#21

Another stunner! Very cool use of the Paul’s. I’m also a sucker for anything Organish (vs Organic), was that just pigments?

3 Likes
#22

Thanks for the kind words and for listening :slight_smile: I’ve found formal theater crowds to have that kind of vibe where you know that hundreds or thousands of people are surrounding you, yet you feel completely alone as the voices wash over you in a cascade of noise. Probably something similar to what dogs feel when they’re around humans; familiar sounds with occasional snippets of recognizable text but mostly word salad…

2 Likes
#23

Thank you!

was that just pigments?

Nope, a heavily effected synth (ring modular and distortion) which intentionally muddied and warmed things up. I should learn how a B3 clonewheel organ works, I could give a more coherent answer to how to make that kind of tone :slight_smile:

1 Like
#24

I just happen to have something for this, which seems to be a recurring theme for me in Juntoland. I really appreciate the community and all the work that goes into the music, and in the selection of projects.

In late 1989 Mac Wellman told me about a play he was working on and asked if I would be interested in writing some music for it. I was and got to work on a few things. Unfortunately my Dad became seriously ill and I had to drop out of the production.

I just happened to be cleaning out a bunch of boxes from studio storage a couple of weeks ago and found this proposed opening track that I wrote for “Crowbar” on cassette… it is a bit compromised sonically from living on a not carefully stored 30 year old cassette.

This sounds like it was almost completely done with my Korg PS-3100 plus a processed Moroccan flute and Roland Juno 106 strings. Recorded to tape of course.

The play “Crowbar” ultimately ran in NYC in 1990. You can read about it here.

I had worked with Mac before, and continued to do so for many productions in the 90s and 2000s.

6 Likes
#25

@pauli Hello Pauli, welcome to the Disquiet Junto. What a beautiful first contribution - it made me think of the first Portishead LP. Looking forward to your future tracks!!

1 Like
#26

Can’t wait to listen to this when I get a chance. Very cool article!

1 Like
#27

Scary stuff! And the video is really great for this.

1 Like
#28

Over the holiday break I took the plunge with Eurorack modular. I built my own wooden case and thus far I’ve filled it with some basic Doepfer modules and some fancier stuff from TipTop and 4MS.

This track utilises the 4MS Dual Loop Delay and TipTop One sampler modules, with additional processing/texture from Doepfer filters, noise gen and a Intelligel VCA. Reverb’s been added via my Yamaha mixing desk. It’s been recorded straight to Logic as an improv.

endling 1
endling 11112×1371 410 KB

3 Likes
#29

@disquiet Marc, thank you for providing the link to your paper The Woodshed Is a Black Box in this week’s Junto email. It was a great read, and has given me a better feel for what this space really is. @Ethan_Hein’s description of you and the Disquiet Junto:

He writes reviews of music that doesn’t exist yet and then gets internet strangers to make it

was crystalline in its brilliance.

4 Likes
#30

Long time no see, folks! Here’s a little jam with the Cocoquantus and and Zoia, which sounded ghostly and distant enough to fit the assignment.

1 Like
#31

I went for a sample based approach for this - the two sources used are

I then played these through my modular system, manually fading in and out and slowing down, combined with live contact mic noises and ambiance from a background loop (also from BBC Sound Effects, lost the exact reference), all into generous reverb.

Apologies to the Caretaker.

3 Likes
#32

A droning Doepfer VCO through a Doepfer Wasp Filter with frequency turned low and then through a Black Hole DSP II for effects.

I was thinking about the silence in the abandoned cinema and I imagined I could turn that silence up until I heard the sounds within that silence. It came out as a pretty dark ambient piece

You can hear a voice halfway through the project. That is one of my friends processed through Nebulae v2. I spent more than one hour mangling his voice trying to get a ghost voice for this project but I kept only what you can hear here

1 Like
#33


Created using Abelton Live, Push2, Roland DJ 808, Midi Fighter. I took a sample using a Tascam of my double pump reed organ. Looping that thru using the Push2 and the MIDI fighter with some 808 sequencing.

3 Likes
#34

Disquiet0421
Marquee Phantom
• Key: F# Bhairav BPM: 120 Time signature: 4/4 DAW: Reaper
• Instruments: Absynth 5, FM 8
• Plug-ins: Ozone 8, replika, captain plugins
• Five tracks
• Two synths, bass, two audio downloads from Freesound

2 Likes
#35

Let’s take a single sample from a film I like and see what I can do with it. And so:

A single scene from The Last Picture Show, first loaded into mangl on a Monome norns, adjusted live with grid and faderbank; recorded to internal TAPE. Then, the same sample loaded into cheat codes, TAPE both playing back and recording simultaneously. Final composite wav file loaded into Ableton, light mastering, removal of weird norns clipping issues.

Not hugely on the outcome, but it was a fun 60m playing, and learning a new device.

3 Likes
#36

I went for the obvious…

1 Like
#37

A nice and simple one for this week. Loved the prompt. Kind of wanted to just make a little noisy thing. Aside from the processed kick, there are two noise textures layered together, both distorted and filtered with almost completely wet reverb. One was from Reaktor’s Space Drone and the other was a recording I did playing random lines on my cello from another room then put it through a vinyl emulation plugin with a high warp setting. I had different ideas I thought of adding, like distant voices or creaking wood, but after putting those two noises together, I kept getting the feeling that anything else I added would just be extraneous. So, I just left it how it is.

4 Likes
#38

Really cool. Like this a lot. Great texture and the old cassette really adds to it I think. Maybe that lofi cassette quality is just in right now, but either way I really am enjoying it.

3 Likes
#39

Lo-fi cassette quality is always good.

4 Likes
#40

My vague concept was that the listener is somehow in a trance or hallucinating that they are going to the movies. In reality they are in a disused movie theatre. The audio is meant to be a mixture of their imagination and reality.

I had attempted to get a few field recordings (on my Zoom H5) for this but didn’t get to go to a cinema (disused or otherwise) so I fell back to taking recordings from around the house. The samples all have very minimal treatment (normalize, crop and a little filter or compression if necessary). The only significantly treated element was the ambience which I did a granular style chop and reverb which I bounced and used as a pad. The only non sampled sound is the bass which is from a bass station 2. Everything else except the effects is from my MPC. I ran to 4 channels on the mixer (where it got EQ) plus sends to my regular delay and reverb.

Overall I could have done with some more sounds to hint at various more specific elements in the space, as it feels a bit sparse and slow at times. I used the delay and reverb to compensate a little but it could have done with some more energy at times. My recent experiments with samples have encouraged me to try and use them more heavily in my music: thanks for another fun project!

2 Likes