Disquiet Junto Project 0529: Squared Off

Barton Musicalcircuit Analog Drum. Sold my first analog drum. Now I want one again. Have to work a little on the panel and get some knobs. I like BMC. He has some nice modules. All thru hole. You get a pcb and a raw al panel. No fancy components.

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Wow. They are good value if you just get pcbs/panels in a letter. I have plenty of standard components too. I looked at the site years ago but was worried about getting hit with import tax. The analog drum has a good sound. Nice one and congrats on your build :slight_smile:

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2LFO SH, analog drum, dual logic, decaying analog noise (great white noise!), four quadrant multiplier and panner and the gate delay are my favourites. I have another to build. When ready I will reveal which. And yes there is an import tax (for some of us. About €14 for me).

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The whole number 23 and related wikipedia entries made me try out something that was set up to be a bit mathematical, with 23 bars of generated music of 23 lanes of notes that follow a progression that modulates from C to D and back. I grouped them into 6 groups which I staggered in 4 bars (4*6-1 = 23), had everything run once all together then let groups drop out.

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so it’s one hundred and twenty-three bpm and the midi generator is using my childhood phone number that ended in twenty-three and i’m pretty sure the time signature is eight/twenty-three or twenty-three/eight

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For Disquiet Junto 0529, the square root of 529 = 23. I used this number to set the duration (2:30 long) and to divide my track into 23 mini slices (around 6.5 seconds each) for various automations and pacing - they become rather subtle - perhaps you’d never know they are there…

After using my voice, and counting, I ended up humming into a Chase Bliss Audio Mood pedal which conjured harmonious moments that I ended up playing like a small instrument.

Last night, the sounds of my family at a Hibachi grill prompted me to capture some audio with my phone my shirt pocket. I squared the intensity off with some in my back yard recording bamboo in the breeze. Family time. Alone time. Always need both.

Gear: Microfreak, Chase Bliss Audio Mood, Field Recordings, Voice, edited in Logic Pro.

kevingilmore · appreciate it / Squared Off(Disquiet0529)

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Riffing on 23 lead me to find a 23×73 encoding of the Arecibo Message, which I chopped down, arbitrarily to a 23×23 encoding. I then used that as the basis for randomised chords, modulated by a Euclidean rhythm of 23 steps, which was then further mixed with a 23rd of the original stretched to the full 23 bars. Throughout there are settings at 23% or 23ms or 77%, etc. It’s not what I was expecting to end up with.

Original 23×73 image by Jarmo Kivekas—commons.wikimedia.org/wiki/User:Jarmokivekas

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Hello everyone. I missed the last project due to hardware problems
Anyway … when I saw the topic of this new project I immediately thought about developments related to metrics: DNA, genome, Euclidean sequencers, Palmistry, Leukocytes.
… Then, being Italian, my thoughts went to Dante and the Divine Comedy. I chose Canto XXIII of Inferno. I used voices of various famous Italian actors who read this Canto. 14th-century Lyrics. Eventually the track became a kind of “divertissement”, probably not overly serious.
Sicut transit gloria mundi.

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First, when i learned that 23 was the default port for telnet (teletype network), I thought it was the perfect occasion to learn how to use teletype in vcv rack.
I spent some time on it this weekend, but did not come up with something interesting enough to post for this week’s assignment.

So instead, here is a short deep sea piece tuned to 23edo made using aalto.

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Using the number 23 and various multiples as the starting point for generative ambient, letting the music develop from the math or something. I feel perhaps I constrained it a bit too much with convention, making things a bit too pretty, but who knows.

BPM set to 23*3, lots of sample and hold and randomized sequencers with various percussive elements driven by a Euclidean sequencer set to 23 steps fed into a granular delay for textures.

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For me this week’s project was a wonderful contrast to last week’s: Whereas I mainly improvised on the keyboard last week, this project sounded to me like algorithm and construction.

I had the following inspirations from the number 23:

  • The row of prime numbers 1, 2, 3, 5, 7, 11, 13, 17, 19, 23 was interpreted as scale:
    C C# D E F# A# C E F# A#
    and every voice is only playing within a 2 octave range using these 10 notes.
  • the track is structured into 23/4th sections
  • looking up 23 lead to psalm 23, one of the best-known biblical texts (“The LORD is my shepherd”). The associations sheep and church->choir followed.

I proceeded with the following steps:

  • On freesounds I found a fieldrecording of sheep on a meadow, this plays throughout the track
  • I set up several instances of transition, the generative MIDI sequencer based on bots moving in a matrix. Only the scale defined above is used. Different scenarios are used for different sounds.
  • For the drums a 7/4 sequence with random aspects was created by transition, for the bass a 6/4 sequence. The 23/4 rhythm was maintained by cutting every 4th segment to 2/4 respectively 5/4.
  • For the choir the sequencer stochas was used: Different paths through defined notes in the above scale were traced in a 23/4 sequence.
  • Looking for a psalm 23 recording I spotted a morse code rendition on freesound. That inspired the following approach: I copied the text of psalm 23 in English, French and German from wikipedia and used the Text to mp3 Converter to create audios with the morse-code. With Cubase Varaudio I extracted the MIDI-notes. The three MIDI-tracks were overlayed with each language playing another pitch. These morse-messages in real time can be heard from time to time playing sounds from the Hauschka Toolset.

It was a great experience to construct a track in this more algorithmic and arty fashion where I only control the concept but not the single notes or melodies.

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TalUno + Tensor + the number 23

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Sharing a stat from soundcloud for this project.

????????

soundcloudpic

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This experiment played around with 23, 23^2, and 23^3, considering the digits as numeric sequences where 1 is a moving tonic. “2 3” repeats throughout, starting with piano. The mode alternates between major and minor, and the corresponding chord and tonic provide accompaniment as they change. A “5 2 9” figure is added, conforming to the current mode, and then “1 2 1 6 7” similarly. The conformal loop finds its way back to where it started.

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That’s pretty funny. Next stop: 529.

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Procrastination got the better of me last week and so I was resolute to get a track in for this one.

23 is the number of the last house I lived in with my family before I moved out at 18.

This piece conveys, cheerfully, the way time (for me) seems to slowly erode my memories and I find it hard to remember who I was in the more distant past.

It wasn’t quite what I had planned but I couldn’t work out the subdivisions properly unlike some of you brainiacs! I listen, mostly, to a lot of complicated music but I have no skills with an instrument and cannot really grasp any of the theory.

For this, I mashed around in VCV Rack until I got a vibe that I liked and then made some further editing in Ableton.

I listened through to the whole playlist before I posted this and I have to say that everything I heard blew me away. Everyone here amazes me with their talents. Thanks for sharing.

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In this track, you’ll hear sections of 5/4 time, a percussion pattern of 5 and then 2, occasional 2:3 rhythms, and scales/arepeggios constructed of alternating minor 2nds and minor 3rds. Also, many of the sections modulate up by minor 2nds and minor 3rds. This was a fun challenge, I really enjoyed it!

Sounds provided by AudioThing’s Noises and Spitfire Lab’s new “Glass Piano” samples, among others.

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For this composition, I picked a rather unobtrusive wood block and set it to 23/32 time so it would gradually move forward by a 1/23 note. I did this so by the 23rd measure, the wood block would cycle back to beat 1.

Through musical typing, I rearranged the stems so they would “resemble” the number 23. The initial patch I selected was a toy glockenspiel, but I quickly switched it to a sweeping synth sound later on. I attached the image of the 23 below.

The original idea was to release this alongside another track I wrote for the project titled “Two Over Three” (a vertical 23), but I decided to exclusively release “Shifting 23” instead. It is very likely that “Two Over Three” will eventually be released in some form, but now is not the time.

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I took the following passage from Wikipedia and implemented it in ChucK:

Octagonal numbers can be formed by placing triangular numbers on the four sides of a square. To put it algebraically, the ‘‘n’’-th octagonal number is

:x_n=n^2 + 4\sum_{k = 1}^{n - 1} k = 3n^2-2n.

Sorry, but I had eye surgery last week and am in a bit of pain or I would explain more. It took all my energy just to finish it.

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A great week, wonderful to see such creative engagement. No stone left unturned in the quest for 23 nirvana. Thanks to everyone who contributed :pray:

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