#16

This thread was going places, Christmas, beer, song titles, vegan sausages, stews, time zones and bangers were discussed, still no music. :wink:
Thanks Hugh for bringing it back to track.
But still, loved the experience, every junto placeholder should start with at least 20 posts of gregarious philosophical chitchat like this.

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#17

Merry Christmas everyone.

For this project, I decided to remix three demos that I have not used before. I chose three of my favourite styles - ambient, noisy rock, solo guitar. I loaded the three .wav files into Ableton, and simply faded them in and out, one after the other. (I have no idea how to do a genuine remix).

Section #1: “(2019.05.14) LIMBO” - a demo for Dante’s Inferno - self-oscillating guitar pedals

Section #2: “(2018.12.20) BLACK SLUDGE (melvins demo)” - Joe Preston era Melvins - midi bass and drums, live electric guitar noise

Section #3: “(2018.04.07) WESTERN NOISE DEMO (em cm am)” - lo-fi crackly solo guitar demo, recorded while thinking about western movies and Cormac McCarthy’s Blood Meridian

Had a lot of fun doing this one. Thanks Marc!!

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#18

Good idea!
I often do this, taking some used and unused takes and blend them together, as I accumulate idle recorded ideas and unfinished demos I do that recycling sometimes.

For this one I used a previously recorded but unused Indian Harmonium improvisation in Ebm using one of the harmonium’s drones (a Eb note) and the “Low” stops.

The I took an electric piano and synth pad tracks that was at a different tempo and key but as it was midi I could easily make it match the harmoniums tempo and key.

Third I took a couple of bowed upright basses playing a free-tempo drone, just bowing on the open E note. Pitch shifted that stereo track down to Eb and blended all together.

Then I added today a second stereo harmonium recording playing a melody using the “High” stops. Last, I played some high pitch Ebm notes on my chromatic harmonica.

11 Likes
#19

Great prompt Marc! I’m making a bunch of sketches as I prep for a show in a few weeks so this gives me the opportunity to think about what I’m trying to do for that show. (Which can change between now and the show, or during the show.)

All this stuff is coded in ChucK. One thing I like about ChucK is that if I’m running a piece of code and I think (say) “hey I wonder what that would sound like if I pitched in up a major third and sped it up 2x” I can modify it and launch that as a new instance, so that they play together. I do that in some of the constituent pieces.

The first sketch (Trust)runs a flute model through an envelope, echo, and reverb (echo is panned to one side). The first harmony (at about :10 ) is me introducing a second copy of the code pitched up by a fifth. Then I just start layering copies of the audio recording as it fades.

The second sketch (Chamber) has a saxophone and clarinet model in a duet. The sax is given a starting note, then picks a note displaced by random number of fifths (up or down) for the next note. The clarinet then picks a note displaced by a random number of fifths off that note. (It can be zero fifths). At some point I launched new copies of the program where I increased the starting note by a fifth and (if memory serves) a fourth. (I really like fifths! lol)

The last piece (Points/layer) is my attempt at a cheapo arpeggiator. (another reason I like ChucK–it’s free!) I set up ChucK with 8 repeating notes, each with echo and filter, and mapped the filter cutoffs to the 8 knobs on my Akai LPD8 (I love that box!) I then mapped 4 of the buttons to delay times and 4 to beat lengths. I then just fired it up and tweaked.

It was fun this week to see how they fit together! There is a natural coherence because when I gear up for a show I generally work up pieces that have similar tempos and keys.

I might use all of these in my live show, or none of them–I don’t really know. But I like the process of sketching things out just to explore without too much commitment. (Narrator: he will probably use a lot of fifths)

8 Likes
#20

Pretty simple. It’s just a blend of a lot of ideas I had for an unfinished song. I don’t recall ever mining the tracks for anything prior. I like this grimy, sad feeling that lined up with that emotion of having unfinished things hanging over your head. I wish I could tell you something technical about what I used, but I don’t see any notes. I tend to keep everything I improvise when I’m writing and I work really quick initially to get the ideas down. Life is hectic here, so I’m often working in 15 minute increments then later taking an extended time figuring out what’s pyrite and what’s shit. I mixed in Logic, but I don’t think that’s significant. You could’ve mixed this on a Gateway desktop with Windows 95 and pulled it off. I tried to select tracks that gelled in such a way as to not need to be brought in and out, but that could blend naturally in a mix.

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#21

I selected 3 Junto tracks:

  1. Michel-banabila – Were-so-glad-youre-back
  2. Michel-banabila – Moodwords
  3. Michel-banabila – Poisoned-waterhole-disquiet0295-disregard-echoes

… edited some parts of it and made a new track of it

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#22

“Lullaby Sirens (disquiet0393)” is a blend of three tracks:

  1. A modified version of a section of my track “Coming Out of Anesthesia”, which was slowed down and run through my Empress Reverb box and will become a future release called “Dreamland Lullaby”, This was originally created in NodeBeat. “Coming Out of Anesthesia” is on my album “Drifting”.

  2. A section of a recent track called “Cheerful”, originally created in NodeBeat and heavily processed through my Empress Reverb box. This will be released on an as-yet-untitled album in late July or early August of 2019.

  3. A section of a recent field recording called “First Siren of the Evening”, which is on my album “Sirens and Rain”.

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#23

The weeks I can I submit to the Naviar Haiku blog. The three most current entries were titled A Clear Waterfall, The Shore Of A River, and When I Gazed Down The Ocean. It looked like there may be a pattern here.

I got the main themes for two of the pieces and a connecting section from the third. After getting the keys to agree I found that I could get these to play nicely with each other, thus Waterfall, River, Ocean

Waterfall, River, Ocean was written for Flute, Clarinet, Horn, Trombone, Cymbals, Gong, Crotales, Timpani, Violin, Viola, Cello and String Bass.

The score is available at http://bit.ly/32s4uEX

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#24

NON-SUBMISSION Hey All, I took the assignment and apllied it to 3 other junto tracks. Thanks to Ryan Scott Mattingly, Michel Banabila and how the night came for making their tracks available.

Peace, Hugh

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#25

I found a couple piano recordings, one a cocoquantus piece and the other a norns otis thing. likely due to my only knowing a couple of chord shapes, they stack well. :sweat_smile: using logic I stretched them into the same time frame, and added a field recording of birds that I had yet to use.

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#26

Some weeks ago I noticed my song ‘Alright’ was the same tempo as my Junto track ‘Somewhat’ and found they worked well together.

I’d already used the bass part in my track ‘Bad Politics’ so I set about recording a new part, which then got used elsewhere.

So now I’ve brought the parts together.

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#27

In 2017, I started doing music stuff again after the last time I gave up and deleted everything (2010?).
I started accumulating <60sec sections of material I didn’t know what to do with, and very very occasionally getting further than that.
One thing I “finished” was “A Hole in the Ground”, assembled from recordings off AM radio as I drove to pick up my boyfriend from work on the day a cave-in was discovered at the Hanford nuclear site.

For this Junto I used two (oops) elements from that, and two unfinished sketchy things, “Silver Wife” and “Wife (Twirling Design)” (titles from a list of greeting card section headings). The first “Hole” element is a loop from an AM station playing an unidentified piece of? like? 30s-40s-ish pop? slowed down of course. The second is a truck braking at 1/32nd speed (this sample runs the length of “A Hole in the Ground”). “Silver Wife” had just a low-ish relatively-simple synth part in two voices and “Wife (Twirling Design)” had a drippier brighter synth loop with an intro and an acoustic drum sequence with a few variations, so I took all of that and smushed it into one file, and made some stripped-down variations on the drum sequence for the first part to hold it together a bit because I really have no idea what I’m doing any of the time; that’s all I could do; it sort of worked; so here we are

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Disquiet Junto Project 0417: Changes Tracker
#28

Three tracks from different projects. I had to do a bit of time stretching to get things to line up. One a reggae loop, the second a Hip Hop type loop, third, two voices from a random rhythmic sequence generated with the modular. The modular voices play serially at the top, then get mixed with the drum parts. The drum parts just switch back and forth under the sequence. Topped it off with the sort of guitar wankery that I usually avoid… but hey, I’m way out in the North Woods alone, miles from the nearest neighbor, and I had a bit of wine…

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#29

I took my strings from 391, and since this is only my third track w/ DJ, I only reused one element. Also went 100% off grid. The drums are very-off but kind-of worked. Every instrument had its own time, so I went with acoustic guitar and drums running together. It all sits together if you give it a shot.

Standard Ableton drum kit + 2 instances of Analog + moody acoustic chords (same ones I always play) + accidental delay drone/tail from the Alpha Juno and Moog delay.

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#30

And the playlist is now rolling:

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#31

A remix of particularly liked elements from
et-in-arcadia-ego
-> the sequence
gasp-of-the-guru-disquiet0384
-> the breathing
lacus-solitudinis-short-version
-> the lament sound
remixed using GleetchlabX, because it was a nice opportunity to check out the new version. I cut out three loops, one for each source and each around 60 secs of lenght, and looped them freestyle in GleetchLabsX, using a high ramp time as a mixing helper and some speed changes to create a feeling of connection between the parts, even if this is not very powerful. Some internal and vst fx have been added via GleetchLabsX routing.

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#32

See us shiver

with antici…

[…]

…pation!

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#33

A combination of 3 different old pieces - experimentations with strings, harmonics and sub-stuff…

…I call it “all out in”.

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#34

Really liked the idea for this weeks project - though I’m not over the moon about what I came out with. Have a smattering of tracks in a few different styles of electronic music recently. I deliberately picked elements that shouldn’t really work together:

Eventual BPM of the track is 109 BPM - all tracks of different tempo I let Ableton’s warp work its magic:

  • Percussion comes from a clubbish track I had worked on recently called Vendor. Originally at 118 BPM. I had used the great “control all” feature on the digitakt to screw with all the sounds simultaneously and added a bit of filtering here and there
  • I took an FM synth sound from a track called Transmigration which I had abandoned, so its nice to have breathed new life into it. This was originally 109 BPM and was the basis for the tempo of this new track
  • 0-coast kind of slow ambient sound from a project called Une place importante that I recorded one night after returning home feeling quite alienated and alone and then realising how important the comfort and familiarity of a cosy home can be. Originally 120 BPM.
  • I threw in a 4th track to close out the song - which is a brief snippet of @Elisa-room237 humming over a song I wrote called Fôret while on holiday in the woods.

I felt like it was missing something so I added a quick bass sound to compliment the more dancey parts of the track. Quite interesting to see existing sounds recontextualized in this way, but I had a difficult time reaching a nice balance between the beat-driven and beatless parts

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#35

Good Evening,
Using 3 small loops I previously recorded from Some ROLI Noise sessions that were part of previous tracks. I set to various speeds and time signatures switching between all 3 using follow action other in Abelton Live 10. I then utilized 4 different loops at various rates from a MIDI sequencer of the sample created feeding to an additional looper with a Rthym generator with sin waves, then various EQ ducks and CV modulation. I utilized the KORG SV1 to input the MIDI that was feed thru the sequencer prior to looping. I added reverb and deli feeding this to a resample of the combined tracks with a looper.I applied various rates of compression to the multiple tracks. Have a stellar day!

4 Likes