Disquiet Junto Project 0496: Isolation Room

I recorded this one 15 years ago, the Qin Qin I bought in Beijing in August 2000 and the Indonesian Flutes I got in Bali 2006 is what I kept form the original never finished recording that included a repetitive bass note, samples, synths etc. It was a mess.
I spend little time now, completing those “Asian” tracks with a drone performed on bowed upright basses na huge treated reverbs. It is better now, with more space and a contemplative , open mood.
Thanks @disquiet and this junto prompt for making me re visit this one that was damned to the trash lid or the 'unusable stuff " drawer.
I took the photo in Tokyo a couple of years ago.

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I have a meeting in five minutes, and this is exactly what I needed to hear in the interim.

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I started with one of the four voices from my Pi Filling - disquiet0376 track. Then I expanded this into four voices by reversing, inverting, and reversing/inverting it. I then added a clean ping-pong delay to each of the tracks with the feedback varying from track to track. Finally, I added a hi-hat for good measure (that was the only idea that survived from my original idea of making a dub track). Then I made everything go backwards.

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I am still in love with wind chime samples. Base of “Joint Sonic Room” is one of the audio tracks from the recording “Geworfenheitlichkeit” …

… fattened with even more wind chimes and some environmental noises (from: field recordings, Spitfire Labs, Glitchmachines Polygon 2.0).

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The Junto instructions this week prompted me to think of this track I’d recorded a few days earlier.

A couple of weeks ago I recorded a bass part for Dan, who said it wasn’t what he had in mind.

So I added my own drums and a synth pad, then edited a short video from footage I’d recorded on holiday earlier in the year.

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Original recording of gameboy homebrew program Droneboy was lifted from it’s project and enhanced with Norns scripts Dronecaster (gristle and Mt. Lion) and Endless-stairs
Edited and processed in DAW with unfiltered audio plugins Specops, Sandman pro and Fault. Thanks @trickyflemming for the heads up on the coupons. Hope all are well :slight_smile:

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Been a bit since I posted here. Isolation has been my reality for awhile now, figured this was a good chance to jump back in.

Took an old drone piece that was abandoned, pulled the main drone out and used as the base to build on. Added some musical elements with some randomness and lots of space. Everything made in VCV Rack, happy to share details if anyone is interested.

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And the playlist is rolling:

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This week I started by lifting an element from an ambient track I started last year but never finished. The track has an arpeggio that fades in and out and I used this as my starting point. I added a chord progression, bassline and some simple melodic elements, cued in a “guitar solo” off an old cassette recording, and added some vocals and percussion loops.

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With my dear friends Ricky and Stephanie, we have a ongoing trio project called “NerdBait” (soundcloud @nerdbaitband). We’ve recorded music for a variety of events that Ricky has participated in and produced in Scotland and although we’ve been a bit dormant recently, the band is definitely still together!

Anyway, In 2015, Ricky had an extended bit in “SkyGround’, a collaborative performance retelling the fictional story of a 1970s female Scottish astronaut. As well as an ambient / spoken word soundtrack for his piece and the some interstitial music, we wrote the opening and closing theme for the show. I always loved that opening theme (linked in the soundcloud comment for this track) - Ricky’s words, my melody and Stephanie’s soulful performance of it, even with the noisy recording i clumsily captured - stuck with me. But I never quite loved the classic rock style music accompanying it. While it fit the theme of the show, it seemed incomplete somehow.

So, after a quick text chain sharing this week’s wonderful disquiet prompt, we had a chat about me taking that vocal line and lyric and having me re-contextualize it with a sound closer to where I am today. I grabbed 2 of my 3 favorite tools - Surge and Valhalla Delay - and got working last night.

The result is in a way a remix and re-imagining of our collaboration. I hope you enjoy “Reshoot the Moon (disquiet 496)"

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This past year or so has been ‘the Year of Hardware’ for me. Been trying to figure out the Elektron Digitakt, with mixed success.

Picked up where I left off a few months ago with a sample set that wasn’t ‘gelling’, threw out all but one of the samples (the first you hear) and then retried it in a new track, with a few other newly chosen samples.

This is all one take on the Digitakt, basically “live” into a Tascam dp008ex and then added a little COMP/EQ afterwards to balance it out a bit.

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I had been hanging out on an old industrial waterfront in Minnesota and saw some huge old ships propellers. I wonder where the ships went.

The short 4 note repeating sequence is from an older track. I played that on a Dobro. All of the other instruments (except bass) are various forms of acoustic slide guitars… both resonator and non resonator. I banged the instrument tracks out yesterday and sent them to my friend Katherine Etzel (google her music) and she contributed the vocal parts. I like the result.

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“Teleology takes a different approach to organizing and writing history,” writes David J. Gunkel in his book Of Remixology: Ethics and Aesthetics After Remix. “If archaeology rummages around in the past for an originating ancestor, teleology begins from the end of the story, then reads backward into the past to find traces, precursors and nascent versions of the practice.”

This is the approach Suss Müsik took with this week’s Disquiet Junto project, a revision of Disquiet Junto project 0290. For that piece, Apple VoiceOver was used to record four quotes. These phrases were then refactored to approximate the gasps, hiccups and nonverbal noises that accompany everyday human speech. That part from 0290 was then isolated to create this new piece, recorded live to 8-track with some sloppy piano and DIY electronics.

The piece is titled Teleology. The quotes used in the piece are as follows:

“Those are my principles, and if you don’t like them… well, I have others.” ~ Groucho Marx

“Life is too short to work on inconsequential problems.” ~ C.K. Prahalad

“Somebody asked me, ‘If you had to give advice to a young actor, what would it be?’ I never even knew I was thinking this, but I said, ‘Always, even in a limo, wear your seat belt.’ To me, that’s good advice.” ~ Christopher Walken

“I’m seven people away from myself at the moment, but getting closer all the time.” ~ Don Van Vliet, aka Captain Beefheart

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Revisited a recording for a previous disquiet junto (Caustic_gates – Disquiet0436-7am-window) - the ‘isolation’ aspect of the assignment is a simple high pass filter.

The output from a patch on the Eurorack modular synthesiser is added to the lower frequency range. This is based on a patch programming approach I’ve been working on taking a simple 8-step sequence and using it to derive more complex sequences with clock dividers and sample & holds.

The main clock is ‘played’ in response to the original recording creating space - simply pausing the clock when the main recording requires it.

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First time Junto-er! Juntonian?

This track was made based off the vocals of a song I wrote during November of 2020, which was a pretty stressful pandemic/election/unrest month. The song had the refrain “keep that hope in your heart/shine that hope through your heart”, but I felt on the edge of panic the whole time.
I took some of the breaths and made a panicky rhythm of sorts out of them, and the vocals and put them through a grain processor to turn them into an unsettling slow-motion chorus of cicadas trying really hard to hope but having a hard time of it.
And then there’s a drone, because why not a drone.

The original track I made it from is this, which, well, I’m self-conscious about my singing but here we are:

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I’ve been making music in the browser this year, limiting myself to the web audio api as an instrument. For this track (which is my first post here on lines), I took a Perlin noise generated melody I made several weeks ago, then looped it varying times at various speeds. I added a 5/4 percussion track to move it all along a bit. One of the loops is triggered by the corresponding visuals (w/ p5.js). Happy to post the video somewhere if anyone is interested.

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Hi.
It has been long enough since the last time I participated in a Junto that I don’t believe I’ve ever used this Lines website before.

Here’s my track:

Enjoy, if possible.

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I had this beat patch in Axon2, and I tried to make it walk across the desert:

Axon driving 2 instances of Hammerhead. Now I’m really thirsty.

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That’s incredible. Digging this, and very glad to see you here.

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Quite by chance I was looking at some tracks from a few years ago (something I seldom do) & came across ‘Incidentally’ from 2015. I isolated certain sounds, then added a second layer & various fx, more or less in line with the instructions for the assignment.

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