Feels like a trip through unfamiliar land. There’s anxiety and dread but also strangely some peace in the routine, maybe even wonder.
I like how this travels between the comfortable and uncomfortable but never crosses the line of being internally cohesive and ultimately satisfying to the listener. Good job as usual, Daniel.
Very illustrative. Fight or flight indeed since it reminded me of a chase scene from some '80s movie. Or maybe it was a fight scene? Ha, exactly.
Musically this reminds me of Oxygène 11 which incidentally also feels like a chase scene. Similar steady rhythmic component paired with synth pads and flutter/Doppler.
I appreciate the two axes analogy, I will be definitely using it from now on.
All in all, very nice work. One piece of feedback I’d have for this is that the track is itself a little on the quiet side. A little bit of multiband compression + limiting would go a long way on this.
This one was made in Pure Data with Automatonism, using only the FM synth module and the granular delay module, recorded while I was trying out my new MIDI controller. Tweaking around somehow landed on this pattern, which sounds to me like a 70’s Phillip Glass organ part, a la Music In Twelve Parts. I took this core pattern (the ‘hospitable’ zone) and kept wavering it into ‘inhospitable zones’ by tweaking parameters. This is essentially one take, a happy beginning for my use of a MIDI controller!
Gates or delay, what sounds the rhythm when we walk at night?
Fed a sequence generated by Bram Bos’ Particles through several devices, put half the output of each source through Kobashi gate on one bus ini AUM, the other half through Yukawa delay (both iOs apps) through another bus in AUM. Found a full moon walking mix.
Just beautiful - I agree with the unfamiliar land vibe. Camping in a strange land.
I’m back for my second week in a row. Tonight, the Goldilocks Zone I was trying to find was the right settings on my delay–feedback, smears, flange, and it peaked a few times. It was a subtle search, but the peaks are not. Hahaha! I left them in as proof of my search.
Thank you for commenting. Your point is understood. Suss Müsik tends to lean toward quieter mixes as a general rule. It allows more depth for variable timbres, like a classical music recording, especially at the lower registers where sustained notes sound “pinched” or “crushed” when over-compressed. Admittedly, the Tascam’s gain levels for this live improvisation were unintentionally set lower than usual.
Hi Marc,
Here is a link to a Soundcloud track I have prepared for disquiet 0461.
As this is my first contribution, I hope I have followed the instructions correctly. Please let me know if not.
I hope to send more tracks in future when I am able or have the time to do so.
Many thanks & keep safe.
Ray Cobley
Direct recording from modular system, using a 16n faderbank controller to direct CV defining the extremes of the two regions before ending up in the middle (that’s about a literal interpretation of the junto brief as it gets!)
@RPLKTR thanks for such a nice comment. I’m deeply interested to this positive-negative types of energy and emotions in music, opposed and coexisting with dynamics and timbre, I read with a lot of interest @SussMusik ‘s text and Clifford Nass’ idea, personally I always thought about this sort of 4D graphic to represent emotion in music (4 axes loud-soft-peaceful-angry or whatever).
I tried to keep it “calm” and “soft” in terms of dynamics and sound but play around with dissonance for discomfort.
Thanks a lot for your quality listening.
Well done and captivating, a set of drones that leaves room for imagination.
Continuing the experimentation with the freshly acquired Microfreak, I’m starting to really enjoy letting go of placing exact midi notes and, instead, just playing along with a patch and tweaking the sound by turning knobs in realtime, as I am recording. Low, slow and dissonant with high, fast and equally dissonant regions to finally arrive at the lush calm of the golden zone. And our spaceship is let in after a jubilant confirmation.
i used a number of devices with interactions that require finding the “goldilocks zone.” these interactions are:
of course i could record all of these separately in their own time, but i prefer to create a performance out of almost every composition. its a test of patience when one thing goes out of the goldilocks zone and crushes a perfectly reasonable performance… here is a video of my (3rd attempt at this) composition (also featuring a new in-progress norns script).
Gliese 1061 is supposed to have 3 planets a, b and c, orbiting around he star itself, partly in the circumstellar habitable zone.
The track uses mainly three sounds, which try to meander beetween habitable and inhabitable, more in terms of rhythm then of noise and dissonance.
It maybe could have been more inhabitable, but for me it really feels perfectly inconvenient. 
https://soundcloud.com/ohm-research/3-ursi-disquiet0461
2 Mangroves, 4 lfo’s, and an Oliverb
Hunting Goldilocks: A collaboration between myself and Jon Siemasko (Schemawound) for the Oct 29th-Nov2 Disquiet Junto.
This track takes the listener on a journey from outside a solar system, past large planetary bodies, asteroid fields, and cosmic debris in search of a Goldilocks Zone. The Goldilocks Zone found briefly (around the 4:20 mark), but the journey takes an unfortunate turn as the listener is pulled in to the star.
DAW: Bitwig
Most melodic sounds are from NI and Bitwig VSTs
Jon’s Modular Rig used for drones, sound fx, etc.
I took this, perhaps, a little too literally and imagined moving from deep space to the centre of a solar system and back again until a hospitable spot was found.
Too cold was created with an ARP2600 VST and the Sinevibes Albedo plugin, to give it a deep space feel.
Too hot was created with the ARP2600 plugin generating something between white and pink noise them processed through various filters and effects including the Albedo, the Wavesfactory Echo Cat, Arturia M12 filter and Softube Saturator.
Just right involved the recording from Disquiet0436 two instances of the Echo Cat, the Albedo and Sinevibes’ Luminance reverb. It also included occasional notes from yet another ARP2600 through Echo Cat, Shaper Box and Albedo.
The gain of each of the tracks was automated along with panning and plugin parameters.
I don’t understand anything. That’s good 
Great! Jolly composition.
Nice. The nature sounds at the end is a nice touch.