#44

I started by experimenting with different samples, importing them in Lobster Quadrille (Agreiphontes Lyre)
Then used stems in VCV rack (Nysthi’s Sussudio, through SuperCell and some reverb).
Sampes of the output of this process were sequenced in Reaper.

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#45

it’s been drizzly here so i basically spent a bunch of time when i wasn’t cooking or revisiting movies that somehow simultaneously vex and impress this weekend cultivating flickers, rattles, and drones out of @TobiasReber’s field recordings.

I went long 'cause [a] there was a lot of stuff to play with and [b] something about texture invites duration, in my head; like i feel you’ve got to spend time with the thing to know its texture… i can’t decide how wrong-headed this is; overly literal? or maybe fallaciously abstract? i really dunno, but it’s how i get to thinking, fwiw

so yeah, i made selections from most of the recordings - i used a couple more or less fully - and tweaked some granular delays to extrude pieces of them that walked the tightrope between recognisible and transformed… i collaged these together as i went, initially planing on coming in under 5 minutes, slowly accruing sections that pleased me until i was over twice that length… only used 14 or so of the original tracks in the end too… i imagine the piece as slowly working through a number of panels somehow; for every abrubt shift there’s an extended fade…

thank you for your patience, always.

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#46

My ears heard a tone in an early ambience, which I isolated and made into an instrument using Iris2, found a chord progression I liked with that sound. Found a rhythm in Tools 1, isolated it and set the tempo by it, found bassy sound to add some heft to the Tools. Then Machine 1_4 wanted to join so I let it. In Tools 2 I heard a bell, again using Iris2 I isolated it and played it in. Then when searching for a bass sound the grinding of Machine 4 asked me to slow and lower it down that became the place in which all else existed.
Have a good festival Tobias!

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#47


Thanks to Tobias for the stones, the ambiences, the rhythms, the tools, the textures, the machines …
I use:
ambience04, machine01_2, machine01_3, machine01_4, ambience04, work01, work02.
Audio transformations (filtering, compression, expansion) are done with a Pure Data patch:
http://gerard.paresys.free.fr/WithPureData/Flt-LP-Pow-Reverb3.zip
Mixing and editing with Audacity.

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#48


Disquiet Junto Project 0450: Texture Analysis
The Assignment: Create a piece of music from sounds related to working with rocks.

Improvised on a small modular synthesizer (twice) using Morphagene, Plaits, Marbles and Ripples. Recorded and edited in Audacity.

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#49

Hi, folks. A great turnout this week. The playlist should be up to date now, but if your track is missing, let me know.

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#50

Listening to the samples, I had an image in my mind of standing at the bottom of a dark quarry surrounded by chiseled rock and abandoned mining equipment so I tried to create that mood.

Technical things.
Most of the samples had background noise included so I went with a droney approach. Used several of the ambience samples, a couple of the machine samples, and two of the tool samples. Messed around with filtering, pulling the high side off of most to create a darker, colder sound. Lots of stretching and further filtering. I feel like I sort of captured what I was going for, but not completely.

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#51


This short piece was assembled from several stone processing sound files from Carlo Bernasconi. Short segments of the files were played back at different speeds in Supercollider to generate the tones used to create this sequence entitled Metamorphica. Thanks to Tobias Reber and Marc for this very interesting Junto project challenge.

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#52

I’m a little nervous to share as this is the first piece of mine which I’ve ever thrown out into the public. I’ve been a percussionist for the past 25 years, but have only started digging into the tech side of music in the past year and a half or so. I only started learning Ableton over the past few months. Anyways, I came up with a sort of Autechre-ish piece. I chopped up the provided recordings work02, machine03, work01, tools02, machine01, machine02, and machine01_3 to create this piece. The only effects besides EQ and compression which were used was some of the Valhalla Room reverb. I feel like I could have spent a ton more time on the composition and especially with the mixing, but the perfect is the enemy of the good enough (I hear). I would love to hear some feedback on it!

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#53

For this piece I wanted to take a narrative approach to highlight the sonic journey of what I imagine to be a huge rock, then to a stone, to then some sort of honed piece of a 3 dimensional puzzle or a simple inscription made into a rock.

I chose to piece together these files for their tones, there stillness or their active qualities:

Ambience 05

Machine 01_3

Machine 04_2

Tools 02

Work 02

So it is, from the loading bay, the Sawyer to the Carver! (at least this is what I have imagined)

As rock and stone have been created through huge forces over thousands of years, I wanted to also slow time down to exaggerate what it takes to physically, and manually shape these impressive rocks. In this piece time slows down. Those long drawn out strikes into the stone from the Bankermason make audible what would physically be impossible at the speed it was played back at. A small and humble homage to the great skills and crafts that have been passed on for generations. No manipulations were made to the original files, only cropping and slowing down of the speed.

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#54

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#55

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#56

When I saw this project, I just knew I had to find the time to participate. The genre for this track is Darkwave, in the style of the artist, Dusty Kid. 100% of the sounds in this track were extracted from the Bernasconi samples.

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#57

And now, when I go upload the Disquiet cover I see that this project is about textures… Was a long day, Is too late now, I need to sleep… Good night everbody. Hope you all are doing well…

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#58

I just finished playing through everything that has been posted so far, and as always, it is an honor to participate with so many immensely-talented people. I wanted to give a a shout out to a few who really caught my ear:

@bassling My absolute favorite for this week, I love the way you’ve woven the various rhythms together to create a really engaging track. And you had time to pull that video together too? Wow. Very entertaining.

@zoundsabar Your track truly captures the magique of musique concrete–it has that minimal musical essence to it that is so difficult to create and yet is instantly recognizable when you hear it. And you did this intuitively? Makes it even more amazing. I’ll bet it would have been interesting to watch you compose this.

@BennDeMole This track made me smile–very “Nurse with Wound” flavor to it that I really dig.

@Joule Loved the stark sense of desolation on this track. Drifts toward cinematic, but not enough to make it sound like it couldn’t be part of a larger musical project, which kept me listening very intently. Very enjoyable.

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#59

Welcome back!

Enjoyed the rhythms in this track.

#60

@RichieWitch I wanted to thank you for taking the time to listen to everyone’s tracks and for your appreciative words on my piece. I don’t think I was very interesting to watch. I slouched in a big chair with my laptop and Pro Tools, listening to the sounds and working on the piece for two hours with ear buds, since I was too lazy to get up and get my good headphones. I think I got up to get a glass of water. But you probably meant looking over my shoulder at the screen, and hearing what I was hearing. I love the idea of just letting the material speak to me and my job is to enable it, but not to try to force it.

You inspired me to do what I often try to do but seldom do, which is play through everything posted. I followed your lead and wrote notes on many of the pieces that spoke to me in some way. All the pieces have some worthwhile qualities and I enjoyed listening to everything. It is an honor to be privileged to do that.

@TobiasReber We all thank you for your generosity in providing the sounds and the impetus for @disquiet to post this week’s prompt (and two others recently). It looks like the Steinatelier listening booth is within Carlo Bernasconi’s plant and showroom in the city. That’s a very apt spot for hearing these stony sounds.

@VonnaWolf Great sense of being there in that space. Then things get more mangled and timbrally experimental. It seems you wanted to let the sounds speak for themselves and lead you to your destination. I had a similar intent when I made my version. I love that sound that comes in around 5:10. Is that made from the original recordings? @bassling thought they were reversed-sounding tones. Cool stuff.

@RupertL This has a hypnotic quality at the start. Then it gets dreamy and delicious as it progresses to a very far out space. You took that snippet and really went with it!

@Randomshuffle Really cool space you go to with all the sounds. It makes me imagine a vast mechanical lair of our insect overlords, or something.

@duckpow I do agree that this feels like a cinematic prelude to a Frankenstein factory horror film. Nice drones! Are they made from resonating samples from the stone factory?

@Aaah Nice melodic and rhythmic work with the samples.

@bassling Wonderfully produced Morlock Stomp music. The dwarves are having a hoe-down!

@davidstelfox Simple, meditative.

(To be continued in two more posts, as only ten individual references can be included in any one post. I hope I’m not transgressing too much.)

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#61

@Ausgesuchtestenohren Nice choice of sounds, unhurried composition.

@stefans Unexpected sounds and rhythms. Great spatial qualities! Airy bursts, high jangles, low throbs, building to a veritable clackophony! Very cool evolution and ending. Nice!

@homeontheland Super interesting timbral explorations between the sounds from the location, their texture/overtone twists on those, and the instruments accompanying and intensifying the whole thing. Bravi!

@Schemawound This is a tasty, idiosyncratic groove. Nice, very creative work.

@VassilisP Nice little journey through the sounds.

@BennDeMole Really cool and unusual composition. That rumble at the top! So distorted and rhythmic and lovely. Eerie melodies with wonderful timbres.

@melondruie Really nice dreamy, drone piece. It is constantly, almost invisibly, evolving. Really immersive.

@Joule Such cool sounds you got from the Supercollider speed varying. Great slow tempo mood and sound design.

@Bigtime_Snacks Fun rhythms. Your drum kit sounds very steampunk, like a fairground steam powered band programmed by George Antheil. I really like it!

@unsociable_hours Very unusual short piece exploring some of the more tactile textures in the source material. Good stuff.

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#62

@zoundsabar I’m certainly glad I was able to inspire you. I find this group does that a lot of that for me, so it’s good to be able to give back. :smiley:

And yes, as you guessed, looking over your shoulder and listening to what you were hearing is what I imagined would be fascinating. For me, musique concrete is such a unique genre with an inspiring history. Its sounds and processes seem so simplistic, and yet, the ability to emulate that sound convincingly and compellingly in my own studio escapes me. It’s the reason your piece caught my attention because whether by design or accident, you nailed it.

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#63

I’m so glad you did take the time to listen and pass on some of your thoughts. And now that you have I can post this 3rd of 3 posts I have of my verbose version of a small give back…

And the chronologically last one, number 21 of my notes…

@RichieWitch This is like a train from some underworld location, barreling along, with really nicely evolving rhythm and subtle melody. The anvil clangers’ and other percussionists’ arms must have been tired by the end of that. Really fun and unusual. I’ll have to check out other pieces in the Darkwave genre.

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