Disquiet Junto Project 0360: Fishbowl Progressions

howthenightcame · 2018-11-23T05:56:54.646Z

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.

samarobryn · 2018-11-23T08:52:35.706Z

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

DeDe · 2018-11-23T08:56:19.505Z

Good idea, excellent results. Bravo.

DeDe · 2018-11-23T13:16:04.201Z

Hi
Recycling unused tracks and adding more mess.

bye
d
d

euclidian · 2018-11-23T13:25:25.389Z

SussMusik · 2018-11-23T14:57:51.927Z

“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.

SussMusik · 2018-11-23T15:23:41.617Z

Digging that you and your family appear to have survived the California wildfires, Marc. Hope you are all well.

howthenightcame · 2018-11-23T15:48:46.802Z

lovely playful song, and loved the connection to democritus. thank you, from a fellow philosopher

howthenightcame · 2018-11-23T15:55:32.592Z

there’s a granularity to the wind instrument that actually sounds like sand - it’s great!! what kind of plug-in did you use?

disquiet · 2018-11-23T16:46:30.889Z

The playlist is now rolling:

Autogeneric · 2018-11-23T20:20:48.224Z

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.

gis_sweden · 2018-11-23T22:05:59.911Z

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…

TotalEnergy · 2018-11-24T00:29:07.736Z

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

halF_unusuaL · 2018-11-24T08:52:56.870Z

Messing on my iPad with an Amazing Noises reverb …

Have a great week!

h u

bassling · 2018-11-24T21:19:21.454Z

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.

gis_sweden · 2018-11-25T12:07:24.377Z

Found this note. I read the assignment, plan and then execute. This was very much the “plan” part. Might amuse someone… plan360

sevenism · 2018-11-26T12:18:44.317Z

one for the headphones
explored height width and depth here

found this about creating height in music https://theproaudiofiles.com/width-height-depth-in-a-mix/
psychological effect - high frequencies sound higher up than low frequencies
i used low cello and high flute samples improvised in iris 2 through ambient reverb, slow floating motion
created width with audition doppler shift - meant to sound like it goes round 360 degrees. had the flute and cello in opposite channels meeting each other in the middle
depth i explored with lots of reverb (distance) and varying loudness (closeness)

i’d be interested if people perceive any differences in the height of the sound

ryanscottmattingly · 2018-11-26T19:48:54.555Z

I found a razorblade that had fallen from a pencil sharpener and started grinding the strings of an arch top with them. I layered on another track where I used the razor wedged between the strings and played with an ebow. I don’t recommend using sharp objects since you could get similar results with paper clips or coat hangers. I panned that hard left and right before settling into a bass melody. I paired an alesis drum beat with that. I added baritone, synth and a few more layers of guitar before it started to fall into shape. I used manual panning for everything. I had experimented with sonic motion a good deal about a decade ago, so I tried to make something that held song structure. I was concerned that it not be a labor to listen but rather the kind of piece that opens up as you hear it repeatedly. I remember the feeling of hearing some songs I loved on headphones and finding a bevy of details that are felt but not always heard when listening on a boombox or a stereo.

Ruairi · 2018-11-27T00:47:25.826Z

I’m wrecked after this one. Taking a break next week. Great to get another track made though.

gis_sweden · 2018-11-27T09:39:46.760Z

Great track. Interesting. Haven’t thought of it. I mean the Y-axis. Is it a psychological of physiological phenomena? When it comes to real low frequencies you can’t perceive direction. You can place your subwoofer anywhere you want. And what I remember low frequencies spread at floor level… Sorry probably bad English… If you place your speakers on the floor, that gives you more of the low end.

Yes, you can hear all three dimensions in the mix. Maybe the Y-axis is the hardest to work with. I imagine a flute and a cello on a big carousel inside a warehouse…