Here, the rainfall accents are emphasised and extracted to generate a naturally syncopated rhythm. This soundfile is then reused; fed as an impulse response to a convolution reverb and used to process the pad sounds. As above, so below.
(Field-recordings are self-recorded)
I am on the road at the moment so I just used preexisting recordings I already had in my beloved Android DAW “Caustic”. I arranged them to get something rhythmic, which I intended to be erratic, too. There are deviations from the perfect rhythm to honor the idea of “rauschen”. All “melodic” sounds are due to filter sweeps. Most ambient recordings got their rhythm by LFOing with a square wave.
Here is my track:
The basis where three quasi-random noisy loop tracks done with Thingamagoop and Bastl Softpop. On top of this I did a first-take live improvisation with my Soma Lyra-4.
Unpitched percussion makes for nice white noise, and the different instruments allow timbres that work against and in concert with one another. I used several clusters of instruments when putting together a theme, which shows itself, but is generally not easily identifiable. Two double stopped string bass groups gave a bottom to everything - although toned they acted more as low, dark white noise.
The idea was to offer an industrial feeling, something that might accompany the movie Metropolis.
Rauschen Time was written for two Horns, two Trombones, Bass Drum, Maracas, Cymbals, Gong, Snare Drum, Tambourine, Violin, Viola, Cello and String Bass.
The score is available at http://bit.ly/2lHyVX6
recorded in audi A4 edit at home
I used the same waterfall recording for this one as for the first in the series.
https://soundcloud.com/user-760725283/be-te-noise-disquiet0401. I put a gate and a scale on it to generate some notes, and fed those to a couple of synths - sub37 for the bass, and a minilogue xd for the shimmery parts.
I did this from two recordings at the McKinley Park lagoon here in Chicago. One of them was me sitting at the edge, and another when I walked around it. I decided to mostly use the rhythms of what was occurring naturally. The pace of my footsteps, or the cicadas’ chirps, etc. There was a some point in the recording a loud metal clang in the distance and I got excited figuring I’d use it as my melodic element, but it didn’t come through well. It made a good background texture though.
I patched up a mother 32’s noise output and had a Dfam modulating the envelope and cutoff to create rhythmic hisses and whooshes. This was then sent into a resonator plugin and I jammed along with a micro freak.
This is a dub mix of my earlier track for this week.
I’m using the Croaker reggae riddim. Instead of traditional drums, I’m using rauschen to create a beat. There are bits of Ezra Pound reading “Hugh Sewlyn Mauberly (Contacts and Life)”.
My rauschen is from my Disquiet Junto Project 0399.
“Sit you down father, rest you.”
This piece is based on a sample of more than 100people discussing designing for meaningfulness. I’ve stretched and mangled the sample - and added fuzz and compression, sidechaining into a suitable rhythm.
On top of everything is a few vocal samples and some different granular-synths - so most of the raw material to this small piece is from live samples and only bass and some drums are “synthesized”.
Hello everyone. Got an “up close” recording of our air cooler at home - you can hear it at the beginning. The beat was generated by using compressors, filters and volume control. The melody is courtesy of resonators. All done in Ableton. The single air cooler recording I used seems to fit the concept of “Rauschen”, but I’m not sure if my track itself does. Apologies if I messed up!!
A beautiful thunder storm rolled through Seattle last night Sept,7 2019.
I got a recording of the rain and thunder, and it reminded me of this project.
I took a section of that recording, imagined a beat within it and used the Roland Juno 60 for melodic interpretation.
I recorded 2 minimal takes off the Juno 60.
[Image credit to American Public Power Association free to use on Unsplash]
there’s a primary school close to where i live
the sound of hundreds of kids has a rauschen quality i think
i recorded on my phone, and there’s the sound of wind too
i ran through the electronica 1 and 2 filters in live with ddly too, i like the swirling quality you get from that effect
This track more or less builds on the two previous Raushen projects. The sounds are rain and thunder from the weekend, our dishwasher washing, amongst other things, a large stainless pasta pot that makes recurring sound and an industrial washing machine I recorded while on holiday.
I use a gate on the transients from these sounds to trigger the melodic part which is sent through two effects chains; one with a resonator the other raw. Throughout the track I alter the ratio of these two chains.
For the bass beat I once again use the Xils 3LE as an envelope follower and use the transients to trigger a saw which is applied to the filter on the original sound. This is then processed through two chains; one boosts the bass by compression and Ableton’s drum buss and finally the Wavesfactory SK10 drum sub simulator, and the other is sent through a shimmer delay and Glitchmachines’ Fracture for some additional ambience.
I’d hoped to be able to spend more time on this and make it a more sparse and melodic track but was, appropriately, inundated with work.
I’ve also recorded rauschen for the earlier project, which I didn’t complete. Here’s a slightly cacophonous modular layer on top of recordings I made of a washing machine and some waves at Steamer Lane in Santa Cruz.
I recycled some sounds I enjoyed in 0398 from other contributors (I hope they dont mind ), cutting and sampling some parts to trigger from a drum machine.
Processed rauschen sounds and open guitar strings.
1) Key: F major BPM: 120 Time signature: 4/4 DAW: Reaper
2) Instruments: Massive X
• Used 4 samples from sample packs to make the rhythm
• Added a melody with Massive X
It’s been a while since I participated in on of these!
I’m not much for sampling, so I tried to use various noise colors to accomplish the prompt. I decided to use every color of noise from Sapel for at least 1 rhythmic element, and tried to do something at least a little unusual for each one. I don’t feel like I really captured the intent correctly, but I’m happy I finally made something for a Junto again.
Pink noise into Ripples with a bit of resonance, and random duration envelopes modulating FM and amplitude made the bass drum.
Blue noise into Aperture, with a narrow width, frequency at max, and some resonance and feedback made the right panned noise voice. The frequency was modulated with an inverted envelope.
White noise into Optomix then into the left side of Chronoblob with time at minimum made the karplus like sound panned left.
The swell was red noise into Prism, in high pass mode with resonance, time, and comb at 12 o’clock, into Chronoblob’s right channel, with a moderate time setting, then into Erbe-Verb.
And lastly for noise based elements, the glitchy tom/snare thing was Pink noise into Sprott, set to almost self resonate, went into the Addac 601 input 2 for some shaping. More pink noise was mixed in through input 1 of the 601 to get some of the fuzz back.
The bassline was not based on noise. It was the Dannysound EN219 into QPAS. With some FM and SR modulation.
Euclidean Circles and Marbles provided triggers, and Arpitecht provided pitch.
Various statics were used to create some fast and slow rhythms, then a Tynemouth blackbird (slowed down 75%) was layered in for the melody.