderfully disciplined and rhythmic structure of Terry Riley’s composition.


#24

Totally nailed that drunken feeling of the spins. Long weekends are good!


#25

This piece was constructed with recordings of the sea where I’m doing an art residency this summer; all recordings made with hydrophones in the ocean in Reykjavik harbor in Iceland, except for one recording of a sudden squall sounding on metal.


#26

Here is my take for this week. I’m glad I made time to wrap it up.
When I went through the description it reminded me of a couple of songs from this indie Album from Nana Vasconcelos (R.I.P) where he played with water to get a some sort of drum sound.
There are some bubbling sounds, some field recordings from my last winter trip with people talking on the background and a water shaker.
The idea was to keep the repeat on the drum sound and throw in some ambience from the other samples.

Here is a video from the album I mentioned:


#27

Hi everyone, here’s my contribution for this week:

For this track I used a few different water samples that I happened to find on my computer. The (somewhat) descriptive names of the files utilized were: Single Wave, Water Pen Plop, Drips of Water Fall onto China, Lake Water Loop, Ocean 1, Butler Drowns, Water Pour in Metal Bucket, Water from Sink, Water Pour Glass, Water Pour Pan and Swimming.

I used varying clips from each of these, arranged them and ran them through LOTS of processing. Different verbs and delays, glitch tones, pitch shifters and limiters. Everything is generated from the original source audio. Stir it all up, and this is what I got.

The picture from a recent vacation.

Enjoy!


#28

Song

Sample:


The following are recordings taken by the United States Navy likely around the 1950’s and 60’s aboard a submarine. These were later declassified as sonar technology was passed on to civilian scientific communities such as NOAA in the late 1970’s.

Structure / Guidelines


“The piece begins on a C major chord (patterns one through seven) with a strong emphasis on the mediant E and the entrance of the note F which begins a series of slow progressions to other chords suggesting a few subtle and ambiguous changes of key, the last pattern being an alteration between B♭ and G.”

"As detailed in some editions of the score, it is customary for one musician (“traditionally… a beautiful girl,” Riley notes in the score)[5] to play the note C in repeated eighth notes, typically on a piano or pitched-percussion instrument (e.g. marimba). This functions as a metronome and is referred to as “The Pulse”

Process
Ableton
Simpler
Resonator
Shimmer

Thanks!


#29

This track is inspired by this week’s Junto project (In Sea), Terry Riley’s “In C” piece (youtu.be/yNi0bukYRnA), and the lovely modern programming language, C.

I narrated the archetypal ‘hello world’ program, on page 6 of the classic 1978 Kernighan & Ritchie book “The C Programming Language”.
Yes, including stdio.h as a preprocessor directive wasn’t required in K&R C - printf was an implicit prototype. And yes, the return 0; to exit the program is implicit too. But, this correct program will compile and run with no warnings in any ANSI C compiler.

I layered members of my family saying “Hello World”, and various sea and ocean noises, in keeping with the Junto brief. I did use two Synth patches, presets from Arturia V Collection, both having ‘ocean’ in their name.

And yes, I took a leaf straight from Terry Riley’s “In C” book - playing a C note at the same tempo as the recording linked above (123 bpm), undulating in its octave, and in its velocity, a-la waves on the ocean.

Synths: Matrix12 and CS80 from Arturia V Collection, and the stock Grand Piano from Ableton.
Effects: Glitchmachines FractureXT for a bit of subtle movement in the ocean tracks, and later in the piano track, and two instances of Eventide BlackHole reverb.
Used three instances of the stock M4L LFO to modulate the velocity and octave and reverb send on the piano track.

Hope you enjoy.


#30

Nice! I used to do that when I was a kid (water drums). Glad your recorder was waterproof!


#31

#32

Hello Junto,
So this is my contribution (2nd time doing this) This might be incorrect because I used more then just water samples…anyways.
I was at the ocean when I saw this assignment and had discovered Terry Riley this year (through a graphic-novel by DoubleBob in which he recommends to use Persian Surgery Dervishes as a soundtrack for the book) he’s also playing in a festival I’ll be attending, so felt that I had to do this one.
While at the beach I made a sort of xylophone out of driftwood and seashells, recorded while I banged away on that, there are also recording from waves breaking and kids jumping off a bridge. I got back yesterday and loaded the sounds into Audacity and played some back though two patched monotron delays. This is not the way I usually process but it was fun to do. If I get round to it I’ll try doing one with just water, sorry for cheating:)


#33

Very glad you’re joining in.


#34