Disquiet Junto Project 0465: You Thank

Thanks to all those who have contributed to the development of digital technology. Without it none of what we do here would be possible.
Piece for digital ‘orchestra’ created in Pure Data & incorporating the framework for a march that I submitted for disquiet0464…

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The playlist is rolling:

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I’ve been catching up, listening to(and buying) a bit of more Jim O’Rourke’s formiddable Steamroom editions over on his Bandcamp. For the most part, these are longform works (~30mins to 1 1/2 hours) composed primarily on a Serge modular synth. There are also archival editions going back as far as 1992. Getting into these can be daunting (there are currently 51 releases!) but the recent output is incredible: especially the drone-y, ambient vibes of 40, 45 and 50.

So, this drone of mine - on my studio modular set up - goes out to Jimbo. Thanks for the ongoing inspiration, you wonderful human.

It’s an excerpt from a patch that I’d left running for about half an hour. The core of the patch’s activity is a newly acquired Doepfer Wave Multiplier, which works beautifully when the CV controls are being affected very discreetly. The signal is also passed through a Doepfer Wasp Filter. Around this, there’s a dual delay emulating a pair of long tape loops. The artefact sounds (warbles, clicks, static) are stems from my new album, Mote Music. I’m looking to ‘deconstruct’ the album for live performance next year, so I thought I’d incorporate them into the mix of this patch. I like how - at times - they almost sound like field recordings.

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I’m thankful to “s p i e l : f e l d” and “Fingers In The Noise” for bringing me dubtechno.

The other day I rediscovered dubtechno. Some years ago I listened to a lot of dubtechno. The mentioned artists/labels define what I was listening to. I never really tried to do dubtechno myself. I made some tracks that was close to dubtechno. Like soundcloud.com/gis_sweden/tonatureingstbb452

Now I have a DAW! Noob. Maybe I can make some dubtechno? In this track I only use “plug-ins” delivered with the DAW. If I really want to do dubtechno - about 7 years too late… I guess I must get deep into my DAW and buy expensive reverbs, delays, tape echoes, samplers, granular synthesis, plug ins etc.
The hi-hat is made with my modular. The background noise is recorded with my phone. The track is mixed and “mastered” in my SP-404SX…
Dubtechno also comes with certain aesthetics. I use my own picture. Taken from where the background noise is recorded.

s p i e l : f e l d (Berlin-based netlabel)
(soundcloud.com/spielfeld)
example: soundcloud.com/spielfeld/spfpod083_dubfeelings

Fingers In The Noise (Laurent Bisch)
(soundcloud.com/fitn)
example: soundcloud.com/fitn/fingers-in-the-noise-plug-lay-radio-show-tilos-fm-903-12112016

And all mixes on youtube!

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i feel thankful for very little at the moment
i am grateful and relieved that my partner has found us a nice flat to stay at in my parents village
my parents were trying to get us to stay with them over christmas; ignoring obvious risks.

i made this in vital
tempo stretched and some reverb in audacity

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This year I am grateful for many things, and thankful for having crossed paths with some amazing people. This track is not by any means a comprehensive list, it’s just the start.

I met a bunch of incredible people through Jogging House’s
Patreon / Discord
, I am grateful for that.

One of them is Daniel DeWitt, who records as The Lifted Index. He has released
a wonderful album a few weeks ago - Sedna. I have listened to it every day
since it came out, it truly lifts my spirits. He kindly allowed me to sample it
for this track, for which I am incredibly humbled and thankful.

I used oooooo to sample and perform the piece; it’s a delightful instrument
for Norns, developed by @infinitedigits, who has been releasing updates
at an incredible pace - thank you so much, Zack.

Finally, you’ve all heard of Lines :slight_smile: Thank you so much.

Now for the boring bits:

I sampled several parts from Distances are walls (1st track on Sedna) with oooooo beforehand, then arranged and performed them in parallel with my little modular box (Marbles/Plaits). These are both feeding a Cocoquantus, which goes into a Fostex cassette recorder.

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I started out making drums that were fast and wild to reflect my cat’s fast reflexes and crazy behavior. Eventually the harmony and melody felt a bit emo, which kind of captures my warm feelings for him as he has kept me company for quite a while now. He’s a baller.

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Kept it simple. I am extremely grateful for the music. The sounds from synths to glitches, weird bass lines, noises, everything.

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I like your image. Winter trees are endlessly photogenic. Spring is overrated.

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I especially like the pattern it makes against the sky, but yeah.

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I listened to the playlist with my eyes closed. I was too tired to respond individually but I really enjoyed everyone’s pieces. There is such a nice variety, I never knew what to expect.

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I haven’t posted a track in quite a long time, years, in fact, but this theme struck a chord with me so a brief explanation is in order:
On 12/8/19 my girlfriend Nicole suffered a massive stroke. Doctors weren’t sure she’d make it through the night, let alone walk or talk again.
After 10 months of strenuous rehab, Nicole is walking with a quad cane and has begun to respond with monosyllabic answers. For the last 10 months I’ve spent every night listening for her breathing to make sure she wasn’t having a seizure. A few nights ago I was listening to her snoring and realized for the first time in almost a year I was not listening FOR her breathing, but listening TO her breathing. To commemorate that epiphany, I recorded a few minutes of her snoring to listen back to the next morning. That recording became the backing track for the composition attached. It’s my first stab at creating new material in quite some time. This is the first draft. I like it enough to unveil a new project, bee whisperers, to christen it. Ladies and gentlemen, I present bee whisperers.

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This one ended up being quite multi-layered. This year I have been trying to make pieces of music for specific friends of mine, which has been a lot of fun and somewhat productive. The ‘thankful’ prompt encouraged me to return to something I’ve had in mind for years, which is making something out of the sound bank from Zelda Majora’s Mask, which a friend sent to me years ago when we lived in the same house and played the game together. The files are a mixture of tiny recognisable samples and bursts of noise, which I believe are longer samples sped up to save space on the N64 cartridge. They sound amazing and chaotic played ‘straight’, in a way that reminded me of cut-up sample-scramble noise records, particularly something like John Weise’s incredible ‘Soft Punk’ album. This prompt (and accompanying deadline) got me to actually realise something with this idea and these sounds.

In the process of working on the material the thanks kept on spiralling! I also thought of high-speed grindcore / noisecore via Sissy Spacek (who I’ve been listening to a lot recently) and another friend. In the end I made a 15-track imaginary 7" EP: an A-side of tiny fast noisy tracks that all start with a grindcore-esque click-click-click-click, and a B-side of one drone-loop piece. All made using only these sound-files from the game cartridge (including all the noise), with no effects other than time / pitch adjustment and layering. It’s very silly in places but I also really like how it sounds.

I need to make some artwork before I upload the whole EP publicly, but here is a three-track excerpt for Disquiet, featuring one micro-track, one medium-sized track, and the longer B-side track, segued together.

Thanks to my friends Jae and Robin, my grindcore friend George, the wonderful game Majora’s Mask, and John Wiese / Sissy Spacek.

PS I’d also be thankful if someone could tell me if this bandcamp link shows as a link, as a playable widget, or not at all, (on computer or phone) as my mileage varies!

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I feel like I mention Jim O’Rourke’s bandcamp about every other post at the moment… and I’m comfortable with that! Always a treat when a new Steamroom drops.

This is a really nice drone slice, it has a fair amount of Steamroominess to my ears, and you’ve even replicated the cicadas outside his house that sneak into so many of his pieces! Nice work.

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The idea was to do something simple, that constantly changes between traditional and modern. It’s made with Caustic for Android (mix & fx in reaper) and some orchestral SF2 files, I think sonatina. I just liked the trombone…

And I would like to thank Marc Weidenbaum for his generosity with his time and creativity, which challenges me week for week and showed me new ways by just asking for them. :yellow_heart:

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Based on a recording I made of clap the carers on my estate during the pandemic of 2020.

appreciation for the real front line I guess.

The first national UK lockdown, aimed at limiting the spread of Covid 19, began in March 2020. The widespread clap for our carers started up at he end of that month taking place every Thursday. People came out of their houses or stood on their balconies and applauded in support of the NHS workers involved in dealing with the front line of the pandemic.
Small loops from the recording take over at the end with added warbling drones produced in the fundamental plug in and a guitar tracks using a freeze pedal.

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As I looked at my acoustic I realized all the memories and thankful moments it represents and those yet to be made as my daughter loves messing with it. I’m also thankful for curiosity, experimentation, and the number of people doing “weird” things with sound a music. So I turned on a mic and did this. And then duplicated the track and warped it with some Valhalla effects for good measure, because it isn’t truly one of my tracks if there isn’t weird modulation and reverb on something.

Also thankful to be back in the junto.

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I’ve posted my contribution on SoundCloud.
I created it especially to thank Marc for the Junto. Cheers.

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My crazy midlife purchase was an old Baldwin SD6 concert grand piano that is shoehorned into my basement, and somewhat neglected. I bought it solely for the bass and sustain, and it’s a joy to play quiet ambient stuff on, backed by household appliances running on 60Hz power. Outside of living beings, I’d have to say that piano and looping (in this case with a Lexicon 300 set to its maximum 5-second delay) are the things I’m overall most thankful for. I mostly work with MIDI, as I don’t like doing anything live, especially in an uneditable loop, as you’re stuck with mistakes, so this is a lesson in living with them.

This live 18-minute recording ended at 11:30pm Monday, and it’s now after midnight on Tuesday. Editing is beyond my available brain power right now, so I submit this as a way-too-long and past-due entry. If I get a chance later I may crop it to just the first few minutes.

A stereo pair of Schoeps microphones was placed underneath the piano, feeding a Sonosax mixer. From there a Boss FV-500L stereo volume pedal feeds an A/D converter, and the Lex 300 gives a 5-second delay with 94% feedback, and connects to a Tascam DR-680 recorder. I ended by turning the delay down to zero.

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