Quick single take with my current favourite setup, my Zoom H1 microphone recording a thrice-“repaired” (“prepaired”?) acoustic guitar into SooperLooper, controlled with a XONE:K2. When happy with the 5 superimposed loops, I rendered them with Jack for about 3 minutes, and only normalised + faded in and out in Audacity, all of it on my Ubuntu Budgie + KXStudio lappie. I like the feedback and the background noises lately (my partner asking if I’m recording, and getting herself a snack in the kitchen; fridge humming; clock ticking).
If someone wants to work with some drony repetitive acoustic background!
“…how to get past the point of little noodles with my modular…”
This! How to create variations. The impatiens/curiosity that make you unpatch too soon…
Guess the answer lays in the decisions you have made regarding your modular
(midi, sequencer, digital/analog etc…) and time. Three years for me now and still
only few outside the community would appreciate what I do… #idontgiveup
Great idea! And if you can buy more than one then that’s even better because you will want to experiment with different tunings. Exploring the advantages and disadvantages of each tuning, coming up with your own, and finding a few that really allow you to get the musical stuff that you want is a lot of fun.
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.
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
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.
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.
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.
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!
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.
