#44

Here it is, Just a little audio manipulation with Ableton Live, with added scattered beatz and noises, and heavy use of Unfiltered Audio Byome.

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#45

I’ve been wrestling with a bad cold combined with allergies, so after I read this week’s prompt I took a bunch of cold meds and fell asleep listening to Steve Reich’s Music for 18 Musicians. What a great piece of music! I love the way the repetitive parts phase against one another and seem to move around the stereo field. I thought, could I somehow reproduce that sense for this weeks Junto?

To take a stab at it, I loaded the audio into five separate buffers and delayed each slightly against the others, increasing the gap on each repetition, from two different starting points. Then I overlaid some beats from the famous Apache break (programmed to randomly pull off sub-loops that speed up and/or repeat). Here’s the video:

And here’s the code:

6 Likes
#46

For this, my second disquiet submission, I continued working with Reaktor Blocks (as was suggested in the last assignment). This time using two instances of the third-party developer Toy Box’s granular sampler module. All the modulation (no pitch mod used) comes from my Buchla 200e box with their CV to MIDI module to go from analog cv to Reaktor inside Logic. Minimal editing was done in Adobe Audition. Enjoy!

2 Likes
#47

hahah, since I’m home and I can’t do anything physical, and had another epiphany, I made another one.
The same fragment from the previous one, but autotuned and pitchshifted into a choir, and passed thru a comb filter progressively more aggressive. Plus Valhalla Shimmer. I could make this last for hours, but I thought that maybe I’m the only one who loves it. :smiley:
Anyway, here it is.

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#48

For my friend Jimmy and all the other Junto rebels >:-D

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#49

I imported all samples as single tracks, distributed them over three minutes and added a bit of knowledge into the free spaces. Some paulstretch for a chanting mood.

enjoy!

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#50

Samples of Eric McLuhan reordered and repurposed for the attention span of the modern media age. I used the modular a bit, then did some manipulation in ProTools.

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#51

(Haha, regarding your variety joke) Yeah - I don’t mean to say the intro isn’t really nice to hear, too. I just mean in the mechanics of a piece and how a listener might interact with it.

For your larger Dante piece: (First off, what a great concept!) maybe just try cropping the intro/outro of each piece in Itunes. That way you’re not editing the song itself, just messing with where it stops and starts. I like to make playlists in Itunes and try editing the start point and end point of each track to see how they juxtapose. (Under Edit: Song Info and Options and Start) - I’ve found just entering in fixed numbers like “20 seconds” without care for where that is, can release the composition on a piece and allow you to find different entrances in your tracks. Happy chopping and rearranging!

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#52

hahaha. :100:

has the pleasing collateral effect of suggesting a universe where juvenile foghorns form punk bands…

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#53

For this week, it felt appropriate when considering the topic that the entirety of the piece would be constructed/deconstructed solely of the samples. The artwork also seemed like a natural representation for what I wanted the sound collage to represent.

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#54

One thing I love about this project is the familiarity with the source material that happens when you’re making something with the same exact components that dozens of other people are using. Those restrictions are interesting and have provided some lovely examples of the elasticity of this community’s creativity.

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#55

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#56

I kind of took a perverse approach to this - wanting somehow to not have a message - in the medium or the text. I therefore took a ‘zen’ like approach - not thinking just doing. It had to not be a process (that might mean something) so I just shoved a couple of the samples into a granulator in Ableton and played on the push and then added a couple of synths as seemed appropriate again not thinking just taking a couple of favourites - Ableton wavetable and U-HE pro-1, twiddling knobs until I found sounds that appealed and just playing them

Of course after the fact it is easy to rationalise what I did - the death of information (& oddly I now hear the word ‘death’ in there are lot - wasn’t deliberate!) the archive destroyed and now meaningless…an elegy

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#57

@junklight Very cool approach, and your talk of ‘the death of information’ and ‘the archive destroyed’ made me recall the images of a library exploding near the end of the movie Zabriskie Point:

… which perhaps gives expression to McLuhan’s term “post-literacy”. Plus, any excuse to promote THAT song by Pink Floyd :slight_smile:

2 Likes
#58

This week’s Disquiet Junto coincided with me re-reading Jonathan Sterne’s excellent book, The Audible Past: The Cultural Origins of Sound Reproduction. In it, Sterne traces the pre-history of sound reproducing technology and demonstrates that each new technology was less a brand new era in human development, but rather a new way to meet an old desire. Examining the cultural forces that led to these developments in sound technology really does feel like studying pre-history, because the mediums themselves very quickly took on a life of their own and created their own set of new desires, as Marshall McLuhan repeatedly observed.

The two quotes that resonated with me the most were “Anything new gets used to do the old jobs, no matter what it is” and “When you make a discovery, it doesn’t reveal a whole new area of knowledge; it reveals a whole new area of things you don’t know about.”

I feel like I am still trying to capture sonic ideas that first resonated with me over ten years ago when I was a music student. As I’ve grown as a composer and audio engineer, I feel that I get constantly closer to achieving those goals, but they always feel elusive (I guess that’s what keeps me moving forward). Each new tool gets put into service to meet my past desires, but it also reveals a myriad number of “things [I] don’t know about.”

This piece was built in Logic and Kontakt using a variety of samples from sources too numerous to count. I am constantly fascinated by sound’s ability to evoke different spaces and different times and this piece reflects that, drawing upon nostalgic styles and grainy, degraded samples, while existing in a completely imaginary sonic space. These aesthetic choices recall observations made by McLuhan and Sterne, as well as Jacques Derrida’s notion of “hauntology.”

I grew up in St. Louis and never knew about McLuhan’s stint at SLU. I will have to do some digging next time I’m in town.

1 Like
#59

Very little time so this is rushed - almost didn’t post it.
Re-edited McLuhan clips combined with some voice-gated processing extracted from an unrelated work in progress.
Will post more on it when I get some time I hope!

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#60

PS: I reached out to the McLuhan Institute via the folks who made the connection, and I got a clarification on their request. The tracks everyone has made are, indeed, open to subsequent creative reuse/remixing/reworking. It’s only the original samples that were for use only for this project.

4 Likes
#61

ah! wicked! Thanks for chasing that up Marc! That’s great!

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#62

Sure thing. They got back quickly, with very nice things to say about the project.

#63

:joy::joy::joy: That is a brilliant, coastal observation!!!

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