#43

Hi folks.
A “newtimer” (on site) here and this is my first junto attempt, so please, be kind with rookie. :blush:
My dices rolled 3-4, 1-4, 2-3. I did 2+1+1 min +some extra seconds on start and on finish.
I did not use a synth. All sounds are derived from wind at the begining of the project. I did use timestreching on wind and than fed it to ring modulator. copy of only timestreched wind was fed to a set of plugins-eq, comp, distortion, reverb and bit of chorus. On fx bus, I used cool plugin - regresiff and than fed it to IKEA plate reverb IR, made by LeoMakes (his YT ch).
I recorded the project on casette and than back into pc. I’ve joined the two together.
I’ve left hum and noise on purpose.

4 Likes
#44

As always, if 24 hours pass and your track isn’t added to the SoundCloud playlist, let me know.

#45

Taking a page out of Demetrius Tabu’s book, here is a non-submission.

I took three of the pieces I liked from this disquiet and combined them.

Dimitrius Tabu the Third’s

Detritus-tabu3 – Drones-cancelled-my-flight-disquiet0364

cigazze sketches’

Cigazze-sketches – 422223-disquiet0364

umcorps’

Umcorps – 6-36-41-6-disquiet0364

I made some minor changes by warping them until they had then same length and then mixing them, there is some small amount of delay used at the end. Dimitrius Tabu’s piece was the most overpowering, so I used it a bit like punctuation.

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#46

https://soundcloud.com/ohm-research/drone-disquiet0364

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#47

A 2-minute + 1-minute + 1-minute drone, with a single note on a cello + Shepard tones* forming the base (and the “2”); the first 1 (3) is base + Saturn (sounds from NASA’s Cassini), and the final 1 (3) is base - Saturn + helicopter.

*Shepard-Risset Glissando, which I learned from a video explainer on sound design in Christpher Nolan films :wink:

My idea of a perfect drone is something infinitely dense and textured, still from a distance, always moving close-up, like snow on a CRT; made up of many different parts, yet never really parseable. This isn’t that, it’s too various; things are just distinguishable in the snow…

4 Likes
#48

Yum!

That is so good.

2 Likes
#49

My rolls (thanks to random.org - and yes i do have plenty of dice of all shapes and sizes - but they were in another room and i was lazy): 1,3; 5,3; 5,6
So:
1 minute, 3 notes;
2 minutes, change 3 notes (i assumed that base note referred to meant it does not change, so i only changed 2 notes);
2 minutes, drop 2 notes; fade out last minute.

I had 3 overall notes to play with, which needed to change halfway through, then remove 2 of the notes as it all drifts away. I took advantage of the allowance to change things very slowly, which kind of enabled me to “cheat” a little by very slowly morphing into the 2nd chord - so along the way i stumble across another chord as I went.
DSI Mopho for the initial unchanging bottom note. Pittsburgh Modular Lifeforms SV1 for the other 2 oscillators - MakeNoise Function controlling a couple very slow changing parameters on both. 2hp LPF on OSC2 - the high note. Valhalla Room for reverb.
Side note: The middle note track has some occasional crispy crackly sounds - this is from my modular - i need to figure that out.

1 Like
#50

Greetings all!

This is my first track for the Disquiet Junto. I joined a few projects back, but this is the first time I finished the track in time.

My dice rolls turned out like this:

  • First bracket: Initial drone for 1 minute
  • Second bracket: Remove two notes for the next 3 minutes, so just the drone again
  • Third bracket: Add three notes for the next 3 minutes
  • Then the one-minute fade out.

I knew immediately that I wanted to use my Eurorack for this project. My idea was to drive a Morphing Terrarium with Chaotica, creating a subtly shifting timbre for each note.

I had already decided on F2 for my drone, and I felt an F minor 7th would be the best chord choice during the third bracket. Ultimately, I used the Fifth below F2 to create some bass support, Eb3 for the Seventh, and to give the weak Third a bit of a boost, I moved it up the scale to Ab3.

Ultimately, four minutes of the initial drone forced me to get more creative in order to maintain some interest. I routed the drone through a phase shifter, a pair of highly-resonant, LFO-controlled filters, and a glitch plugin. Enjoy!

For some reason, I can’t figure out how to get the SoundCloud embedded view to work on this message. Anyone have any tips on how to fix that?

Astonished Light

1 Like
#51

Hello! First Junto. I went fairly straightforward for this.

I rolled
4 & 5: 2 min / rm 1 (I did this as a modulo and went to 4 notes)
4 & 2: 2 min / change 2
3 & 6: 2 min / rm 2

I took this as an opportunity to get to know my Sprott a bit better. The first voice is Dunst’s dust square pinging Sprott’s VCA in, with a bit of NLC Sloths modulating the frequency of the dust. Two Denum feed into Sprott’s top input & diode input, which gave a sort of AM/FM sound. Third and fourth voices are both Swoops, one in more a triangle shape and the other saw. The fourth voice is ‘bounce’-modulated some by Dunst’s regular dust out.

‘Compositionally’ very straight-forward. I do like the idea of having a sustained note and then having successive notes come in and recontextualize them. I’d like to play with this idea a bit more, perhaps with an increased rate of new events.

Mixed by Sprott really but then also Samara & a Quad Atten, then into Live and a bit of delay and reverb thrown on. Was done in one take, no overdub or such.

The whole thing highlights for me a lot of things I need to learn and would like to do better, but just getting something committed to ‘tape’ and up is itself a thing I need to work on, so I’ll call this a success even if I don’t love it.

3 Likes
#52

So many first Juntos this week. Excellent. Happy holidays, everyone.

3 Likes
#53

This Junto turned out to be reminder that one should always (re)read the directions, though I managed to get it more or less in line…

My Rolls:

5 3
3 3
4 4

1 Like
#54

Apparently, I can’t type today. I mistyped “0364” in both the title of my track and the tag. All fixed now.

1 Like
#55

First join as well.
Last week’s really inspired me (but too much, as I didn’t get anything finished in time). I took a loop of Gymnopedie midi, cut out some notes, added some back in based on what the dice told me and when, etc. Playing around with some new things, so it’s a bit rough. Happy holidays everyone!

1 Like
#56

This is a recording of myself playing the Tocante Bistab after rolling: [6,3], [5,1], [5,2].

The way I play the Tocante, “note” can be a tricky concept, so I interpreted this word to mean “finger press.”

0:00 - 3:00: I began with one finger, then added two more.
3:00 - 5:00: I added one finger.
5:00 - 7:00: I moved two fingers.
7:00 - 8:00: I slowly removed fingers until only the initial finger remained, then faded to silence as much as capacitive touch would allow.

All times are approximate. Surreal Machines Diffuse was used for reverb.

2 Likes
#57

A little late due to the holiday kerfuffle:

I actually ended up not a lot of “randomness” (every section was two minutes long, small deviation between notes).

I decided to focus on making the most of a little, and after picking my starting tone (A = 440, of course), I figured the next two notes would be adding the closest G and B possible. Then, to add a little tension, I added the closest F# and C possible, adding some minor 2nds and tritoney goodness.

For timbre, my accordion is a go-to for drone music. I also thought I could use a piano, drastically compressed and maybe also time-stretched to alter it into a drone. The compression also picked up a lot of room sounds, which add some nice extra noise.

I used my classroom’s piano, because it is a little beat up and has some “character,” and also there’s a really nice natural reverb in my classroom (which I don’t think really made it into the recording, but ok).

For every pitch, I recorded the highest-possible version and lowest-possible version of the piano and accordion, and then pitch-shifted them to match. This gave me a pretty narrow band of tones but an intense, writhing mass of overtones. I also changed the Warp method in Ableton to create different audio artifacts.

The piece ends with a one-minute fade out on middle C (which seems almost as fundamental as the “tuning” A).

Then I tweaked the introduction to make the very dissonant part (with the F# and C) happen at the golden mean point, because I like that kind of stuff.

I also livestreamed the recording process on Twitch, which was a fun new experiment.

And an excerpt of my score:

Disquiet%200364
Disquiet 0364.jpg3024×898 607 KB

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#58

here’s my 1-hour 1-minute version of same :slight_smile:

1 Like