Disquiet Junto Project 0545: Unself-Awareness

This post popped up at disquiet.com/0545 (thanks, powers of automation!) shortly after 12:10am Pacific Time on June 9, and then at twitter.com/disquiet a little further along. I was asleep at the time. It’s been an especially busy day, so I’m only getting around to posting here now, around 5:20pm Pacific.

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, June 13, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, June 9, 2022.

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

Disquiet Junto Project 0545: Unself-Awareness<
The Assignment: Learn from feedback intended for others.

Step 1: This project builds on the previous one, but you needn’t have participated in project 0544 to do 0545. In project 0544, participants posted tracks for which they wanted feedback from other participants. Familiarize yourself with the discussion here:

https://llllllll.co/t/disquiet-junto-project-0544-feedback-loop/

Step 2: Pay particular attention to the feedback provided in the comments as the discussion thread proceeds.

Step 3: Choose one bit of feedback, and think about how you might apply it to your own music.

Step 4: Create or make a new track that benefits from what you learned in Step 3.

Step 5: Consider providing feedback to other people’s tracks.

Note: The Lines BBS runs on a discussion platform called Discourse, which has some built-in restrictions. Among these is that you can’t reply too many times to the same thread before someone else replies first. This is a “consecutive replies” matter. The best practice is to compile feedback to multiple tracks, and to tag reach recipient in one reply. If those instructions aren’t clear, just wait a little while after tracks begin to appear on the thread. Soon enough you’ll see examples of people doing exactly this.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0545” (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 “disquiet0545” (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:

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0545-unself-awareness/

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.

Step 8: Also join in the discussion on the Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion.

Note: Please post one track for this 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, June 13, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, June 9, 2022.

Length: The length is up to you.

Title/Tag: When posting your tracks, please include “disquiet0545” 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 545th weekly Disquiet Junto project – Unself-Awareness (The Assignment: Learn from feedback intended for others) – at: https://disquiet.com/0545/

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-0545-unself-awareness/

2 Likes

When I mentioned to Marc that I’d taken note of the constructive criticism offered by the Junto last week, I think I also wrote that I’d incorporated the ideas into a new track.

So I’m only bending the project aims a little bit by offering this new song for the Junto activity this week, as it follows the directions by choosing “feedback, and think about how you might apply it to your own music.”

You’ll see in the video that I’ve blended two takes, which I hoped would create more variety and add interest.

The advice offered by @RPLKTR suggested a more pop-style arrangement.

And I spent more time developing a melody, which reminded me of the blackbird’s song at the start of spring.

A blackbird recently returned to our backyard, so I’m looking forward hearing that tune again when the weather begins to warm in a few months.

5 Likes

And the project is now live.

1 Like

Last week I attempted to blend drums and ambient guitar in a one minute track.
Several people kindly said they wished the track was longer, so this week I have tried to do that.
However, as a thank you to the people who provided feedback last week (both on lines and soundcloud), I integrated their user names into this week’s drum programming.
I converted user names to morse code, then midi, and finally quantized everything to 16th beats.
The following users names were used to generate midi for the following drum parts:

KICK: @DeDe @bassling @Glitcher
SNARE: @krakenkraft @SonicSearch @fakeg3nius
SIDESTICK: @SinnySounds
SNARE PRESS: @gis_sweden
LOW TOM: NoodleTwister
FLOOR TOM: RabMusicLab
HIHAT: tektik ve tedavi @33per @lazenbeeindustries
HIHAT PEDAL: kei (soundcloud)

Various chance, velocity, and clip launch (follow action) settings were also used.
The drums are increasingly pushed into a return track containing Ableton’s Convolution Reverb >> Lancaster Audio’s ODR-1 distortion plugin.
The guitar layers started life last month as a live improvised piece called “the high interiors of the sea.”
WavesFactory’s Trackspacer was used to sidechain the drums to the guitar.
I apologise in advance if you commented last week but I didn’t include your user name - it’s been a long week at work…
Best wishes, htnc

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The kick part is great, I’m really proud ha ha ha
Seriously, excellent track Martin, I love the way the guitar soundscape seems to swallow the drum part, but it’s still there as a heart beat.Really great work.

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Climax Interruptus

Track made after No Hook by @Glitcher (that I particularly liked). The choosen feedbacks are by @krakenkraft (too much material) and by @RPLKTR (tension building without resolution).

In response to that I’ve used very little thematic material with an excruciatingly repetitive pianoforte theme to build a climax of exasperation that resolves in the theme finally moving harmonically and melodically (in a solid and touching way I hope). To enhance the climax I’ve doubled the pianoforte rhythmic theme with a couple of drums and a synth patch that degenerates into grains.

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the feedback sentence, which i found remarkable:
“Don’t think it “needs” anything else”(Daniel Diaz to track from lazenbeeindustries)

the trio: dfam, mother 32, subharmonicum

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This is what the voice (google translate voice) in the background reads:
“I took snippets from three Disquiet Junto Project 0544 tracks. “SinnySounds - Butter Boil Beach”, “RPLKTR - Delyrical 3” and “apanmusic - Timepiece”. I hope it’s okay. A ChucK skript randomly chooses one of the snippets at a time. Other scripts plays the suggested improvements. The feedback. The improvements are randomly played and consists of abstract vocals, trumpet, animal sound and ambient chord. Freesound sounds 69312, 106879, 265170, 342328, 357671 and 458021 are used.”

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And the playlist is rolling:

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Hi, I was planning to share this new version on the 0544: Feedback Loop (Revisions) thread (this is a rework of my 0544 track after considering people’s feedback) but I think it’s the best I can do to offer an example of “what do I do with feedback” , so I’m posting this one on this 0545 thread if you don’t mind …

Appreciated and used wonderful feedback from
@ffsanton and @lazenbeeindustries @Hugh_G_Twatt (not completely delete and rework from the ground, consider it as a pretty finished thing)

@gis_sweden (I introduced some variation in the new 8 bar sections, dropping tracks completely sometimes for more clarity )

@krakenkraft (I tried to make a less confusing mix, something that bothered me from the original, albeit keeping the generous amount of melodic-rhythmic stuff)

@RPLKTR and @fakeg3nius (tweaked some timing between bass and arp, added 36 extra seconds) and also @Glitcher asked for focus on the bass and kick that I edited and remixed drastically

and most notably @howthenightcame who provided the idea of some Krautrock drums, something @blisterpop also suggested.

FYI original still here

6 Likes

Hey All,
I made a file with some of my favourite comments.
I wanted something that was a bit playful and so this influenced the comments I selected.
The main one is…
@ krakenkraft
“It reminded me very much on the music of Martin Denny and I can imagine some crazy animal sounds and abstract voices could add to this feeling, if this is an option.”
Plus a sprinkling of the following…
@ SinnySounds
“The composition might establish a mood that the listener may want to experience again or offer intriguing instrumental interplay that warrants further listens.
blisterpop
I was certainly overcompensating for my original mix’s lack of the cymbal.
@gis_sweden gis_sweden
Give us a tape with covers recorded in a garage.
@Hugh_G_Twatt Hugh G Twatt
very cold and mechanical.
@Hugh_G_Twatt
I think some parts could be simpler.
@ fakeg3nius
For me it could do with some changes over the course of the track, like volume automation on the different sounds could already do the trick.”

DFAM, made a bass with a CD4046 (which I am quite proud of), Deluge in generative mode (it really is a beast), Ongaku my new best friend, Forester my old best friend, Reaktor Swarm all into Logic with some Raum and some Kilohearts.

Thank you everyone for your comments last week and all the great tracks
It has made me want to comment more which I guess is probably the point.
Jeff

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So, I was thinking of @bassling 's advice to @gis_sweden and me about slowing down the pacing, so I tried that. Not sure if it worked.

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Didn’t know exactly how best to follow the instructions this week, but I had one big take-away from multiple comments, which was: introduce more (organic) variation, so I loaded up an old progression that I did a while ago and tried to apply that idea all the way through.

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Mileage will vary!

I like the way the result swirls around.

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So for this track I took the advice from @SonicSearch ‘Also had an idea of filtering the voice to be radio-like, perhaps even some glitches or static noises. Could add to the overall atmosphere. But it’s already a cool work, kudos.’

For the voice I downloaded ‘Call of Cthulhu’ by H.P. Lovecraft (Project Gutenberg) and used https://readloud.net/ for text to speech coversion of one paragraph or so.

This was pitched down and sent through UA’s lo-fiA-F and ‘Wires’ vst.

A modular patch with a CV controlled clock divider controlling two sound sources was complimented with keystep making dark sounds from a vst. A saturation plugin was also used to enhance the sounds.

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OK. It’s a different piece, but kind of on the same thought process - at least in my compositional conceptualization. It’s something I’ve written in the last week and very much a work in progress.

I continue to tinker with the idea of different perspectives - how the “same story” can be told by different people and vary slightly or a lot. I talked about the juxtaposition of natural vs. human-made.

I’m responding to everyone’s feedback with this new composition, too. @gis_sweden said my previous track was like several short pieces. So I’m working through this piece differently. I have yet to record the vocal part, so this seems like a useless piece of information for those listening, but I started with the lyrics. My dad was recently diagnosed with dementia. And I keep thinking about memories. How do we share memories if we don’t remember any more? Do we/ did we have the same memories to begin with, even when we experience the same event and we were in each other’s presence?

I ended up with really sappy lyrics about the times we’d go to the beach in Chiba (we lived in Tokyo), how we’d play in the water all day and our skin would hurt in the bath, how we’d go buy kakigori (shaved ice) after we’d slipped under the futon, and how I insisted I’d get the same flavor as my dad even though matcha was too bitter for me and I really just wanted neon colored strawberry…

When I at first worked on the melody with the lyrics and set it to a bass line and drums, it ended up super mellow and sad at 90 bpm in e minor. Then, as fate would have it, my program crashed. I lost the entire piece. I was super sad for a bit, thinking how ironic it was that a song about remembrance was forgotten by the program. Once I took it as an opportunity, I transformed it into an upbeat piece, 130 bpm and in G major. So, a different way of tackling the conceptualization of the “same story” from various perspectives AND a way to respond to @gis_sweden’s comment.

I also wanted to work on feedback from @howthenightcame on the notion of the natural vs. the human-made. Somehow I wanted to preserve the sappiness of the original version and kept the mellow acoustic sound of the in the first 16 bars while really pushing it to become a, well, 80’s pop/dance tune in its reincarnation.

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@kterauch very nice, even without vocals/lyrics the tracks is very evocative. The robotic kick ties the more gentle melodic/harmonic episodes perfectly.

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Based on the advice @fakeg3nius gave to @SinnySounds in the previous Disquiet Junto prompt: “Bass, even some trumpet, can easily be added IMO” this track uses only Ableton’s Trumpet from the Orchestral Brass pack and Softube’s Monoment Bass, with plenty of modulation and reverb effects.

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Hey All,
I used the rhythm track from @SinnySounds because they had made it available for anyone that wanted to use it and I really liked it. I slowed it way down by pitching down unwarped and it sounded really cool especially the bubbling sounds. I also was interested in what @juhbuba had said about loops being offset and how they can sync up sometimes. I helped it along by adding some loops that were in the same time.
I think the feedback is a great use of the junto’s diverse approaches. I am always impressed on people’s takes on the prompts. I will say I am wary of giving constructive advice because I know how little I know but I have been doing this a while so maybe I should step up more in this area. I just wanted to let everyone know it will always come from a place of encouragement.
Hope all are well.

Peace, Hugh

4 Likes