#36


While listening to the source material I recognized a similarity between the on stage and skatepark recording. Another one had a nice drone quality. Layering by first cuts mostly modulated the noise level, so I decided to throw some granular synthesis in the
mix to make the soundscape more interesting. The stage and skatepark recording contributed the rhythm, the tire the drone, and the street crossing a few unrecognizable spoken words.

source material:
01 Inside tire
03 Inside plastic bin
06 On stage
07 Under the bridge with skatepark in background
09 Street crossing

tools used:
Csound
audacity
ardour

2 Likes
#37

A few weeks went by without any submissions (I was busy putting together and performing at a local “Modular Synth” festival at Louisiana Museum of Modern Art in Denmark. Great fun!)

This small piece is entirely constructed from the recordings provided.

Sounds have been cut, altered, resonated, hexonated, reverberated, stretched and generally thrown around to create this small curiosity. Shout outs to Aalto Reverb, Sinevibes, iZotope and good old meddling by hand in Ableton…

I’ve name the piece “berning man”, in honor of the immediately upcoming Burning Man festival where good friends, but not me this year, will convene shortly…

4 Likes
#38

I had no plan for this one but took it into my head that I wanted to use pitch and envelope followers. I started by pitch following the high cupboard but didn’t get anything particularly interesting. so I combined all the samples for more texture, then used the pitch follower to modulate a filter and resonance to produce a new track. Then I used the Xils 3 LE as an effects processor and used its pitch tracker, envelope follower and transient detection to create the dripping sound. I ended up reversing all the tracks. The final result is the originally combined samples, the filter and resonance track as a rauschen wind sound, and the drip combined with some reverb. No additional sounds were added.

3 Likes
#39

I took 5 samples from the WAV set and considered these as rooms. I used GleetchlabX to fragment these rooms in time, each with different fragmentation size. Each room = mixer channel got two VST-FX: u-he Protoverb, for very short reverbs, and Valhalla Delay, which can be used as a wild reverb, too. All parameters have been manipulated in sessions.

The idea was to create “impossible rooms”, fragmented in time and space (the latter equals their impossible reverberation ability), which exist in the same sound. – This is a 6 min cut from different sessions. All audio material is based on the Bern WAVs. (You may notice some tonal content around 1:30, but this is just a glitch which I liked too much to cut it out.)

5 Likes
#40

The most difficult part of this project is that I find these sorts of typical urban noises so relaxing, I found myself nodding off when I was auditioning the source files! :grin:

I had a lot of fun with this. I listened to the source recordings several times, cutting bits and pieces out of the different samples and organizing them into the types of sounds I heard (sweep, resonance, drone, etc). Once I had a good-sized collection, I began stacking parts, pitching things up, adding some heavy filtering and automation, and a few of the samples were pushed through various glitch effects to add some flourishes here and there. There is no other audio used other than the source recordings.

I knew I wanted to build something within the Dark Ambient genre, along the lines of Daniel Menche, Lustmord, or Controlled Bleeding.

Enjoy!

3 Likes
#41


I wanted to create a track with many rauschen rooms in constant flux. I looped all the Bern recordings, staggered them on individual tracks and grouped/bussed them according to exterior and interior. I then morphed the groups together using MORPH 2, reversed some tracks and added delays, reverbs, EQ and compression. Even though the track has a repetitive structure, it never sounds the same and constantly evolves with details from the raw recordings bobbing above and below the surface.

3 Likes
#42

https://soundcloud.com/ohm-research/ouveti-disquiet0399

A rauschen overture incorporating 11 samples.

2 Likes
#43

cool sounds :slight_smile:

1 Like
#44

I found a heart beat Under the railway bridge facing the street
I found a snare thing On Stage
I found an ollie Under the bridge with skatepark in background and brought it to the foreground
I found a space that emerged granulated from the Street crossing and railway
I found a tone Inside a high cupboard that sampled into some sort of melody.
The everything fell In To Place Of The Edge.

4 Likes
#45

Snuck this one in a few hours before the deadline!

For this piece, I thought about the anxiety and excitement that hits just before a performance. The rush of adrenaline and that weird, paradoxical mix of dread and anticipation.

Recordings used:

  • On stage
  • Inside metal bin
  • Under the railway bridge
  • Street crossing and railway
3 Likes
#46

What a great track. Love the rhythms and the progression. Nice work.

3 Likes
#47

Lately I’ve been leaving junto projects until monday for 2 reasons

  1. Lazy
  2. I want to spend less time ‘perfecting’ and reduce the time it takes to get an idea up on soundcloud

After umming and ahhing about this weeks project while eating dinner, I decided to give myself 90mins. Pretty happy with the result. I ended up using all the samples, grouped into 3 groups, each groups tracked were dropped into a custom arpegiator triggered sampler I’d made and I let loose.

3 Likes
#48

Disquiet0399

Disquiet Junto Project 0399: Edges & Echoes

  • Key: BPM: 120 Time signature: 4/4 DAW: Reaper
  • Instruments:
  • Plug-ins: the orb by audio thing, ultra pitch shift by waves, H delay by waves, phasis, guitar rig 5, choral, ring modulation, tonifer
  • Used 10 of the supplied source sound files
  • Mostly automated panning, volume or trim
2 Likes
#49

i ran four of the samples through iris2
then further processing in audacity to bring out some more tonal qualities

3 Likes
#50

Short and sweet’ish. Spectral smearing drenched in reverb and a healthy dose of bit crushing.

2 Likes
#51

Marc said i would like the source audio for this weeks project and he wasn’t wrong.

I’ve spent quite a few hours just playing with it this weekend - to the point where i was convincing myself not submit anything, that the play was the thing as it were, but then i remembered that the Junto is at least in part about the un-resolved and contingent, not necessarily about the final or complete…

i tried a few angles and i’ve made something else which i liked a lot but felt a little too similar to other things i’ve been doing lately - self-consciously abrupt chops and sequences, minimal signal processing &c &c - so i figured i should work against that somewhat.

Which in the end amounted to quite a lot of granular delay with a little phase and ring modulation at times. This piece is essentially 15s sections of an earlier iteration each dragged out for a minute and sequenced to as to fade in/out over thirty seconds (there’s an additional untreated copy of 10 Street crossing and railway in there too, y’know for * t e x t u r e *)

2 Likes
#52

I always end up posting on Monday, even if I finished the track the day before… I tried using Ambient and a chain of effects on a source track, but in the end rhythmic FX proved a better fit for creating what felt like music instead of just chaos.

2 Likes
#53

Technically I guess were supposed to use only the sounds provided…oops.

Anyway, this gave me a great chance to work on something I’ve been thinking about for a long time - using the tonal information “hidden” in soundscape recordings to create a tonal framework.

I took each provided sample and listened closely for the tonal hidden content, trying to match the background sound to a pitch. Sometimes I used Ableton’s Spectrum plug-in, but often I used my ear.

From there, I tried to make an Ableton instrumented that would “play” these soundscape recordings from a MIDI keyboard. At first I tried to use “zones” in the Sampler plug-in, but halfway through I realized it would be faster to use an Instrument Rack, filtering the notes to trigger a given sample using the Notes plug-in. This worked well, even if it was a little hard on my processor.

I wrote a simple theme that felt satisfying and made use of the “subliminal” tonal content of the samples. Then I improvised, intending to find ideas that worked and rewriting them into a piece, but I ended up just keeping the improvisation fairly intact. The only modifications I made were transposing certain sections to match the pitch contour of the theme, editing out it out some of the “junk notes” I played, and fixing some bad timing (gotta love working with MIDI!)

The keyboard sound is from a processed version of my upright piano and the Rhodes is from a Live Pack by Leonard Charles, which is amazing quality and everyone should get it.

2 Likes
#54

I love this idea! Thanks for providing the video, too!

1 Like
#55

Can a German speaker tell me whether the words rausch and rauschen are related? I came across an article today, “Sartre’s Bad Trip”, which mentions rausch quite a lot.

2 Likes