Disquiet Junto Project 0367: Trio Initiate


#22

Vocals from previous track ‘A Prayer’ were sampled to create the ambience in this track.

Guitars were created using a Variax.

Other textures include a dead clock fizzing with battery acid and teeth chattering from fever.

If anyone uses this track for the next stage of this project, please pan it as desired.


#23

acoustic guitar and piano slightly destroyed… :grin:


#24

0367disquiet
A Random Trio

• Length 4:33 seconds,  4/4, bpm 124
• Simple rondo form ABAC
• Sounds are from Drumlab vsti
• Drum kit chosen randomly
• Drum sounds chosen randomly
• Their are four sections
• Panned hard left

#25

Hey DD, Cool Track. Is it downloadable? Just curious. Peace, Hugh


#26

Hey All, I was just going to do bass but got carried away and added drums making it the R Section.I did not do any compressing so as to free it up for how someone might want to mix. I love these collaboration weeks. It might be cool if we could free up the left side/right side thing so the next person could be free to mix it as they desire but thems the rules. Hope all are well.

Peace, Hugh


#27

The instructions for this project included panning everything to the left. This reminded me of those old blue note recordings where you would often have the trumpet panned hard left and the trumpet hard right. I was going to record some trumpet, but then remembered an old project from 2000 that had started with a short fragment of trumpet playing. So I used that to make the whole project: pitched down and overlapped in SuperCollider.

Unfortunately, I forgot to pan it left! Oh well, there you go.


#28


#29

Hi, thanks. Yes it is downloadable. It was. I guess downloads were turn Off when I replaced the file by a different mix yesterday. It is downloadable now. Cheers
dd


#30

Not really a third of a full track, even—hopefully that’s helpful for someone in the future—just a synth line that wants friends.

I’ve been thinking about, like, process, a bit the past week, trying to figure out how to get past the point of little noodles with my modular. I realized (again? I think I’ve had this same realization like four times now) that I ought to build a patch I can stick with for a long time. Doing so will let me focus on the “playing” aspects of the patch rather than the “design” (okay so is Teletype or Ansible doing the melody? Is Just Friends an envelope generator or an oscillator? Is the second Three Sisters more of a filter or more of an oscillator? what about W/?).

Anyway, this is recorded on what I’ve come up with so far. Mangrove and self-oscillating Three Sisters are set up as one voice, with the possibility for each to FM the other (resulting in noise at the end of this piece), through a second Sisters as a filter, mixed by Cold Mac, and then into W/ set up as a sync’d looper, with an inverted envelope follower off of the dry signal modulating the amount of overwriting. In this recording I was surprised by how seamlessly the looped and dry signals worked together (see the bit near 1:00). In this configuration, Mangrove’s formant knob is magical and strange—many of the big timbre shifts in the recording came from turning it.

I call it a “study” because not only has the patch got plenty of room to add things, my ability to play it capably is definitely not all there yet. To wit, for a good thirty seconds I was trying to effect a timbre change without realizing that I had turned Mangrove’s air all the way down :joy:


#31

My contribution is an improvisation on the Native American Flute, recorded with a single mic through a tube preamp. It is panned hard left and has only a touch of reverb to sweeten the sound. The key of the flute is G (Pentatonic).

Edit: for the life of me, I cannot figure out why I cannot embed my SoundCloud link the way everyone else does. So frustrating! If someone has any clue as to what I’m doing wrong, please let me know.


#32

RichieWitch,

your track put me in another place

magic


#33

Thanks so much! :blush:


#34

I used a female choir voice and glockenspiel, going for a dreamy, angelic effect. Everything is high-pitched so there is plenty of room to add lows and mids. It’s panned to the left, although the choir voice is not 100% to the left to give it a little separation from the glockenspiel. No processing, so you can add whatever effects you want.

Looking forward to collaborating with whoever!


#35

Bass part to a future trio, in three parts.

I tried to keep things simple, leaving space in frequency, harmony, and instrumentation. However, I really liked the long held beating bass notes, so built a three part structure where they could take more space in the middle section, while the bass as a whole is less dominant in the other two sections.

Apologies for the somewhat shifty meter - it just felt right when playing. Score to follow soon. Can also supply a left panned mono version if desired.

Score: Trioh - Bass.pdf (201.7 KB)


#36

Speaker/mic feedbak with room ambience intervals
Portable speaker and recorder.


#37

@swhic, this is a great foundation! It has a clear voice, but plenty of space to work with. It traces a clear form and structure, but ambiguous enough to go in many directions. Bravo!


#38

Much appreciated!Thank you


#39

That’s it. I’m buying a lap steel. Love the sound!!


#40

Hi everyone,

here’s mine:

Some distorted piano with electronics. Hope you enjoy it!

The piano sound is done by bitKlavier. I recorded two tracks with electronics with Bastl Softpop and BugBrand Cube Weevil and after that the piano improvisation was done. The idea was to start with something very sparse and low lones and getting denser with higher tones. The piano track is used as a sidechain input on the two electronic tracks.


#41

Okay, here’s mine:

Track is sampled viola plus a “pitched scrambling delay” M4L project; it’s the first public use of this thing I spent most of 2018 working on (I’m not fast with this stuff). It’s based on four [buffer~] objects, each of which can be played back forward or reversed and be re-pitched +/- an octave, by semitones. Record/playback is determined by dial-able parameters that key primarily on amplitude of the incoming sound. I discovered in retrospect that many others have done similar things; I am mostly please with how this came out and learned a lot in the process.

Looking forward to hearing others’ contributions and what folks do with them in the next two steps!