#31

After a lot of meddling about and several tries, this is what I came up with. Even though it might not seem like it, this piece is a result of combining two very different small pieces - but I was simply not able to produce something I liked by simply cutting them up and combining. I had to “interweave” them (if thats a word…). So, here, i present the result in 60seconds…

3 Likes
#32

I recorded two differently prepared pianos, one with contact microphones, the other with Zoom H2N in surround mode. Then I split both recordings into tiny parts, which I arranged in Ableton live. A dialogue between two differently prepared, played and recorded upright pianos.
This is my first contribution, discovered this exciting project only lately.

6 Likes
#33

Played with arpeggiated Cello lines, mangled them through Granulator, played a slower line on a Casio CZ and mixed them together.

3 Likes
#34

Two very different audio generators, after some heated discussion, find some common ground while remaining true to themselves.

More specifically, a custom Reaktor patch that is uncontrolled and inconsistent by design, and NI’s Straylight.

2 Likes
#35

Disquiet0422
Local Fall
• Key: Bb bebop BPM: 60 Time signature: 4/4 DAW: Reaper
• Instruments: NI Machine 2, NI Session Horns
• Plug-ins:
• Compose a piece of music made of up lots of very short bursts. You will have an A line and a B line, which will be tonally and aesthetically distinct from each other. These will alternate back and forth for however long you desire. Consider a length of about a second, or less, for each sliver of sound. And then finally at the very end, have the A and B lines combine.
• Watched this video: https://www.youtube.com/watch?v=PYgsaeGWNHA

3 Likes
#36

To start with I went back to a lot of old samples brutally chopping and panning. Then added a few changes to make it all a bit less brutalist. maybe im going soft?
.

2 Likes
#37

I used the sounds of a car accelerating and a car crashing interwoven using shorter and shorter durations. Here are attributions for the sounds:

I did this in ChucK. You can view my source code here.

2 Likes
#38

Versioned it.

Source code here. Did some post-processing in Ableton Live.

4 Likes
#39

I loved this one. I used it as a jumping off point and the just dove into concrete with the whole idea. It’s pretty simple instrumentation: guitar, distortion, octaver, laptop bitcrusher, reverb, basic freeware drum sound in logic sent through the aforementioned mangling tools and stompboxes.

I did this under a working title that now seems like sleep-deprived gibberish:

One Theoretical Explanation of the Rhythmic Suspension Attributes the Change to Exogenous Cascades Introduced at an Indeterminable Stage in the Procedure.

2 Likes
#40

Another great piece of work: I really enjoy the glitchy feel and the varies chop sizes. It maintains great texture throughout without feeling like it’s leaning on the glitches as a novelty. The audio snippets are also short enough to feel like the little snippets I imagined (Vs mine which were mostly too long).

2 Likes
#41

I really appreciate how live (and lively) this sounds (the initial riff reminds me of the knightrider theme). In particular, in my submission, I kept focusing on short snippets of short lines: taking short (and long) snippets of full length lines was a great idea. The other sample elements also added great textural variety. Nice work!

2 Likes
#42

Thanks for the feedback :slight_smile: I was quite careful in not allowing the glitchy-ness to take over as you mention.
I would say the sound is very deliberately grounded with the piano from the Eilish song and the recurrence of her voice, which to me also served as the emotional hook of the track too - so that I can let all this glitchy chaos happen around it without losing the backbone

I listened to yours and I do think you undersell yourself a bit. I really like the synth sounds in it and the feeling that its building towards something. But then its over, unfortunately, just as it feels like its beginning :pensive:

And maybe you didn’t adhere so much to the little snippets part of the constraint - but I didn’t follow the A/B instruction in the prompt (I have to admit I was a little fuzzy in my understanding of the exact steps this week). So we’re both guilty of bending the rules!

1 Like
#43

I wrote a couple of little riffs in Amaj for this weeks project. I recorded myself playing them on a classical guitar and then added some synthy parts.

3 Likes
#44

Two Ableton Live groups alternating every half bar via two opposing ShaperBox filters. The filters are gradually removed during the second half of the piece.

Various instruments make up the two halves. On one hand, Audio Damage Quanta, some Euclidean rhythmic hats and an atmospheric soundscape from AudioThing. On the other hand, Audio Damage Continua, AAS Strum GS-2, Arturia Pigments and another atmospheric soundscape.

There are various automations and effects that come and go during the proceedings including filters and distortions.

Thanks for the prompt, Marc; it’s appropriate that I’ve been reading ‘Agency’ while thinking about this week’s effort.

4 Likes
#45

track A: iris 2 and ddly
track B: phonec and podfarm

used the same midi file for both (from magenta generate)
slowed it down at the end

1 Like
#46

I totally agree about the piano and recuring vocal, those elements definitely tie it together and offer some emotional context. I think the trick of keeping that core then building the glithes around it (Vs starting with the glitch the augmenting) makes a lot of sense.

As for my track ending just as it begins, I had the same feeling. I had also set myself a goal to make something shorter (normally I target 3-5 minutes, so I decided to try and go for 1 minute instead) and didn’t really account for the brevity. In particular if the “crescendo” in a 5 minute piece lasts for 1/8 of the time it feels satisfying; if it’s the same proportion of a 1 minute piece it feels disappointing: maybe I should have targeted 2 minutes or moved forward more rapidly. Ideally I’d also have liked to have moved the cut lengths more fluidly and gone all the way into high audio rate (rather than just play the parts in unison) but it proved very time consuming on the MPC.

Thanks a lot for your feedback in any case and again: great work!

1 Like
#47

This was a Shepard Toney thing I made in Max before I scrambled it up two ways in Pro Tools and then played it back in a randomly switching and (slightly) re-pitching Max patch.

Short and sweet.

4 Likes
#48

Both clips recorded with iPhone (Ginger on kazoo); edited in Audition.

Made for Disquiet Junto 422, Chapter Cascade: Make a piece of music made up of tiny alternating parts Not sure if this is music but it is sound.

Image from a Fauves comics strip.

THANKS ALL!

4 Likes
#49

Just managed to get this out… internet was down from Friday until a few minutes ago.

Alternating 1 second bursts of shorter randomised bursts of either tonal or pure noise material. The shorter noise bursts are in groups of 7 with randomly modulated burst spacing. The tonal bursts are in groups of 11 with sine wave modulated burst spacing. The last 30 seconds are not alternating in the 1 second bursts.

2 Likes
#50

The drum part comes from a WHOLE lot of drum samples (about 300?) loaded up into Ableton and blasted through randomly using follow actions at a BPM of about 300, if I remember correctly. I’m using a couple of fuzz VST’s with the parameters modulated via the M4L LFO device, and also a flanger running before the fuzz VSTs to give a little more variety to the sound.

That is reverse sidechained to the organ, which is an old “grandma” organ with some reverb on it. I recorded one long take of improvised “pretty” chords and then chopped them up whenever it felt right to let the drums poke through.

There’s organ long tones in the middle, which are actually (subtly) gated to the drums, so there should be some volume variation triggered by the inaudible drums.

Then, the drum and organ co-exist, with the organ’s frequencies carved out of the drum part.

There’s also some subtle changes happening throughout the piece - the organ starts with a VERY wide stereo field, the drums are in mono, and by the end they have switched.

3 Likes