Disquiet Junto Project 0426: Cellular Chorale

Beautiful!!! I was hoping you would do a remix. Straight from the source!

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really nice one (and 20 characters)

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Here’s four little remixes. I was capturing in real time and looping bits and bobs. This was done just from the website pulling sounds into my granular looper patch on my organelle. I’ve used it for live performance but this is the first time I’ve used it for remixing.

Very rough and ready, but I’m trying to do things quickly nowadays.

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Tried to make this very simple and minimalistic: only vocal tracks (including birds) from the source material with minimal adjustments (mainly volume and pan). Ahhh….

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So, so hard but I tried to stick with the rules and do minimal processing. Listened to all the samples and then started to combine them, first 2 and 3 together to create a rhythm and sound that I liked. Kept a noisy one in the background all the way through, while offsetting slightly the additional samples I added. In the end I used 10 of them. Only did a little bit of limiting and a tiny bit of compression on one of them, to even the dynamics out. The result somehow made me think of some temple on a distant island, viewable but inaccessible.

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I guess that this is essentially a performance of this piece - albeit on different equipment than originally intended. John Cage would surely have loved this

I made a supercollider/grid based instrument that laid out the samples (coloured by category so it didn’t quite become a memory game :slight_smile: ) in an 8x8 grid on one side and on the other a 5x5 “nearness” style mixer and channel and rate selectors - I then wired supercollider to Ableton via 6 channels of loopback and had Valhalla delays and reverb setup. At some point I listened to some of the playlist and realised that everyone else loved the vocal loops too - so I tried to not use those too much. This is a straight recording of a ‘performance’ on the instrument I made.

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I made a quick max patch was created to generate chaotic yet natural alterations of playback speed for the chosen elements. a bit of filtering and reverb were used to allow the elements to sit together as a whole. The bass element heard is one of the voice elements stretched and pitched down further.

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Disquiet0426
Cellular Chorus
• Key: F# Major BPM: 120 Time signature: 4/4 DAW: Reaper
• Instruments: n/a
• Plug-ins: Waves, Izotope, Youlean
• Used Random.com to randomly choose which source tracks to use
• Placed the chosen tracks on to 3 separate tracks in Reaper

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Long time since I’ve played Djunto…!

I took a handful of samples, mainly voices, as a chance to play with Takt. This is the first time I’ve played with the updated engine… simply amazing app!

I did bend the rules a little, while exploring the tonal mappings available.

Really looking forward to exploring Takt more - my mind is a bit blown! Thanks @its_your_bedtime!

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Seven samples were used to create this track. Cellular Chorus 0_Coast_ff82a6 was played several times (silently) with an envelope follower providing pitch modulations on six Ableton Simpler instances containing separate samples.

An Euclidean rhythm generator generated three separate base notes, based on differing-length sequences and beats. These were sent to the six Simplers (the pitch modulation modifying the base notes). The Euclidean rhythms were introduced, one at a time, and removed as the track progressed.

The six samples were:

  • Cellular Chorus P6_1_2780f1
  • Cellular Chrous 0_Coast_c85d9c
  • vocal improv 2_3ea68a
  • vocal improv 3_08936e
  • vocal improv 4_089670
  • Ahh 1._30997cmp3

The Simplers were treated differently, all used Transient detection but with various levels of sensitivity, some in Mono, some Poly and some in Thru mode.

A convolution reverb was added to give some space.

The vocal improvs, vocal improv 2_3ea68a, in particular, gave me a Twin Peaks vibe, hence the title (I know, Washington, not Oregon, but north west, nonetheless, so I’m running with it).

Thanks, Patricia, for providing the samples and the basis for this Disquiet Junto prompt.

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An arrangement from samples provided by Patricia Wolf, based on her Cellular Chorus project. The samples provided all of the audio for this project. I used a bit of reverb here and there to smooth some transitions.

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i wanted to hear the samples all together
plugged them into protoplasm (which perhaps does change the samples a bit too much)
just had various samples fading in and out, played at different octaves
pretty amazed how good all these samples sound together

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@Forelight - I feel like your interpretation nicely reflected the intent of the project. It has an aleatoric feel and seems like something I could imagine resulting from humans in a room collaborating: nice work.

@fakeg3nius - I like the texture you brought to this while keeping the general feel of the sounds. I think the buzzing elements were something I could have used to break up mine.

@patriciawolf - First of all, thanks for facilitating this project for us all. Secondly, regarding your remix, I find the direction you went quite interesting. It’s more haphazard feeling and less rhythmic than I’d imagine you’d have gone; I especially appreciate the progression of timbre and tone throughout.

@junklight - I liked the transition from drone to rhythm that you went for. The latter part gives interesting contrast against the opening swelling pad sound.

@Pineyb - Your approach reminded me of what I had planned for this: using the sustained elements to form sections and transitioning between them with minimal additions: nicely done.

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@chalkwalk I thought about getting meticulous with syncing up/editing all the sounds to be more precisely rhythmic, but I really loved the free flowing nature of how Cellular Chorus sounds when played on smartphones. I wanted to preserve some of that to demonstrate how it can work in a composition. I have been playing with an idea lately, ever since I wrote my song “Montezuma Oropendola” for a rainforest benefit compilation. My concept was that I wanted my hands to play the keys like water droplets falling from the sky and then falling leaf by leaf, branch by branch, all the way to the ground to nurture the tree roots and then all the other lifeforms that depend on the forest. Raindrops fall at an irregular tempo with variable intensity and the different tones and velocities, perhaps representing drops falling on different leaves or plants. I want to keep everything musical, but have a more natural feeling with the timing to mimic nature. I like the unpredictability of this approach and find it holds my interest more lately. I can understand if it gets under some people’s skin, though. I know how pleasant it is when things are organized neatly.

You did such a lovely job with your composition. It’s so beautiful and well composed. I am quite blown away with what you have done! I hope you had a good time making it. I can tell you put a lot of care into this! It sounds great! I will listen to it often. Thank you!

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Lovely sounds, yet it wasn’t until I read the Haiku that is this weeks challenge as part of https://www.naviarrecords.com/about/naviar-haiku that I found the inspiration to arrange and sculpt the sounds into this. Thank Patrica and Marco!

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Apologies, I broke the rules a little bit by having another go at it. This time I wanted to do something more closely aligned with what I interpreted as the spirit of the source material. I loaded Patricia Wolf’s Cellular Chorus onto a phone, tablet, and laptop, and preceded to place the devices, in additional to a portable recorder, in various scenarios around my kitchen… inside the watching machine, two jars, two pots with lids, and a chalice designed to hold beer (I’ll take any excuse to use the word “chalice” for some reason). Additional processing of the Chorus was made by physically moving the devices while recording, as well as moving the pot lids while the devices were in and out of the pots .This, I suppose, was partially inspired by the budgerigar I had when I was younger, who would perch on a tall plastic cylinder in our kitchen, and pop it’s head at various distances down into the cylinder, all the while make strange utterances. I imagined Petey (the bird’s name) was listening to how the sound it made in the space changed with it’s movements. No further panning, eq’ing, or processing were done in the DAW while splicing the composition together. Algorithms (digital processing) are one thing, affecting sound by processing it in physical space is another. Thank you very much Patricia Wolf for providing the source material, and for making a thing that encourages people to get together and listen together in space.

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I was going through the playlist last night. so many beautiful entires.
thank you @disquiet + @patriciawolf for putting this together.

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Thank you. Such a great turnout, and so much beautiful music. I love hearing the same samples pop up in different contexts.

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