#5

what a mysterious statement. i like it. they definitely are are.

2 Likes
#7

Perfect JUNTO instructions. Any juntonian should know exactly how long his tracks could be just reading that sentence…
We are all are and small, aren’t we?

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#8

Thanks for the catch. I’ve now fixed it above. It’s “large and small.” :slight_smile:

2 Likes
#9

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#10

This is my first submission. My current music practice is a mess. Therefore I was very happy to hear about the Disquiet Junto Project when Darwin Grosse talked to Marc in his Art + Music + Technology podcast. I just recently subscribed to the mailing list and my first and foremost goal was to get involved and to actually submit something.

In the podcast with Erik Emil Eskildsen I learned about his composition approach: to build self-running systems in Ableton. So I build a patch in VCV Rack that once started runs in a machine-like way. That’s my sound machine. I did not integrate soundscapes of cities - I use a sample of a very resonant bell from the free collection by Empty Vessel (emptyvessel.co.nz).

This is my interpretation of the assignment.

7 Likes
#11

Had no city style sounds for my area pre-recorded. So took the opportunity to ride as a car passenger today, holding the recorder towards the open window. It was wet and raining…

There was nothing much happening except other cars and a snippet of conversation from some people struggling with a pram in the rain. Some birds can faintly be heard near the end.

So after layering the recordings with different effects and still not being happy, I turned to Norns Patchwork script and Vst’s to brighten up a dark, wet, day.

8 Likes
#12

It’s been quite a while since I’ve participated and I regretted it pretty much every week so I’m hoping to start doing it more regularly again.

I recently bought a harmonix 45000 looper pedal which quickly resulted in me realising I needed a patch bay. I’m in the middle of setting everything up at the moment because I have way fewer cables than I need…! Anyway, while trying to get my head around the patch bay a few days ago I sent some small bits from the OP-1 to the looper. I came across them again today and decided not to throw them away but to use them for this project, I’ve been reflecting on a place I was once at and am no longer at this week and the mood of this captured the nostalgia and melancholy I felt.

I didn’t add anything other than what was in the looper pedal memory, I slowed the tempo a bit and reversed it before sending it into a timefactor delay and added some other effects in Ableton.

I almost threw it away again because I think the frequencies are a bit harsh in it, but figured now is a good a time as any to start again

Edit: Oh and I hit reverse on the looper pedal of course

6 Likes
#13

I screwed together a few beats and sounds and added a lot of field recordings.

You will hear Munich all the time, from birds and beergardens to subways and rainy backyards. The cow at the end is not real Munich, but a bit of a bavarian clichee.

7 Likes
#14

The playlist is now rolling:

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#15

December, 2010. Suss Müsik is walking the streets of Barcelona at night. It’s Christmastime, so the city is illuminated in celebration of the upcoming holiday.

Suss Müsik notices a pattern in the decorations. One cobblestone street is lined with circular disks of white light; another has rainbow-colored rectangles hanging from the lampposts. The two streets meet at a public square just a few blocks from La Rambla. Suss Müsik determines this intersection to be the Chromogenic Nexus.

A man is photographing the holiday lights around the square. Suss Müsik watches the man from a distance as he stows his tripod and camera equipment and revs up his motorbike. Suss Müsik mentally assigns this gentleman the job title Keeper of the Chomogenic Nexus. It’s a big responsibility.

The Chromogenic Nexus is the metaphorical congruence that personifies this beautiful, fantastic city. It’s a place where new and old worlds mesh perfectly, where a tour of Casa Batlló concludes with a 3D hologram of Antoni Gaudí waving you goodbye.

The Barcelona Sound Machine embraces this city’s Medieval origins, its Nouveau and Gothic architecture, its love of competitive sport, its cultural fluctuations, its nautical cuisine, its Catalonian nationalism.

It’s an audio landscape inspired by multiple generations of artists. If it were a gallery, it would display the surrealistic paintings of Joan Miró alongside prototypes built by Universitat Autònoma students, the two separated by 100 years and a mere 26 kilometers.

It’s a late-night ride on the FGC, where on the station wall a numeric display counts down incoming arrivals to within a microsecond of accuracy.

It’s the bronzed foam topping on a strong cup of coffee, enjoyed outside while gazing at a store mannequin that seems just a bit too realistic. Next door is a shop that sells nothing but scissors.

To Suss Müsik, ultimately, the Barcelona Sound Machine is a glitchy, multilayered, counterpoint homage to the Keeper of the Chromogenic Nexus. Godspeed to the Keeper, he who balances our understanding of what has taken place and what yet may happen.

8 Likes
#16

Recently I visited family in Australia’s national capital, my former hometown.

So, when thinking about cities, I opted for a Canberra Sound Machine and have made a video at this link.

It probably wouldn’t rate as a city in most northern hemisphere countries and is only a little over 100 years old.

The “bush capital” as it is known, is a series of valleys with nature reserves on the dividing hills.

It also has a lot of roundabouts, which were a big thing in urban planning around the time Walter Burley Griffin won the competition to design Canberra.

So I wanted to make a track that loops around, with fuzzy crests and some Modern features.

I’ve used the M-Tron synth a bit this year, which has a lot of flavour, and was looking for an opportunity to use the Pendulate synth, as well as Rolands 606 and 707 and 808 for kicks.

5 Likes
#17

When I think of my own town it’s the silent nights that comes to my mind. I like that. The calmness. A soft noise maybe a distant fright train. For this I loop a reverb tail, noise from modular and a lovely recording from the Finnish radio made 1978 with a Nagra tape recorder (freesound.org/people/YleArkisto/sounds/324968/). That recording was from the inside of a train, but I just had to use it. I had another idea, but changed track.

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#18

Although not exactly a sound picture of the city in a literal sense, while making this track I reflected a lot on the cyclical nature of life there. The track represents the kind of liminal space that I found myself within during my time in that kind of environment.

To break out of my usual compositional routine, I used graph paper to plot out the rhythms of each layer of the sequence.

5 Likes
#19

I couldn’t record the sound of my city as my local lockdown rules are discouraging non essential time out of the house except for exercise and work. Inested I took my Soma Ether out with me when I took my dog for his evening walk. The Ether picked up the buzzes of lamppost, Christmas illuminations, junction boxes and phone masts. (i’d also read that the ether can pick up fields generated by sap rising in trees but when I tried this the trees just acted like a giant antenna and caught snatches of radio)
I loaded the samples onto an iPad, treated them with fx and looped clips in Gauss Field Looper to make a buzzy collage of the electromagnetic contours of my neighbourhood.

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#20

traffic samples processed in Norns mostly.was aiming for a kind of underpass dub but its more bouncy than that.

5 Likes
#21

https://soundcloud.com/dashielhammet/disquiet0466_greenslopeterrace
I live next to a highway, not a massively busy one, but still. it ends up sounding like a drone, and that’s where I started. everything else meant to evoke what may be happening outside, though I go out so little these days, who can tell.

6 Likes
#23

@DeDe

That’s cool how you brought so many elements together. My attention was taken by the wide stereo effect on the drums. It made me feel like the drummer.

@sevenism

This city feels chilly. Big gusts of icy reverb.

@euclidian

Feels like a city and I want to go home.

@kn00t

Welcome to the Junto. This is subtle and the pace is pleasant.

@Glitcher

It sounds like the streets are wet and the instrumentation has an effect like rain.

@mdh

It was good to read about your process. That reverse effect does evoke a feeling of remembering somewhere.

@krakenkraft

Love the slow build here and the bloopy bits with intermittent horn. Feels like I’ve had a bit to drink and am being lured onto the dancefloor.

@SussMusik

Nice sense that there’s another surprise waiting around the corner.

@gis_sweden

The rhythm of the train and that hiss is really evocative.

@architecturalstudies

The delay gives good depth. I’m keen to see your graph paper, as that seems like an interesting process.

7 Likes
#24

@Noimspartacus

Lovely textures. The sense of moving through an unseen space.

@Zedkah

Underpass dub is so evocative. The tempo is fast but I could imagine a bassline would fit in here.

@Ben_Levisohn

I can picture this as a highway. The stereo effect gives a sense of that.

3 Likes
#25

Such a great prompt, and one that can keep you going. Was working on a series of vignettes of Japan and here is one of the versions for Tokyo. Combination of classic, almost rural sounds (but artificially generated) and electronic.

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#26

Real-time recording created in Pure Data using twelve-note chromatic scales.

5 Likes