Disquiet Junto Project 0509: The Long Detail

Instructions went out, as always, via tinyletter.com/disquiet-junto.

Each Thursday in the Disquiet Junto group, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. (A SoundCloud account is helpful but not required.) There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Deadline: This project’s deadline is the end of the day Monday, October 4, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, September 30, 2021.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0509: The Long Detail

The Assignment: Create a piece of music with moments from a preexisting track.

Step 1: You’re going to be making a piece of music using only a few select details, or brief moments, from an existing piece of music. Choose a source track, preferably one of your own, to begin with.

Step 2: Isolate some details from the track, not so much beats and tones as moments, each of which has a unique quality. Do as many as feels right, based on the source material: perhaps a handful, perhaps a dozen. It’s up to you.

Step 3: Create a piece of music in which each detail/moment is followed by another, for as long as you want. Feel free to repeat them. Put some space between the moments so they exist independently from each other. You might want to edit the moments so they fade in and out, or you made want the edits to feel abrupt. Trust your ear, and your listener’s ear.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0509” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0509” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

Step 3: Upload your tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

Step 4: Post your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0509-the-long-detail/

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: If posting on social media, please consider using the hashtag #DisquietJunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Note: Please post one track per weekly Junto project. If you choose to post more than one, and do so on SoundCloud, please let me know which you’d like added to the playlist. Thanks.

Additional Details:

Deadline: This project’s deadline is the end of the day Monday, October 4, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, September 30, 2021.

Length: The length of your finished track is up to you.

Title/Tag: When posting your tracks, please include “disquiet0509” in the title of the tracks, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is always best to set your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

More on this 509th weekly Disquiet Junto project – The Long Detail (The Assignment: Create a piece of music with moments from a preexisting track) – at: https://disquiet.com/0509/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0509-the-long-detail/

There’s also a Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion.

The image associated with this project is a detail from a painting by Piero della Francesca (1415-1492).

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And the project is live. Thanks, everyone.

I did this one really quickly, although that wasn’t my intent. I was very tired from a long day at work and I did it in a very process-oriented fashion.

First, I took my track from last week (less to have to think about that way). Then I sliced it up into bits and deleted alternate bits. I then duplicated the resulting track and shifted it to cover the holes from the original track. Then I took all of the audio processing off this second track (there was a lot of it) and added in place a simple clean delay. That was basically it, although there were sort of a lot of decisions along the way. Way too many to type here. And I’ve simplified the process quite a bit. Also, I shortened it by about half—the original was too long to begin with.

Actually, I’m trying to work down my Disquiet Junto pieces to be 10–15 seconds long. I like those little bits of music they have to separate things on NPR’s All Things Considered. They’re short, but nice. There’s probably a name for that sort of thing on radio, but I don’t know what it is.

The very end sounds a bit like the Twilight Zone theme. As much as I like Bernard Herrmann, that was a happy accident (assuming it really does sound like him).

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Hey All,
I just loaded a drum track and loaded a bunch of recent tracks. I added a very busy midi clip and slowed it to 20 bpm. The samples were unwarped so they played at regular speed. There were longish gaps so I added a backwards track and put a phaser on that. I also added a copy that was pitched down unwarped and this kinda filled the gaps. I think the clips kinda went together in a random surrealistic way. Hope all are well.

Peace, Hugh

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While you focus on one detail the surrounding gradually looses its form. I used one detail of a previous track I made, repeated it ad nauseam and distorted it using lo-fi-af.

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And the playlist is now rolling:

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Hey, I just went back to the recent Shepard Tone project, as I mentioned on my post that project, Shepard Tone use on my normal work is something I’ve been hiding under the rug for years, so that project (the most time consuming in this junto challenges for me so far) is still a work in progress here, I went back a couple of times to that in the recent days , updated the mix etc.
For this week’s challenge I just focus on a detail that’s the most interesting for me : The Shepard Tone itself.
I deleted all the orchestral tracks and the main synthesizer, just kept the Shepard stereo track and the low drum hits that I found interesting. I composed an abstract piano piece on top of tat this morning.
Comments are appreciated, again, this is not finished yet…

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Hi all,
I decided to use my track ‘L-system’ for this weeks Junto. Originally made with Norns script Flora
It was a struggle but a fun one. After mixing it down decided to record again while sending the track through unfiltered audios Indent 2 plugin. Used a Roli lightpad as a controller for modulating the plugin params for a filtering effect.

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I had this unfinished piece of music a couple of weeks ago which I used as a theme for one of the tracks on my ‘spectral re-integration loops [1]’ EP. It made use of 3 or 4 stems (from different tracks) taken from an album I did for the Short Story Collective a few years ago. I’ve reworked it so that it is tidier now and all lines up in a sensible fashion. I’ve taken the stems and constructed a 40 second piece of music which is then looped so it plays the same backwards. I’ve then layered the loop [ C2, C1, C0 and G1 ] - bringing them after the previous loop has finished so the texture builds. The track is 15 minutes long - but could conceivably be twice that length.

I really don’t expect anyone to listen to it all - but it does build quite convincingly and the strings stand up well to being transposed filling out the sound. Apart from the pizzicato its quite hard to discern that half the strings are backwards.

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I cut up an experiment in orchestration (an interlude) and picked out, more or less, 5-6 random moments. These moments have been put together in this piece to create something new… Using only the cut up pieces, some EQ and reverb/echo send effects, this was the result.

…I like it better than the original :wink:

(for reference; you can find it here: Stream interlude: broken piano with orchestral waves by PopGoblin | Listen online for free on SoundCloud)

Thankyou for an inspiring prompt!

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Sinny: drums, sticks, triangle, finger cymbals, cajon, glass harp, piece of metal, insects; synth and drum programming
Kevin Becker: synthesizer

This was originally released on my main Soundcloud account in 2019, but its poor mixing led me to pull it for future development. The original recording included a brief sample of a 2016/17 jam titled “Market Square at Seven”, hence why another musician is credited on the song.

Prior to the announcement of this assignment, I had already revamped the track with some new percussion parts, namely drumsticks and rim clicks. Some handclaps were also overdubbed at the same time, but these were scrapped. The track received sporadic updates through 2021.

“Field” was a serious contender for Disquiet Project 505, which was to share a work in progress and provide feedback. I even touched up the song in preparation with some synth stabs and more samples from “Market Square at Seven”. However, this was passed over in favor of “Cake”.

When I read the description for this week’s prompt, I once again singled out “Field” for consideration. After some minor mixing, I took another section from “Market Square at Seven”, dropped it by 20 semitones, and placed it at the end of the song.

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I’ve selected a couple of moments from my Naviar Haiku track last week, then arranged those loops into a verse/chorus/verse/chorus kind of song.

To make it a little more interesting, I’ve also looped a couple of moments from the MIDI guitar part and used these to drive a toy piano (that windchime-like sound) and a Mellotron (sorta like a string quartet, I think).

The result simplifies a busy but meandering track, although both songs seem like they’re a soundtrack waiting for activity to accompany.

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I usually listen to very short pieces on Soundcloud, but yours is one of the few exceptions. While I was initially unsure whether I would listen to the track in its entirety, I soon found myself completely invested in the track. Nice work!

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Thank you for saying so :smiley:

I think in this instance the process worked out really well and the piece has turned out to be more than the sum of its parts. I’ll definitely be trying it again.

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By piecing together disparate fragments of abandoned works, I have created a kind of sonic Frankenstein. By morphing, transposing, segmenting, manipulating, and transforming a few segments, a new world is created.

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I found that the description fitted perfectly for working with delays with freeze functions, so i used stock ableton delay for “remixing” one of my songs. I repeated the process a couple of times until i felt satisfied then edited some to add silence and give more “ambience”

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For this project I chose the track Charmouth Beach I created and uploaded 5 months ago. I listened to the track and marked about 15 moments, maximum two bars long.
I created the track in Cubase: I loaded the old project, deleted drums and the sound of the sea, cut out everything but the 15 moments and started to copy and move them around. By copying the whole sections all output- and send-levels as well as the automations were preserved, thus the sound of the sections really stayed the same. In addition, delays and reverbs have also been retained and are audible beyond the section boundaries.
I really kept strict to the project and changed nothing at all within or between the sections.

Then I added drums, only using the drum-pattern that where part of the original project. And finally I added the sound of the sea.

It was a great experience to compose by simply “playing” with a restricted number of building-blocks. I am very happy with the result that became a track of its own but with a strong connection to the original one.

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I used seven moments from “metaorganic”. One of my goals was to be clearly shorter than the original. I chose the moments by personal interest. Moments and pauses between are each of equal lenght. A tape echo loop fills the silence between the moments, so you should hear the difference between moment and memory of the moment. A lot of fine tuning. Enjoy.

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