#21

@project-dirigent Interesting stuff - kinda reminded me of Zorn in the games era

2 Likes
#22

I’ve been working on an album exploring feelings of isolation and loneliness. When reading the project description, I decided to take those ideas and creating something new with more of a noisey approach, something with some edge. This is the result.

Technical things. I’ve been exploring some software synths and creating drones from them. For this track, I used Phasex run through multiple effects to degrade and add noise, stretching afterwards to create the drone. Several layers of that built up through the track.

8 Likes
#23

Managed to get some time this week - it has been ages!
I used a new module (Argos Bleak) to create a slowly moving series of chords using four sequencers and four oscillators arranged as two pairs with each having its own filter to give extra movement to the patch.

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EW8d-vPWAAAAIdv2048×1152 601 KB

7 Likes
#24

I’ve been doing a lot of audio collage lately, probably due to pandemic-related temporary-layoff malaise… less interest in playing the real instruments? The usual technique: using snippets of sound to create loops, letting them phase in and out, throwing on a pile of plug-ins, creating textures. I put the finishing touches on this one just the other day. I pulled the audio samples from a recording we made of my partner testing out her new amplified viola. There are 4 loops made from her viola, and one sporadic narrator from an old public domain Coronet “documentary” called Heat and Temperature.

The video is constructed using loops from the same documentary - they start and loop at the same time as the audio loops.

9 Likes
#25

Here’s what I’ve got happening in the woodshed right now: The San Francisco Saxophone Quartet’s recording of Debussy’s “Claire de Lune” warped out over beats sampled from Led Zeppelin, McCoy Tyner and Adam Makowicz.

Source recordings:




10 Likes
#26

Sounds great! My question is: do the figurines in the cover photo represent the looping sounds in some way? I’m trying to imagine how the sounds I’m hearing relate to a bead, a wire, crystals (?), etc. :slight_smile:

3 Likes
#27

really enjoyed this. Nice work.

2 Likes
#28

Since the beginning of the lockdown here in Denmark, I have been recording for the project “What do you hear from your window?” Initiated by Gilles Malatray - a form of Sound Walking without leaving your house during the outbreak of Covid19 - There’s a playlist here: https://soundcloud.com/rizzi/sets/what-do-you-hear-from-your
So when the call for this week´s Junto came out, I thought I’d share a recording. I decided to make a new recording today as we’ve been having rain on and off all day - rain is a challenge and since this week’s call is about wood shedding (or just shedding as we called it when I played jazz in the late 90’ies )it would make sense to practice my technique. I spent all day recording - changing places, mics and covers. I ended up in front of my house under the big green bush you see in the picture. Good choice as it turned out - I got the rain, birds a couple of bees taking shelter from the rain. There’s a few sounds from my house as well as my neighbors.
I recorded with a pair of LOM Usi’s AB 40 into a Sony PCM D 100 - the track is unprocessed apart from adding a little gain.

9 Likes
#29

@rrizzi perfect capture of the environment, i could be in my garden right now (if it was daytime). As I get older I more and more get transfixed by the gentle evolution of the sounds of the natural world. Good stuff

2 Likes
#30

Made an alternate version with a more normal piano recording https://soundcloud.com/ethanhein/clair-de-lune-alexis-weissenberg-crunge-mix

1 Like
#31

This is amazing, the best piece of music I have heard all day…

2 Likes
#32

This is a song from my soon-ishly to be released new collection, called DADDY.

4 Likes
#33

Rhetorical Difference was based on an abstract image which I found to be open to interpretation. As I tried to get my mind around it I decided to go with something inspired by Charles Ives’ The Unanswered Question.

4 Likes
#34

cool sounds :slight_smile:

1 Like
#35

this is ¶radio hummingbird’s contribution to this week’s disquiet junto with the serial number 0435. in short, there was no other requirement for this contribution than to contribute a piece of music.

for this assignment i have chosen to create and submit an entirely new song with the following in mind: it is now one year that i left a wonderful place in south east asia, where i lived and worked for a number of years, to resettle to europe. so far, it has been difficult to make sense of the “old” world for me and thus i suffered a significant creative slump ever since. although, due to corona, i should have all the time in the world to just create anything and everything, it has been hard for me to get going. so i took this week’s junto as a chance to utilise my little 100hp travel/live eurorack synth, which i had with me during my time in south east asia and with which i spent many joyful hours, to finally try to get back on my feet…and funnily, what a large studio size eurorack synthesizer wasn’t able to do for me in the meantime, this little fella was…magic!

i only used 100hp of eurorack modules, the sony tcm-5000ev and the field kit to create this piece.
a daw or computers were only used, for a little mastering in ableton live. easy.

please enjoy and listen loud.
:slight_smile:

edit: and here the obligatory Instagram vid.

7 Likes
#36

I had a couple of things I thought I might share but they were already done so I didn’t think it would be as useful to me as it could be. Instead I made something new using some techniques I wouldn’t ordinarily but had thought about doing in the past.

The first deviation is in length; I rarely make things over 5 minutes (or shorter than 3:30) so 8+ minutes is a significant change. Secondly it’s in the drone style which is something I don’t usually do. Third, instead of mixing and gain stage to get a clean, low noise output, I gain staged and mixed to get a noisey result. Finally, rather than using the recording directly from my mixer, I took some speakers into the garage and played that recording into the room and recorder into a second PCM recorder.

I didn’t have much of a thought about the end product here so it was more procedural than carefully constructed, though I iterated on the drone a few times (adjusting modulations and routings) but from that point I just did what I set out to do (rather than fine tuning for effect).

As for gear, the drone was made on a Peak (using its built in effect). Two volcas were used because they are noisey (no notes played), run into a mixer channel with a lot of gain and some EQ to get them sounding similar to raise the noise floor in stereo. A Zoom H5 was used for playback through some cheap computer speakers. A Zoom H6 with XY capsule at 120° was used for garage recording.

All in all the end result isn’t exactly an intentional piece of art, but more a technical experiment. In this regard it was a success as I wanted to take this week’s project as a chance to try something new. As usual, I’ll wait until Monday night/Tuesday morning and have a dedicated listening session to hear to what everyone submitted. Thanks for another inspiring week.

10 Likes
#37

I’ve been sat down making music at more inconsistently during the quarantine - I seem to actually be sat down noodling with more frequency, but for shorter sessions, which results in less finished results and more just half baked ideas.

I’ve finished a couple of tracks to a rough mix stage, this is one of them. It’s a track called “The Office of Unspecified Services” and was made using a Digitakt, volca FM, 0-Coast, Minibrute 2. There may also be a bit of light synths from an OP-1 and Pigments soft synth (though I’ve forgotten now… I just vaguely remember using both recently :stuck_out_tongue: ) and an Eventide Timefactor delay peddle.
Then I spent a while arranging and mixing in Ableton.

I wanted a lower tempo than usual - so its around 111BPM and I was also consciously trying to avoid using any vocal samples - from films, music etc - as I realised I was always relying on them in tracks to maintain interest and give a specific emotion rather than letting the instruments / sounds themselves convey that.

When I play it back it seems very loud on my system, but I’m right in middle of shaking up my tiny bedroom studio, so can’t judge properly. But just a warning!

5 Likes
#38

Dig your funky tunes, Hugh.

Maybe you’d consider cutting out or alternating the cymbal and high-hats every four bars for a bit of variation?

Great stereo effect – feel like I’m surrounded!

2 Likes
#39

Thank you! Ah, no…there’s no specific reference to the soundscape, just a vague reference to the nine poles. :slight_smile:

2 Likes
#40

Must admit I’ve never heard of Amish minimalist electronica. (g)

3 Likes