#71

I really like the relatively minimal approach you took here. You have enough tone and texture to keep things interesting but keep it light and airy. Really nicely done!

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#72

cool sounds :slightly_smiling_face:

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#74

This is really gorgeous, @ZeroMeaning.

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#75

I started off pitch shifting and Paul Stretching three of the samples till I got a drone on an F Chord which was the basis. I wanted to incorporate Dies Ire so I played a loosely practiced version of that in samplr and stretched, looped, and reversed a copy. To finish things off I added a recording from Borderlands Granular synth to give the track a bit more motion.

IIRC I used samples: Bassling, Baconpaul, Abalone, and Blunderspubllik

2 Likes
#76

My process in composing the track was as follows:
1 Sort by male/female voices, keep female only
2 Sort by singer for light processing by voice
3 Sort by pitch, high to low
4 Arrange into chords
5 Compose percussion to accompany each chord

A few further notes:

  • A small amount of obvious processing on some voices was done in order to give a sense that this was not entirely a live choir.
  • This piece was inspired by some of Kenneth Kirschner’s compositions, especially “September 25, 2010.”
  • The Percussion Swarm sample library from Spitfire Audio was used for much of the percussion, being a recent acquisition of mine.
  • The piece was composed in the Best Western Hollywood Hills Hotel in Los Angeles (long story how I ended up there) and mixed in Portland.
  • By coincidence, the way the 35 different voice samples were arranged in Ableton formed a roughly palindromic pattern.
5 Likes
#77

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#78

Thanks to all who gave their voices.

I sampled some randomly off my laptop into the Koala app on my iPhone. Later, while waiting for children who were at a rehearsal for a musical, I worked on this. Ambient, I did some reversing and pitch shifting, all in Koala. Then into AUM and added a little tape delay with K7D.

Alone is a dark parking lot in a car, using the bluetooth connection to use the car stereo as speakers. People were all around me then, or at least their voices.

Thanks again, and thanks MW.

3 Likes
#79

I started by selecting nine samples to use in 24 chords of three notes each, arranged according to the (9,3,2) block design on page 204 of Tom Johnson’s Other Harmony. At the time, I wasn’t concerned with pitch or consonance and set the samples to loop in Numerology’s sample kit so they could play for extended durations.

I wasn’t finding these long chords compelling, so I went the other direction and shortened them to play in repetitive pulses. I added a drum beat, then chose another of the dischoir samples to play over the entire piece, altering its pitch using Michael Norris’s Spectral Pitch Shift and using Spectral DroneMaker as an effect. I used Sandman Pro on the vocal chord & drum tracks, aiming for a glitchy/creepy effect.

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#80

My first disquiet in 5 years!
I’m just learning to use my software sampler. I think I ended up using 4 or 5 of the samples, initially I intended to use many more. It was nice hearing everyone’s voices.

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#81

My effort was a quick one using @TheTechnobear 's recent adaptation of Katja Vetter’s ‘slicejockey’ for ORAC. I think I just used @baconpaul 's ‘daughter’ samples. Lovely vocal texture :slight_smile: Sounds almost like a trumpet pitched down.

soundcloud blurb:
Made using orac for Organelle and Ableton Live.
orac modules used:
slicer by @thetechnobear (based on Katja Vetter’s slicejockey)
reverberation by @ëlectrafa

In Ableton:
Soundtoys Filterfreak VST doing some envelope following filter movements.
Valhalla Plate VST for some extra reverb sprinkles.

3 Likes
#82

I actually do sing in a real choir. I can´t let this opportunity pass without posting a link to our song “Bye Biodiversity”. We recently recorded this and will actually sing this today on a congress on ""Conservation of Biodiversity on Land“ here in Berlin.

2 Likes
#83

Firstly, I want to thank everyone for their time and generosity! There was just so much to choose from! I wish I could’ve used everyone’s voices :\

Climate change has been on the forefront of my mind for a while. It’s hard to escape the fact in Australia, despite our government’s best attempts. I wanted to create a piece that expressed my sense of unease with our current situation.

Here is the Dischoir singing along with a recording of ice melting. I recorded the ice by freezing my hydrophone in a glass of water, then slowly pouring hot water over the frozen block.

Vocal contributions [in order of appearance]:

Jet Jaguar
Patricia Wolf
cray
samarobryn
atomboyd
Precht
zoundsabari
ejkelly
BellyFullOfStars
sevenism
tja
Zero Meaning
KRSeward
Vonna Wolf

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#84

Lovely. Very meditative.

1 Like
#85

Hi, everyone. I’m pretty sure the playlist now includes all the tracks from this week, but if I missed yours, let me know. It’s here:

#86

I really enjoyed the way you kept the samples in recognisable form and yet managed to build things up in a way that transformed the combination to more than the sum.

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#87

I thought this was a fun middle ground between a choral piece and a drone piece. Vocal texture and recognisable transients but blending into a moving drone tone.

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#88

I dig the textures of each voice starting again, and the little clicks are nice!

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#89

Could be used over the opening credits of The Exorcist… loved the ending too.

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#90

Apologies for my very lateness!!

I wanted to hear what would happen if I let the timbre and original pitches of the Dischoir dictate the composition, with me serving as the transcriber/arranger. So I used the samples without change as much as I could, while still attempting for it to sound like a community choir singing together… just one that happens to gather online rather than all at once in a room.

So this is it - everyone, the whole Dischoir. I have it at 53 participants, I think. One sample from every Dischoir member is in the mix somewhere, for the most part unprocessed. There are two people who sent in multiple samples, where I used two of those in the mix (@baconpaul and @atomboyd ).

Only very minimal pitch shifting was used, and in only 5 voices, mainly to follow the melody - the lower note in @atomboyd 's voice a minor 3rd down for the main motif; In the middle section: a major 2nd down in Hugh’s (@DetritusTabuIII) voice, my voice, and @atomboyd 's high melody, and a major 2nd up in AJ Miller’s (@brasslens) drone to match a chord change. Everyone else is at the same pitch in which they originally sang their sample.

There is some sample stretching, done through Groove Clip Looping in Sonar. And plenty of voice doubling throughout. Otherwise, there are no other effects. The arrangement was edited and assembled entirely in Sonar.

I started the process by listening to every sample and grouping them by pitch. Then, after the initial inspirational spark of the main riff heard in the first measures, I worked with the pitched groupings to create the final chord structure and arrangement around it. This took awhile! But I’m very happy hearing the results.

Thanks to AJ Miller (@brasslens) & @atomboyd for the inspirational interval spark.

Some of the featured voices:

@atomboyd , Hugh (@DetritusTabuIII ), @VonnaWolf on leads and higher featured lines.
@abalone and Cray in key drones.
@ikjoyce holding down the root bass note solo in one of the chords,
and @Jet for the marvelous throat singing bass!

10 Likes
#91

You somehow perfectly sang the key change in my piece, by happenstance. :slight_smile: One of my fave moments hearing that!

2 Likes