Thanks Charlie ! I think I found your GitHub via Soundcloud, yes, big fan too of ChucK, I don’t use DAW’s etc almost at all, working in Terminal/console all the time. Like your work ! Best, Jukka
This week’s track consists of some field recordings I took on my phone whilst out walking in the park with my daughter, who has just turned 2 this month. We heard birdsong coming from a wooded corner of the park & she was excited to find the birds.
All underpinned with piano & music box melodies that I put together this weekend. A reminder to my family in 5 years to keep it simple, enjoy the world around us and hopefully for my daughter to maintain the sense of joy and wonder in the natural world that she has.
@disquiet - a lovely brief this week. I really enjoyed it, thanks.
Great first entry. Welcome!
Thanks, I might have sent one piece some years ago, not sure, memory failure !!
“Long adrift on shipless oceans…”
I decided to record a version of Song to the Siren by Tim Buckley. I’ve been listening to this song for a long long time, and more recently was trying to put something together for solo guitar. Well, I thought it would be really fun to hear in 5 years. The keys this round were the Valhalla supermassive reverse 8th note delay/reverb/thing. I put that on top of the chords and the sound made me want to carry it forward. Time to go outside! Note to self: better to have a good performance than take an equal amount of time editing things to death. Take care! Oh track notes: played guitar, bass over a synth drone tuned to D. And a lot of delay/reverb.
I’m submitting a cover too… It has been a long hard year of missing our bandmates,coping with cancelled gigs, cancelled sessions, etc. My wife and I work a lot together but haven’t done much for a bit. We knocked this out over the weekend for an Indy film soundtrack. I like the warmth and positive vibe of this and want to look back and remember how important it was to keep working through these dark days. My wife, Erin Hill played harp to cover the guitar parts. She sang, beautifully as usual. I played bass, programmed the simple drum part, and played the string parts on pedal steel through a bunch of effects. It was a nice couple of days work.
Hi, this is a track made in ppooll using an act made by Koutaro Fukui, the cll_cltl.
In the past year I tried to explore the max patches that he has made available to the public. I hope in five years time this small track will help me remember the opportunity for creativity and connection that online communities like the disquiet junto, offered to everyone in the time of the pandemic.
Two Ableton sine-wave instruments, one bass, one melodic. Both passed through wave-folders and shapers. Separate track with a clap being folded and passed through a space echo. I wonder what I’ll think of this in five years’ time?
For Time Capsule - I am adding “Condensation”. This is the second piece I have been working on (the first being “Stalactite”) for my first album project which I am calling “Cave”. “Cave”, describes attributes of an actual cave but also is a metaphor for physical, emotional and social distancing we have experienced over the past year - forcing us to think about many things differently. I will certainly remember 2020-21 in five years, and hopefully I will remember this project.
This week I was unsure how to approach the Time Capsule project and started by recording a piece of music. In the creative process I became aware that this track is a message to myself about making music.
It demonstrates how far I have come in the two years since I started making music with Cubase LE. I have no idea where the next five years will lead me musically and I wonder what I will think about this track in the future. I reckon this is an image of my current status of music-making (I will say no more…).
Technically all is done inside Cubase (Pro in the meantime…) with virtual instruments and provided samples. This time it is my premiere to use samples from pianobook with the decent-sampler plugin (e.g. the hamonium at the end of the track and the bass harmonics).
In comparison to the other projects I really spent a lot of time building and refining the track.
And yes, of course the track also conveys much about my current state of mind. This will make it especially interesting for me to listen to in 5 years.
Some live-coding with Orca going out to VCV Rack and Logic. Euclidean rhythms based on today’s date. Hope my future self and others enjoy this.
This misty Tuesday morning in Mars I took my time to listen to the full track. It’s peaceful, sad, relaxing. Not unique… Feels like “generative ambient”. As I listen while working, I don’t perceive a clear pattern/structure. Mostly likable ambient piece and a good company.
Konichiwa! Please excuse, I was in Japan enumerating targets in the APAC region. This was an especially interesting challenge this weekend, and a number of remarkable things have occured. First, I realized I’ve been sleeping hard on that Voyager soundtrack, the genuine article from Dr Sagan et al. Don’t know how that happened, but I’ve been stuck on it all weekend and it’s funny to notice that the only piece I don’t like at all on the whole record, which is representative of this whole wonderful planet, is Stravinsky – fuck that guy!
Also, in the midst of my endeavors, I was blessed with a new joint from Audio Bulb called AUXTURE that could would have been an appropriate starting point, but was used here to embellish the percussion and bell noises throughout.
When I was 12 or so, I owned a Tascam (and later a Fostex) 4-track tape machine for my bedroom and basement noodlings, which I then dug up and rediscovered years later after my digital transition. The most striking thing about that exercise of dumping the whole tape collection in the computer (half backwards, necessarily) was not what I remembered from the tapes, but the fleeting ideas and instant orphan bounces I’d completely forgotten about and then used as interludes in ongoing productions of the day. This was my approach in collecting sounds for this track, culled from b-sides of the past months to year, though I realized in the thick of it that this is a very odd spin on future nostalgia – a contrived amnesia I can’t find a word for – this planned forgetting, ideally millions or even billions of years hence. Bit of a catch 22, as these are no longer b-sides and orphans, but have now been mainlined and committed to the cloud, so that forgetting them will be a questionable fate at this point. I will ask Chris Nolan or Dr Sagan if I ever have the pleasure!
Hard to encapsulate the goings on here, so will list the abbreviated menu:
- wok brush applied to uke with chopsticks and chain, AUXTURE rhythms
- leftover doppler bells, various processes, AUXTURE rhythms
- raft zither I was describing for @Glitcher, Movement filters
- waterphone bows from last year, pitched with Portal
- Simple Sampler on my phone through delay pedals
- assorted percussions recorded with Samson C02, processed in instantly forgotten ways
- an Italian gentleman plays Duke Ellington on the sax at the behest of a well regarded maestro, something I’ve been wanting to use for 15 years, still not happy with it…
- there are some late pitch shifting effects stemming from the sounds of @krakenkraft and @ray_cobley I’d abandoned…
- The Inner Room by Arthur Conan Doyle read by AWS Polly
- Mozart aria, forgotten granular mist
This mostly hangs together in a loosely synced, Villalobos-like DSP framework – or rhythmic mold, if you like, something I’ve been using to get live acoustic performance to gel, more or less, with digital timeclocks. It’s about as loose as it gets without loosing the plot entirely! Sayonara!
Can’t believe they didn’t put James Brown on that gold record.
Thanks for listening to all of it! Yes its two very slow random arps. Automation on gate, tempo and various parameters to rehumanize it a bit