#30

This chord is A B C and F
Ive been away a long time
but now Im back…

sityphoxx

6 Likes
#31

Three soft-synths with modulated waveshapes, filter frequency and resonance gradually sent into delays and reverbs. Then, converted to half speed (the best speed) with the PaulStretch algorithm.

5 Likes
#32

Hi Everyone!

I used 4 instruments: Granular II, Grand Piano, Electric Bass (recorded)and adornable, all of them playing the chord Cmaj7#5 in different octaves. I love this chord and the mystery around it.

5 Likes
#33

Hello, it’s me again with another failure. My chord is Bm13, specifically the quartal voicing BEADG, which by sheer convenience consists of the standard tuning of a 5-string bass.

My sound sources: the open strings of three basses (a 5-string with neodymium pickups, a semi-acoustic 5-string with piezo pickup, and a 4-string U-Bass with piezo pickup), recorded clean DI, each processed through SuperCollider to reverse direction in the pattern Fw, Rv, Fw, Rv Rv at 150 bpm giving it a 5/8 feel;
myself performing lip trills, slowed down & pitched up;
an FM synth playing that 3+2 pattern.

I trimmed the bass recordings based on how long they each took to decay by 40 dB. These worked out roughly to multiples of 12 bars with the U-Bass much shorter, so I made 12-bar patterns with the synth from B up to G and distributed the bass parts round-robin style, with the lip trills sometimes acting like an independent voice and sometimes taking over from a bass part that’s just ended while the next one is still very quiet. (I wasn’t very formal about it.) Some delay & reverb, tasteful by my usual standards.

I’m calling it “another failure” because it doesn’t really sound like the prompt. There’s also an alternate version I made yesterday that was even worse in that respect (I recorded the basses with effects already rather than clean) buried in the mix.

4 Likes
#34

I was half-expecting the early MOWGAI to start playing over the top of this lush sound world. If this is a failure, fail on!!

2 Likes
#35

There are few who like to engage in self deprecation more than myself. That being said the disquiet junto is not a contest and the prompts are interpreted by those who are prompted. So it’s all good, don’t worry unless you want to.

4 Likes
#36

I agree! Maybe I should elaborate. I don’t judge anyone else’s submissions as though the prompt is a rubric to be scored (pun intended). But I have started a few in the past few months, particularly the Rauschen Bern series, then scrapped them because they just sounded like my usual shtick and the connection to the theme was just too tenuous. And my first attempt at this Junto kind of went the same way.

The thing is, I’ve belatedly realized that for someone who claims to want to make experimental art, I have a low tolerance for feeling lost and confused and so on, and a big part of the appeal of the Junto for me is working within arbitrary constraints to (hopefully) get more comfortable with identifying the seed of the idea I want to pursue amid whatever mess I’ve currently thrown together. Or, you know, something like that.

4 Likes
#37

My chord is Asus4
for ebow, tuning fork, dig synth and organ plug in.
wrestled a lot with peaky frequencies …

6 Likes
#38

I tried hard on this one but didn’t quite get it together. I sort of followed the procedure, but I ended up using multiple chords. They’re all from the B melodic minor scale, mostly built in fourths; I played them on the aQWERTYon: apps.musedlab.org/aqwertyon/theory/

I also used some beats, and I didn’t have the instruments change over time. I thought this was a pretty cool track regardless. Samples are from “Fun Tashlikh” by the Klezmatics and “Blood on his Lips” by Scientist.

6 Likes
#39

Took a bunch of loops I made over the past few months, pulled out sections, repitched and filtered and multitrack.

4 Likes
#40

Your track sounds very nice and interesting so nevermind the approximative interpretation of the prompt.
This is music after all, if you’re not sure of hitting the target you should take a shoot anyway, nobody would get hurt.

FWIW a Bm13 needs a G# instead of a G, your chord is a Em11 inversion that,as a full 4th’s chord some call “B4” but you can call it as you like.

Anyway, Good track.

2 Likes
#41

made from a flute, piano, and double bass sample - notes A, C, E
i adjust the pitch of each sample as the track goes along so you get a nice degradation over time
accidentally started to play it in reverse and liked how that sounded as a way of closing the track. added reverb for cohesion.

5 Likes
#42

I used a D#min 11+ chord - D# F# A# C# F G

Recorded live in Brainmodular Hollyhock 3, I used a different sound source for each note: Arpix (HH3); Enkl; Go2 x3; SubBoomBass 2 with different note lengths and midi pattern lengths to create a polyrhythm type of effect. Each sound was changed once during the recording.

Processed with a range of Eventide effects and Litote (Inear Display) using the HH3 physics engine to add movement to Litote. Mastered in MuLab 8.

7 Likes
#43

For this assignment, I took a broader approach to “chord” by splitting a sound into various frequencies.

I’ve been closely following the news on the devastating bushfires in eastern Australia. One of the quotes that really struck me was from a beekeeper who, while surveying the remnants of his hives, noted that the “forest was screaming”. If you wanted to sum up the bushfires in three words, that was it.

I started off by recording the tree outside my house, then I took a 6sec section and slowed it down by 800%. From there, I used the graphic equaliser to narrow down to various frequencies, approximating a chord.

Layer 1: Base recording + Moscow resonator
Layer 2: Base recording at 500hz, panned left
Layer 3: Base recording + 250hz, panned right
Layer 4: Base recording + 1k-2k, with Around The Head pan effect + Spacebirds flanger + Replika delay + Dominator distortion
Layer 5: Recording of a fire
Layer 6: Original recording of the tree

8 Likes
#44


If I had more time I would introduce more randomness into chords voicing but basically it is:

  • teletype in tracker mode having three patterns consisting only of notes from chord: Cmin7/9/11
  • values from tracker are sent to rings/doepfer a-111-1/disting vco
  • clouds is connected to aux track on mixer
  • various modulation connected to clouds, doepfer a-111 pwm etc.
  • Bard Pontius and Befaco Chopping Kinky used as VCA for a-111-1 and Disting vco
  • Zoom MS70CDR as master effect
  • Recorded to microcassette (hence why frequency response is so narrow but it adds really nice flutter)

The whole setup was running as it is and when recording my only input was changing audio level of various oscillator tracks and sending them to clouds through aux.

7 Likes
#45

Coming in under the wire here, but there’s a lesson. I’ve been participating in Disquiet Junto’s for ~ four years now. For me, it’s always about recording, sharing and listening. My participation has trailed off over the last year or so, largely because I’ve started judging my output before posting. I don’t know what changed, but I’ve let a little demon in my brain telling me to not share because it’s not good enough. That demon is the worst. With this post, I banish thee daemon! EXORCISED!

I chose A minor, because it’s my favorite chord…largely because it’s easy to find, sounds good, and spells ACE. I enjoy words. All the voices are Simpler Ableton instruments, except the drum and bass, which are an 808 kit and wavetable instrument.

9 Likes
#46

Made it just in time for this one. Was struggling to find the time to put something together for this, but I didn’t want to miss out because I really liked the idea behind this week. I went with an Ebm in just intonation voiced with the third at the top. Was going for a crushing kind of sound (guess it’s just what I like, tbh) and I’m really pleased with how it turned out this week. Two of the voices came from Reaktor synths and the other two came from a simple patch in Bitwig’s Grid and a patch in Glitchmachines Quadrant.

6 Likes
#47

https://soundcloud.com/auralantithesis/disquiet0412-one-chord-aural-antithesis
Simple diminished F chord, 3 takes on the juno 60 with 3 voices and different ways to manipulate the sound of each note.

4 Likes
#48

My first posting to disquiet, variations on a C dominant 7 13 #11 chord using inversions and arpeggios.

6 Likes
#49

I…did not do this week’s prompt correctly. Whoops! Instead, I went through a few chords but used one instrument for each pitch in the scale.

The instruments I used were accordion, baritone horn, piano, organ, voice, and a Chinese hulusi (reed instrument).

I used diads instead of triads (two notes instead of three). The first few chords have a G in common and experiment with how changing just one note can change the feel of the chord. The second half of the piece does the same thing on Ab.

I tried to record in different octaves than the final result would be, to get some tasty pitch-shifting artifacts (apparently if you sing falsetto and pitch shift it down, you sound like you’re in a boys choir rather than The Chipmunks).

Some sounds have a bit of reverb and echo on them. I used a tape simulator to “glue” them together, and used Klevgrand’s Gaffel plug-in to split up the frequency spectrum, which I then panned to the left and right a bit.

8 Likes