Disquiet Junto Project 0399: Edges & Echoes

[disquiet]

And suddenly we’re at week 399 of the Disquiet Junto. When this music community first got rolling, someone asked about a hypothetical week 200, and that felt like science fiction. Next week, for the 400th, we’ll embrace science fiction in a project that is a collaboration with the novelist Malka Older, who recorded something special for us.

But first … week 399.

Each Thursday in the Disquiet Junto group, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. (A SoundCloud account is helpful but not required.) There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Deadline: This project’s deadline is Monday, August 26, 2019, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, August 22, 2019.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0399: Edges & Echoes
The Assignment: Make sonic art for a space with the sounds of that space.

This project is the second of three that are being done in collaboration with Musikfestival Bern, which will be held in Switzerland from September 11 through 15. For this reason, a German translation is provided below. We are working at the invitation of Tobias Reber, an early Junto participant, who is in charge of the educational activities of the festival. Select recordings resulting from these three Disquiet Junto projects will be played publicly as part of the Rauschlabor Schützenmatte (musikfestivalbern.ch) or broadcast on the festival’s radio show, Radio Antenne (radioantenne.ch). If you don’t want your recording to be used in this way, please note so wherever you post it.

Step 1: Familiarize yourself with the German word “rauschen,” the theme for this year’s festival. Understand that “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.

Step 2: Provided are several recordings capturing the sounds of the empty performance space for the festival. Access them at the following URL and listen to them:

https://www.dropbox.com/s/jy7ou2ssdvl8til/Bern%20Audio.zip

Step 3: Create a piece of sonic art intended to be played back in the festival performance space utilizing only the source audio.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0399” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0399” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Post your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0399-edges-echoes/

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: If posting on social media, please consider using the hashtags #disquietjunto and #musikfestivalbern so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Additional Details:

Deadline: This project’s deadline is Monday, August 26, 2019, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, August 22, 2019.

Length: The length is up to you. Shorter is often better.

Title/Tag: When posting your track, please include “disquiet0399” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: Consider setting your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

More on this 399th weekly Disquiet Junto project — Edges & Echoes / The Assignment: Make sonic art for a space with the sounds of that space — at:

https://disquiet.com/0399/

This week’s project is the second of three being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. The source audio was provided by the Tobias Reber. More details at:

https://www.musikfestivalbern.ch/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0399-edges-echoes/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

The image associated with this project was adapted from one by Tobias Reber and is used with his permission.

. . .

Disquiet Junto Project 0399: Edges & Echoes
Die Aufgabe: Mach Klangkunst für einen Raum mit den Geräuschen dieses Raums.

Jeden Donnerstag wird der Disquiet Junto eine neue Kompositions-Challenge gestellt. Mitglieder haben dann vier Tage Zeit, ein Stück hochzuladen, in welchem sie auf die Challenge reagieren. Die Mitgliedschaft in der Junto ist offen: du kannst einfach mitmachen. (Ein SoundCloud-Account ist nützlich, aber nicht zwingend.) Es besteht keine Verpflichtung, bei jedem Projekt mitzumachen. Die Junto ist wöchentlich von Donnerstag bis Montag, so dass du immer dann mitmachen kannst wenn du Zeit hast.

Deadline: Die Abgabefrist für dieses Projekt ist der Montag, 26. August 2019 um 23.59 Uhr wo immer du bist. Das Projekt wurde am Donnerstag, 22. August 2019 gepostet.

Dies sind die Anweisungen, welche an die Email-Liste der Gruppe (unter tinyletter.com/disquiet-junto) versandt wurden:

Disquiet Junto Project 0399: Edges & Echoes
Die Aufgabe: Mach Klangkunst für einen Raum mit den Geräuschen dieses Raums.

Dies ist das zweite von drei Projekten in Zusammenarbeit mit dem Musikfestival Bern, welches vom 11.-15. September stattfindet. Wir arbeiten auf Einladung von Tobias Reber, einem frühen Junto-Teilnehmer und Verantwortlicher für die Musikvermittlung beim Festival. Ausgewählte Resultate dieser Projekte werden im Rahmen des Festivals im Rauschlabor Schützenmatte (https://www.musikfestivalbern.ch) öffentlich gespielt oder auf dem Festtivalradio, Radio Antenne (www.radioantenne.ch), ausgestrahlt werden. Falls du nicht möchtest, dass dein Stück dafür verwendet wird, dann vermerke dies bitte wenn du es veröffentlichst.

Weitere Informationen:

Schritt 1: Mach dich mit den Bedeutungen des Wortes «rauschen» vertraut, dem Thema des diesjährigen Festivals.

Schritt 2: Es werden mehrere Aufnahmen zur Verfügung gestellt, welche die Klangumgebung der Schützenmatte einfangen. Du kannst sie unter der folgenden URL herunterladen:

https://www.dropbox.com/s/jy7ou2ssdvl8til/Bern%20Audio.zip

Schritt 3: Gestalte ein Stück Klangkunst nur aus Aufnahmen dieses Ortes, welches wiederum an diesem Ort abgespielt werden soll.

Sieben weitere Wichtige Schritte wenn deine Komposition fertig ist:

Schritt 1: Verwende „disquiet0399″ (ohne Leerschläge und Anführungszeichen) im Namen deines Tracks.

Schritt 2: Falls deine Audioplattform Tags zulässt: stelle sicher dass du den Projekt-Tag „disquiet0399″ (ohne Leerschläge und Anführungszeichen) verwendest. Vor allem auf SoundCloud ist dies hilfreich um anschliessend eine Projekt-Playlist erstellen zu können.

Schritt 3: Lade deinen Track hoch. Es ist hilfreich, aber nicht zwingend, wenn du dazu SoundCloud verwendest.

Schritt 4: Poste deinen Track im folgenden Diskussions-Thread auf llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0399-edges-echoes/

Schritt 5: Füge deinem Track eine kurze Erklärung zu deiner Herangehensweise bei.

Schritt 6: Falls du den Track auf den sozialen Medien erwähnst, verwende gerne die Hashtags #disquietjunto #musikfestivalbern so dass andere Teilnehmer deinen Hinweis besser finden können.

Schritt 7: Höre und kommentiere die Stücke deiner Junto-Kolleg*innen.

Weitere Details:

Deadline: Die Abgabefrist für dieses Projekt ist der Montag, 19. August 2019 um 23.59 Uhr wo immer du bist. Das Projekt wurde am Donnerstag, 15. August 2019 gepostet.

Dauer: Die Dauer des Stückes ist dir überlassen. Kürzer ist oft besser.

Titel/Tag: Wenn du das Stück postest, verwende bitte „disquiet0399″ im Titel des Tracks und – wo möglich – als Tag.

Upload: Wenn du bei diesem Projekt mitmachst, dann poste einen fertigen Track mit dem Projekt-Tag und füge ihm eine Beschreibung deiner Vorgehensweise bei – Planung, Komposition und Aufnahme. Diese Beschreibung ist ein zentrales Element im Kommunikationsprozess der Disquiet Junto. Fotos, Video und eine Auflistung der verwendeten Instrumente sind immer willkommen.

Download: Ermögliche gerne das Herunterladen deiner Komposition und erlaube attribuiertes Remixing (z.B. eine Creative Commons-Lizenz welche nicht-kommerzielles Teilen mit Attribution erlaubt und Remixes zulässt).

Wenn du den Track online postest, füge ihm als Kontext die folgende Information bei:

Mehr über dieses 399. wöchentliche Disquiet Junto-Projekt – Edges & Echoes / Die Aufgabe: Mach Klangkunst für einen Raum mit den Geräuschen dieses Raums.

https://disquiet.com/0399/

Dies ist das zweite von drei Projekten in Zusammenarbeit mit dem Musikfestival Bern, welches vom 11.-15. September stattfindet. Die Aufnahmen von der Schützenmatte werden von Tobias Reber zur Verfügung gestellt. Weitere Informationen unter:

https://www.musikfestivalbern.ch/

Mehr zur Disquiet Junto unter: https://disquiet.com/junto/

Abonniere die wöchentlichen Projekt-Ankündigungen hier: http://tinyletter.com/disquiet-junto/

Die Diskussion des Projekts findet statt auf llllllll.co unter:

https://llllllll.co/t/disquiet-junto-project-0399-edges-echoes/

Ausserdem gibt es einen Junto Slack-Channel. Sende deine Email-Adresse an twitter.com/disquiet um Zugang zum Channel zu erhalten.

Das Bild zu diesem Projekt wurde aus eine Fotografie von Tobias Reber adaptiert und wird mit seinem Einverständnis verwendet.

[disquiet]

The project is now live, in English and German. Thanks again to @TobiasReber for getting this Bern festival collaboration rolling.

[ryanscottmattingly]

I altered field recordings from a stage in Bern, Switzerland by reversing them, dropping them several steps, cutting out the most interesting portions, and adjusting their transients. I finished by using a couple of plugins (eventide reverb and ozone mastering).

My kid was deep into a scooby doo plot, so there may have been an element of unintentional scoring. It would’ve likely been more granular and textured if it weren’t for those meddling kids.

[RandomShuffle]

load all samples to my octatrack mk II, take 8 static machines, use all samples and the fun begun …recorded through elektron analog heat mk II in ableton live

[janglesoul]

Hi, a quick one. Listened through the samples, got attracted to the train rhythm. Chopped up a few other samples and pasted them out where they could add to the rhythm. I kept it short.

[VonnaWolf]

disquiet0399.pdf (98.3 KB)
I used a small piece of all of the samples that I selected with follow action in Abelton clip launching at various intervals. I then took 3 clips 7 Under the bridge with skate park, 6 On Stage , 2 Inside the metal bin, grouped N looped a small section with effects. I then took the clip and took the score I created and used SIMPLER device in Abelton. Mixing the follow action with the clip from the loop that was layered back into the score.

[AudioObscura]

I am working on a similar process with SIMPLER and tracking it back into my piece but its midnight in the UK and I need to sleep and will finish the piece another day…

[zengomi]

Soundcloud:
"An arrangement of 11 field recordings provided pre-event in conjunction with the Musikfestival Bern, held in Switzerland from September 11 through 15.

Staggered starts of the 11 sound clips resulted in a track length of 4’33" (inclusive of silence added at the beginning and end)."

Minimal editing. All clips processed through their own UAD 610 preamp. Some panning.

[dailybells]

Processed with python in six passes: analysis & segmentation, particle synthesis, wave extraction, wave reconstruction, wave plucking, layer combination & macro-recipe application.

(This system is an in-progress project to make ongoing reconstructions of a different database of field recordings for a radio stream.)

Source code: https://github.com/hecanjog/radiopost/tree/a7786fef8f570e755bd080947ef4a3cc47c49a66

(It’s a mess, sorry.)

[Paul_Reiners]

I did this in Ableton Live. For each of the provided audio tracks, I used Chopping Block and Robo Voice audio effects. I layered these tracks. On the master track, I used a Bright & Edgy Master audio effect.

[VonnaWolf]

One of my favorite songs is from the Scooby Doo movie. I don’t know why it clears out venues. https://youtu.be/kZzBd41NuZw

[Anatol]

I’m still on vacation and short on equipment, so I uploaded a drone piece made with Ambient 4.0. It’s based on a noisy field recording from Munich, Germany. I love the way the algorithm adds little melodic bits here and there.

[Ethan_Hein]

https://soundcloud.com/ethanhein/feel-the-bern-disquiet0399

I challenged myself to use all of the sounds provided. I made drum hits by editing out segments, compressing and distorting them, and shifting their pitch. I made ambience by timestretching things and running them through Ableton’s Resonator plugin. Finally, I took one particularly nice burst of pitched noise, put it in a Simpler, and played a melody on it.

[halF_unusuaL]

Hi All,

Lovely source material … I did a bit of chopping and morphing in TidalCycles …

Have a lovely week!

h u

[howthenightcame]

Greetings from a very muggy Tokyo…

I approached this numerically.

It’s August 23rd = 823

I took 8 seconds of sample 8 and paulstretched it eight times (64 seconds). I played it forwards panned 8R and backwards (-12 semitones) at 8L.

I took 2 seconds of sample 2 followed by 2 seconds of silence and repeated it for 64 seconds. I added a Berlin resonator (containing the letters B-E-R-N) and panned it 23L.

I took 3 seconds of sample 3 followed by 3 seconds of silence and repeated it for 64 seconds. I added another Berlin resonator and panned it 23R.

I then added delay and reverb.

Panning + delay = echoes and edges.

Have a great weekend!!

[mdh]

https://soundcloud.com/matthewh538/edges-and-echoes-disquiet0399

I heard a couple of snippets of dialogue here and there in the audio samples. So, I decided to use two tiny slices to create process music inspired by “It’s Gonna Rain” by Steve Reich and using some javascript from following this excellent blog post.

I imagined these two people, who may or may never have come into contact in reality, encountering each-other and trying to communicate only to each both be caught in a seemingly never ending microloop.

Both phasing pieces recorded into Ableton from my browser with the js file running and then some crossfading done in the DAW. I tried a few other effects like EQ to boost the vocal parts, but none of it really worked so I left the dialogue as it was.

Samples used: Inside metal bin, Street crossing. (Exact time stamps and durations I’ve forgotten )

[ryanscottmattingly]

I was convinced it was going to be this: https://www.youtube.com/watch?v=udmTfK6_aM8

Now I’m mixed up. I don’t know which song & video I prefer…

[Tunnelwater]

For this piece I used all 11 recordings. I fed each recording through it’s own tuned resonator and created a 2 minute-ish collage from this. I then created some variations on that basic track, including a half speed version, the half speed version sidechain compressed by recording 11, and the half speed version fed through another set of resonators.

When making this piece I found myself trying to find a balance between my manipulations and those parts of the original recordings that I found particularly appealing. Enjoyable source material and another great creative prompt!

[tristan_louth_robins]

An interesting challenge this week. I decided I would attempt to ‘parse’ the ambiences in these recordings and represent the space(s)in terms of weight, lightness and shade; ultimately, with an emphasis on the rauschen. I selected about half the available samples (metal bin, skate ramp, stage ambience, bridge)and composed a short collage in Logic X exploring aspects of dynamic, duration and texture using only volume and panning automation, along with a single band EQ to set and sweep through the frequency range of given samples.

[jbushnell]

I fed seven of the recordings into Akira Rabelais’ unpredictable Argeïphontes Lyre software. I took the two “street crossing” tracks and fed them through “Faltung in Zeit” which reduced them to low end texture, I did the same with the two “Inside cupboard” tracks, with similar results, and I looped these to form a low end to the track.

“On stage” went through “Loplop et la Belle Jardiniere” and “Under the bridge with skatepark in background” went through “Sleightes sorting and shuffling.” Both these processes cleaned up the source material considerably, and I ran them through PureMagnetik’s “Driftmaker” plugin to add some strange echoes and analog tapelike noise; the results, mixed together, served as the lead track (inasmuch as this kind of soupy hazy recording can be said to have one).

“Under the railway bridge” went through the process just called “noise,” and two versions of it (one stretched and one looped) fade in and out in the background of the mix for a little added textural interest.

Cheers~