#42

i mean this - “rauschen” is noise in the sense of white noise, waterfall noise, background noise, static, wind in trees, rain, etc. The blurred, diffuse, continuous kind of noise, not short individual non-tonal sounds. - is almost exactly my shit. Line hum, shortwave radio, rustle [etymologically related to ‘rauschen’?], hiss and fizz. All the good things. & that’s before Marc even gets around to invoking Robert Rauschenberg, somebody whose work has captivated me since i was an arty little brat in high school. His works density and elegance, the strange utopian gleanings in the collage work,the comfort with mess and scrabble; the ability to find strange trash-inflected grace in the available shambles…

So yeah, for good or ill, this project appealed d e e p l y and i have hours and hours of recordings to chop and blend, overlay, crash, paste. So yeah, there’s not much method beyond digging through my memory cards looking for the suitable muted crackles, rumbles and clicks. There’s a lot of rain here - it’s been wet & i have this vague fantasy of starting a podcast of rain recordings - but also vending machines, basement ventilation outlets, pumpkin seeds (yeah, i know, always with the pumpkin seeds), a waterfall, freshly recorded radio static and wear rumble. I made a point of minimising interventions beyond chopping, layering, rearranging; one sample is slowed down but in the main the only effects applied are tweaking the eq levels on some of the recordings and some forced panning here and there.

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#43

Hello everyone. I really enjoyed this prompt. I used five Android phone recordings from my summer vacation. A rain and thunder storm sample lasts for the duration of the collage. We then get recordings of sea spray, wind whipping waves, the hum of an airplane and the engine of a bus. There are occasional shorter sounds (a dog barking, adults murmuring, a child’s exclamation of joy) … they occurred naturally in the environments I was recording, and I hope they don’t distract from the “rauschen” too much. I only used a leveller, EQ, compression and reverb - nothing fancy - and tried to let the sounds speak for themselves.

Thank you to my family for taking me around England, and Barnabus (the family dog) for barking and the cover photo.

Have a great weekend!!

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#44

My first contribution to the Junto in a long long while.

For the raw material, I used extracts from recordings I made while inter-railing in France, Italy, Switzerland, Germany, Netherlands and Belgium in the second week of August: of heavy rain on a station platform, of the characteristic sounds of carriages, inside and out including the hubbub of voices (and in one case, the sound of dice being rolled in an on-board game of ludo).

The assignment made me think of Franz Kafka, whose first projected book was to have been an account of a train journey in central Europe, authored jointly with his friend Max Brod. But it was his writings about the telephone that seemed especially pertinent here. In ‘The Castle’ he referred to the rustling and singing (‘Rauschen und Gesang’) that seemed to render it extremely unreliable as a means of communication, and alluding also perhaps to the common experience of early users of the technology who imagined they heard the voices of the dead in the crackling static. (See J Hillis Miller, ‘K. on the Telephone’ in The Conflagration of Community, 2011).

In ProTools I tried to layer the recordings so they approached the indistinct background noise of a telephone line, but foregrounded certain voices and other sounds in places to suggest the ghostly communications - the singing - some thought they detected in the purely electromagnetic interference.

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#45

Bizarrely, I almost used a Franz Kafka quote as my cover this week. I’ve been haunted by this passage for years…

Screenshot_20190731-070002-01
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#46

That is a great quotation. ‘The axe for the frozen sea within us.’

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#47

Yes, that’s exactly the line that gets me every time…

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#48

First time participating in junto! This weeks theme coincided with the patch I had going in my modular in a cool way :slight_smile: Took a couple of field recordings through Nebulae and 3sis, then to clouds in looping delay mode and added a sample from morphagene and a sequence from stages in harmonic oscillator mode. Explored the idea of regularity and repetitivenes of the noise. Hope it fits :slight_smile:

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#49

Welcome. Thanks for having joined in.

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#50

Shoot. I messed up. I kept the Ginger Balls Beach one in the playlist. Much appreciated!

#51

First time making music in ages, so this was a good project to get me back in! I made a ptach on the modular using various noise sources, which I then recorded and processed in Reaper using a couple of ducking glitchers, and then overlayed the glitched version on top of the normal one.

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#52

I was inspired by the sound of the white noise machine I heard at a doctor’s office, which was very noticeable a loop of noise rather than pure white noise. I used operator’s looped noise waveform for a first channel, then added a second of pure white noise, and created more layers with effects.

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#53


Field recordings: the boat, the wind, the shooshing, the womb, the waterfall, the boat, the wind…
a life journey…

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#54

https://soundcloud.com/ohm-research/vetni-disquiet0398

White, pink, and low frequency noise generated by a Circuit Slices Sample + Noise module, plus some shortwave radio noise.

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#55

Hey everyone,
This week I recorded some household noises on my Zoom - appliances, crickets, etc. - then arranged and manipulated them using Reaper and Audacity. It looks like there are tons of submissions already. I can’t wait to listen!

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#56

These are layered and manipulated sounds of rain on the roof, the toilet cistern filling and the electromagnetic pulses from an inkjet printer. The rain is played as a chord through Ableton’s Simpler and fed to a couple of resonators. The raw rain track is played mostly unaltered but is sent to blackhole and shimmer delays. The filling cistern is sent to the delays and the resonator. All of these are automated to vary the amounts and intensity. The printer pulses are sent through the delays, resonators and AudioThing’s Wave Box for more mangling.

I found this challenge quite ear fatiguing!

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#57

I hope no one else came up with this same idea. Of course John Cage did it better than me with 4’33".

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#58

I really liked the unexpected ending, especially the water sounds.

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#59

I started out with a collage of interesting (to me) swishy, swirly sounds, but it wasn’t doing much for me. Because of the Robert Rauschenberg reference in the description, it seemed like this project needed some underlying conceptual (and visually informed) framework to tell a story. So…

I used background sounds of the planet. Starting with nature… birds, wind, water, insects, etc. I gradually added human introduced sounds… traffic, aircraft, leaf blowers, motorized watercraft, etc. Then other continuous sounds produced by mechanical and electronic equipment… escalators, modems, maker bots, disk drives, etc. Then added the background noise from space.
There is some processing with granular reverbs, filters, and delays.
Fade out back to nature and background radiation sounds. Then the silence of the probable coming extinction… the piece is 4 minutes and 33 seconds.

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#60

Wow - I really, really like this. Wonderful work. :+1:

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#61

Dove into my haphazard collection of statics for this one. Field recordings include a radiator, the (above-ground) train, the (below-ground) train tunnel, a helicopter, and a selection of midcentury radio statics swept up from the cutting room floor. Then I split them up and rearranged them, repeating some short ones to make longer things. No other processing; it didn’t seem to want it.

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