The project is now live see below.
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Disquiet Junto Project 0360: Fishbowl Progressions
The Assignment: Explore spatial sound as a compositional element.
This week’s project: Record a piece of music in which the relative position and movement of sounds are as important to compositional development as are melody, harmony, and rhythm.
Six More Important Steps When Your Track Is Done:
Step 1: Include “disquiet0360” (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 “disquiet0360” (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, November 26, 2018, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the morning, California time, on Thursday, November 22, 2018.
Length: The length of your track is up to you.
Title/Tag: When posting your track, please include “disquiet0360” 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: Please consider setting your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).
Context: When posting the track online, please be sure to include this following information:
More on this 360th weekly Disquiet Junto project — Fishbowl Progressions / The Assignment: Explore spatial sound as a compositional element — at:
More on the Disquiet Junto at:
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0360-fishbowl-progressions/
There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in.
Image adapted (cropped, text added, etc.) from a photo by ellenm1, used via Flickr thanks to a non-commercial Creative Commons license (CC BY-NC-SA 2.0). Many thanks to Mark Lentczner (aka @mzero) for text manipulation.
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I’m digging the late-1990s Funki Porcini / LTJ Bukem vibe of this cover image.
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Digging back through the archives for this weeks project… this is one of a number of tracks I made about 5 years ago experimenting with spatial effects including 360 panning and 360 delays. I was trying to create a 3D soundscape with musical elements moving around in it… I haven’t met a 3D spatialisation plugin yet that convinces me, but still, lots of sounds in this track whizzing around.
If anyones interested, I made an “album” using some of these panning techniques: https://soundcloud.com/klaatuberada/lolo_japan
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Was listening to Funki Porcini and his Ninja Tune brethren today. 
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I wanted to generate a sense of slow rotation, and of things receding.
I placed one rhythm piano in the centre of the mix.
I then panned six different piano tracks from left to right, each track being programmed to randomly trigger clips of either music or silence. In particular, one minor scale melody was pushed far into the left of the mix, while an eastern sounding melody was pushed far into the right of the mix.
Two different delays patterns were panned left (5 repeats) and right (3 repeats).
The drums were slowly moved around the centre of the mix to generate a sense of spatial rotation.
From bar 53, the master channel employs a “Frozen Smear” plug-in to send things off into the distance.
“Night’s candles are burnt out” (sunlight has extinguished the stars) is from Shakespeare’s Romeo and Juliet.
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Finally have the chance to dive back into the Junto again! Had a crazy few weeks of work and festivals…
Here’s another exploration of spatial sound using a single sound source - a field recording taken outside of crickets and other assorted sounds at Herdsman Lake in the evening.
Bit more information about the location: Herdsman Lake is part of a chain of wetlands in Perth, and was known as Ngurgenboro by the local Yellagonga people. Nowadays it is an important breeding ground for birds.
Headphones for best effect 
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Good idea, excellent results. Bravo.
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Hi
Recycling unused tracks and adding more mess.
bye
d
d
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“Nothing exists except atoms and empty space,” wrote the ancient Greek philosopher Democritus. “Everything else is opinion.”
Along with being credited as the father of modern science, Democritus had the unsavory reputation of being something of a comic gadfly. Commonly referred to as “The Mocker” by his fellow citizens, Democritus never appeared in public without laughing deliriously at human follies. Suss Müsik can relate.
Democritus argued that the natural world recreates itself from indivisible materials that have eternal endpoints. He further insisted that knowledge came in two forms: that which is inherently “legitimate” and achieved through intellect, and that which he called “bastard” knowledge experienced through the senses.
The relation to this week’s Junto, perhaps, is that at some point the organs of perception must relinquish to a higher judgment of truth. “When the bastard can no longer see any smaller,” he is said to have written, “finer matters have to be examined.” Perhaps it’s a lack of trust that compels humans to fill the space between atoms (facts) with rhetorical explanations (opinions).
For this weirdly jaunty piece, Suss Müsik sought to explore the spatial relationship between “legitimate” and “bastard” sound treatments. A simple riff for piano, acoustic bass and drums (facts) inhabits varying spatial dimensions, while Moog synth and glitch effects (opinions) alternately serve as structure and ornamentation.
The piece is titled Eidos, the Greek word for “form” to describe an idealized representation of a concept, person or thing. The image is an elevator in Toronto.
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Digging that you and your family appear to have survived the California wildfires, Marc. Hope you are all well.
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lovely playful song, and loved the connection to democritus. thank you, from a fellow philosopher
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there’s a granularity to the wind instrument that actually sounds like sand - it’s great!! what kind of plug-in did you use?
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The playlist is now rolling:
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Here’s mine. Been a bit sporadic with my Junto contributions as late; not entirely sure why. To be honest, the description’s a bit perfunctory too:
Not 100% sure I kept to the less emphasis on rhythm part of this. Anyhow, I strung together a variety of noises using the Eurorack, then modulated various spatial effects on them - volume, reverb, panning, etc. Oh, and there’s a sped up recording of the world outside in the background.
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Hi again! It’s me. GIS_SWEDEN. Okay I use another SoundCloud for this. Confusing. Sorry. About the track. I just got a sampler module. Two sounds from Freesound (bulle10.wav by gdzxpo and moje-akvarko2-cut.wav by postcrap) a “bowl sound” and a “bubble sound” are selected randomly. Cheap? An LFO (NLC Sloth) are panning these two sounds. I have tried to create some movements in timing, panning and amplitude in the patch. But I’m fading in and panning two channels of sound by hand. Hard work… It feels good to be back. Will be fun to listen to your submissions. Don’t remember how to embed a SC track…
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This bouncin’ holiday track is a stereo experiment. Ever-shifting tracks create a rippling effect, I think.
I hope everyone is warm and safe as we start the holiday season!
XO
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Messing on my iPad with an Amazing Noises reverb …
Have a great week!
h u
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All the sounds shown were recorded using a Rode Videomic with my Nikon D5100 camera, aside from the bass loop that came from the recent 12-hour Junto project.
Then I’ve applied various Waves plug-ins that I bought recently, particularly their SSL emulations.
There’s also Live’s filter, Ohmboyz delay and Valhalla plate reverb.
Thanks for listening, I’m looking forward to hearing how you’ve approached the project this week.
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