#48

We drove from Newcastle to Canberra around midnight. It was so so hot that evening. And the next day. My best friend Mark and I live in different cities. We always plan to make music together, to write an album.
At the end of three days of not making music I said to him I’m catching next next bus back home.
Then we started making something. I told him ‘Play something sparse, give it lotttttts of room’. I recorded him improvising and here is a few minutes of those sketches.

7 Likes
#49

This weekend I was visiting my girlfriend (Elisa) in her hometown Crécy-la-Chapelle which is a little medieval village to the East of Paris.

Being away from home meant quite severe constraints on the instruments available. We used a Nord Electro keyboard (with no audio interface we had no choice but to use the keyboard as a midi controller…) and Synth-1 softsynth to record the chords and a basic VCV rack patch for the percussion sounds.

Faced with an overwhelmingly large number of existing patches for Synth-1 we decided to impose an additional constraint to determine the patch to use. So, we picked a random passage from a random book on her bookshelf. This turned out to be “The memory was lost with one high tide wave” from page 47 of The Melancholy Death of Oyster Boy by Tim Burton, so we decided to use a patch called “sea-01”.

BPM: 98, time signature 4/4
Panned 100% to the left

6 Likes
#50

Thanks Trevor!

This is a copy of the code from my post–it doesn’t display at all. What part of this needs its own line?

<iframe width="100%" height="166" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/558041607&color=%23ff5500&auto_play=true&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true"></iframe>

1 Like
#51

Just enter the web address of the track, and leave a space (enter) after that, it should work…
Like:

no embed/iframe, just the address on your browser to display the track…

2 Likes
#52

LOL, thanks DeDe. Turns out that because I was using the web link took and optional title text when I added the link, it was preventing the player from displaying. Just like me to over-complicate things. :grinning:

2 Likes
#53

Great! Definitely an instrument you can take in many directions!

1 Like
#54

Hello everyone!

Second Disquiet in a row and really, it’s becoming one of the most important parts of my week!

My piece this week is an improvisation I prepared on processed electric sitar. I played the sitar’s body percusivley to produce a rhymic droning and then processed using live delay and reverb.

Sadly, since this is an improvised piece I dont havean effective score to share but certain this could be reproduced on any amplified stringed instrument with similar effects.

Can’t wait to go through the playlist tonite!

9 Likes
#55

Happy New Year all!

Here’s my kickoff track:

How did I get there?

I have been messing about with my rig to get to a more live/looping feel in my music, by working on the guitar pedals and signal flow. Recorded in Ableton’s looper, for lack of a hardware alternative.
This is a radically minimal-ised version of my recent track of the same name. It’s been snowing heavily here, and that is where the inspiration for this mood came from.

6 Likes
#56

My first ever Disquiet submission scraping in under the deadline wire (as I so often do): -

A simple (and very slightly glitched) bass line played in Thorn fed through Absynth with a bit of waveshaping. The pad is the same bassline played with a different Thorn preset and fed through some LP filtering/waveshaping/the Pipe effect in Absynth, then through a bell filter in H-eq with a bit of LFO modulation of the frequency and q parameters. I then rendered it and ran it through TDR Nova to remove some of the more piercing frequencies.
BPM: 165
P.S. I think I’ve fulfilled all the requirements for participating but if I’ve made any noob mistakes, advice would be appreciated!

5 Likes
#57

What a lovely story! Really read like a movie to me for some reason :slight_smile:

3 Likes
#58

Based on a 7,2,5 beat pattern. Since the original pattern ended up being 14 beats, I added a 4 beat (2x2) and a 10 beat (2x5) pattern. Then the first pattern is played 7x, second is played 2x, and third is played 5x. Then it loops. Thus 7,2,5 is a theme woven throughout the whole track. Perhaps whoever takes this to it’s next step can use those numbers to influence their work? Just a thought.

5 Likes
#59

Great mood! It plays very nicely right after OHELEM’s actually :slight_smile:

2 Likes
#60

I could only manage this short one: https://soundcloud.com/plusch/meander-disquiet0367

9 Likes
#61

After listening to a few other submissions, I wanted to do something completely different, so here’s techno-y chords from Bazille https://soundcloud.com/premiere-etape/trio-initiate-disquiet0367

6 Likes
#62

Artwork: The Daily Grr

Recorded Simple Waltz using accordion and voice samples from Olympus Elements

90BPM 3/4 Time C Major
I - Am G C
T - C G C
C - C Am G F

3 Likes
#63

Agreed with above! Thanks for sharing that insight into the tracks story.

Love that Tim Burton book!

2 Likes
#64

This is fantastic! Looks like your friend filled your brief’s requirements perfectly! Tonne of potential for additional input from other members!

1 Like
#65

Uploaded slightly after the deadline. I hope it can be excused. ><

I learned about Krell Patches recently, and wanted to try to do my take on one using Sapel, Cs-L, Dynamix, and Stages. Since the Sapel and the Cs-L have 2 channels, I set up 2 patches then cross patched a ton of modulation between them. Maths added additional modulation.

Soundcloud: https://soundcloud.com/lcalytrix/krell-in-a-cell-disquiet0367
Photos of the patch: https://www.dropbox.com/home/disquiet%20junto%20367

Please let me know if either of the links have issues!!

4 Likes
#66

@Tunnelwater and I were talking method, and I realized that others may be interested, so I’ll share my comments about what I did----I’m exceptionally negligent in taking notes while working on music, so this is guesswork based on the draft and final take. I have one of those ubiquitous cream BR-9 lap steels (but painted over with cheaper looking cream paint by some prior owner). I’m pretty sure I used a Mr. Black Blood Moon reverb, Boss DD-3 and an octaver. The key to the glitchyness is in feeding reverb/short delays early so they mar the tracking. I added some outboard nastiness with a Thermionic Culture Solo Vulture used as a DI straight into Logic. I think from there I may have pitched things down or ran them backwards to see where it wound up. The melody was initially a very simple, nearly classical line, and I felt it wasn’t playful enough for a joint project with strangers. I duplicated the song and then ran the doppleganger through trash 2 to weave in a thick noise-to-signal track at the fade. On pan to left, it sounded too full and rich to provide space for people to work with, so I ran it through a stock eq in Ableton (which could have been accomplished just as easily in logic, but Ableton is a bit mystifying to me, so I took this as an opportunity to give it a shake.) I love talking process, so feel free to fire away any questions. For contrast, I use the steel a bit more traditionally here-- https://www.instagram.com/p/Boul6dhBmv1/ Best- RSM

2 Likes
#67

Friday night, just after reading the Disquiet Junto challenge for the week, I had jam with my neighbor Paul and suggested we record something in response to the challenge. So I picked up the electric bass and he jumped on the drum kit and we recorded for a bit. On Monday night I had a chance to listen through and edit a 3 minute section. Hope someone is inspired to add some more layers to this next week! Oh, I left it panned in the center as it’s bass and drums and just sounded weird on the left, yet feel free to pan it to that side if you like when adding another layer…
Smiles
Benn

1 Like