#11

The audio is a field recording on W 26th St near 5th Ave in New York City.
The video was captured on a lake near Greene, NY.

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#12

random freesound samples through protoplasm, ddly and hornet chorus

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#13


Sounds recorded on my smartphone whilst on vacation or ambling about town. Rather than imposing the heavy hand of compositional interpretation on these moments in time, I wanted to let them be, in of themselves, the point of the piece. Yet, not content to leave well enough alone, I did include a thematic sounds of walking and wind chimes to connect each of the other sounds.

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#14

Dysharmonia is a neurological condition in which someone loses the ability to hear musical instruments playing in unison. In extreme cases of congenital amusia, a patient is unable to differentiate between environmental sounds and musical voices. Oliver Sacks devotes an entire chapter to this topic in his excellent book Musicophilia.

Our participation in “the collective field” must require some degree of integration with one’s auditory environment. There are internal sounds as well; our capacity to listen might be compromised by the bitter noise within. In these turbulent times, we may find it impossible to be still while the world rages around us.

For this week’s Disquiet Junto, Suss Müsik sought to recreate a vibroacoustic timbre through disparate field recordings. You might hear birds chirping, water gurgling, the clicking of a clock, the faint calling of a faraway train. They may blend nicely for you, or they may be a hodgepodge of various tones and drones.

The piece is titled Dysharmonia and was recorded live to 8-track after a bit of prep.

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#15

For the second time this year, we’re in lock down in Melbourne. My kids are home, I sit at the dinning room table with my older child helping him with remote learning, whilst fending off his little sibling who wants constant attention. In the very short periods when they’re both occupied and quiet, I put on my headphones, open Logic Pro and tinker. I don’t have any gear at home, except for a tiny little portable CME keyboard, so I’ve been experimenting with samples and pitch manipulation tools, Zynaptic Pitchmap, ZPlane Remap, Waves SoundShifter and Logics Flex Pitch tools. This track popped out over breakfast on Saturday during a lull. Manipulated guitar strums, simple bass, simple beat, flute solo using Passion Flute from Orangetree Samples, fake fuzz guitar and vocals from a dance vocal sample library, slowed down 40%, tuned, re-pitched and re-timed to suit.

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#17

Corrected version. A kind of meditation built with an Apple loop, a preset from Native Instruments Mysteria library, and Hauptwerk virtual organ.

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#18

Starting point was the sentence ‘The Collective Field invites you to express your recent journey through what was, what is, and what will be, evoked only by wandering into new territory.’ on worldlisteningday.org

“Into The Fields” may be seen, like many music, as a journey into the collective fields of a world, that merely exists in our minds.

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#19

One of the only certain things these days is that I take my kids for a walk every day at 12:30 in the local park. Here is a sound collage from that walk taken on July 18th. Despite over 120 such walks over these last few months, I was taken while recording, and again as I cut it together, by all the surprises lurking inside this daily ritual. (tools: recorded with a zoom H1n, edited in audacity, played back through a bastl thyme for extra temporal instability.)

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#20

About a month ago I was invited to contribute to an exhibition by the Murrumbidgee Field Naturalists at the Leeton Museum & Gallery.

I offered this soundtrack to be looped in the background and accompany the many photographs their members have taken of the natural Riverina environment.

It’s composed from around a decade of field recordings, which have been layered to provide a rich sense of the landscape.

Seems an appropriate recording to share for World Listening Day.

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#21

Stay silent until you know.
…we’re listening to the future.

Well… For this one, I recorded people at flea market today, then live sampling using Octatrack with my own voice and some household sounds.

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#22

Taking a cue from the text I wrote a guitar riff with sort of a call and response feel to it. Then I sang the text over it, and added some other instruments.

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#23

Not having Disquieted for some time, and not being completely on board with the intention of the project after admittedly skimming various pages, I got all enthusiastic when I saw Bernie Krause’s name and realised the sonic lineage of the assembled creators.

I delved into my old “field recordings” folder (okay, me playing with a Tascam) and chose three, then cut them up and reprocessed them (according to whim and instinct) in Audacity using basic effects and plugins.

I still have no idea if this really fits the brief or not but it was fun.

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#24

Polymetrics: individually and in concert. Inspired by the Collective Field, there’s motifs in five different meters in this piece that can be listened to individually but also work as an ensemble. F# minor, radio edit duration.

Instrumentally the piece centers around a Subharmonicon with the solo by a pair Mother-32s. Bass provided by the Circuit Mono Station, a synthetic grand piano by Pianoteq in the background. Drums: Polyplex.

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#25

It is so tempting when thinking about “the environment” to place humans on the outside looking in. We have scientific instruments for measuring every facet of an ecosystem, and in our hubris we imagine that by these means we will understand it to its innermost depths. But those instruments (and the bodies that operate them, and the minds that interpret the results) only reveal the smallest slice.

Meanwhile on a Sunday evening, as we sit on the front porch watching the sun go down, we think that we are hearing the world. But are we? No, our ears only pick up a fraction of the vibration, and our minds ignore most of that small fraction as irrelevant…

I recorded my local soundscape using the same old tape recorder I’ve employed for a few other recent projects (I’m in a lo-fi mood lately) and I’ll just cheat and tell you that somewhere in there is the sound of wind rustling leaves, various species of bird, and various species of automobile from the highway down in the valley below.

Obviously you’ll have to take my word for it… My question is: what did I miss while I was listening there in person?

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#26

Been reading too much news on my favorite channel, World Beat Today:

Moog Sub37, Korg Minilogue, Ripplemaker, Behringer Model 10, Modal Skulpt. Made the bass lne for RIpplemaker which sequenced the Skult and Model D. Just tried to capture some despair in a cathartic way.

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#27

Instant happiness! Thanks for sharing.

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#28

@DeDe always provides great Junto contributions, no matter what the theme.

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#29

Thanks a lot, you are very generous, I guess my goal is to just pass when the theme sparks the shitty side of me :grinning:

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#30

Instant happiness here, reading your comment, THANKS!

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#31
Bill Parod · Earful Birds disquiet0446

I love to listen to the interactions of birds in my neighborhood near Chicago - Robins, Cardinals, Red-winged Blackbirds, Woodpeckers, Gulls (Lake Michigan), others. I often go for walks and record them. I first started recording birds years ago on a trip to Sumatra in the forest. I was occasionally lucky enough to encounter Siamangs (gibbons). As a composer and improviser I’ve often wanted to achieve that natural sounding sense of the forest ensemble - and wondered, what this is. In my music, I’ve come to explore interactions of birds as well as musical material by using a behavior-based approach. I do this by orchestrating articulations according to behavioral models in the Unity game development engine. This piece takes a listener path through behavior-based interactions of 10 different locationally separate but coexistent groups: Robins, Cardinals, Red-winged Blackbirds, Woodpeckers, Sumatran birds, insects, and Siamangs, as well as Illinois Gulls, Surf, and crickets. All the animals are created with real recorded vocalizations. Their interactions / orchestration however are/is done with stochastic state profiles, behavioral definitions, and behavioral transitions resulting from spatial and vocal interactions. I’m still working on this approach, but am so motivated by the joy of listening that I thought I’d post for this week’s Disquiet Junto in honor of R. Murray Schafer and World Listening Day.

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