Disquiet Junto Project 0551: The Bends

RandomShuffle · 2022-07-22T10:31:03.474Z

my only rigor with the juntos is to always take a clear approach to the task of the week and then create something new.
Now I’ve taken the bend to just release the track I’m working on.

Staying in Munich for a few days, had recorded a few sounds. Throw them all in Polyend Tracker.

By the way, I would like to mention, that one of the best sound installations is taking place here:

www.lenbachhaus.de/entdecken/ausst…l/mouse-on-mars

euclidian · 2022-07-22T12:51:37.075Z

tendigits · 2022-07-22T13:42:13.162Z

My first Disquiet Junto entry. This is an interesting prompt to start on because I’m so new to everything about sound making that there’s little established yet to break from. Everything is new to me. So I decided to interpret “bending the rules” by doing the following, all of which I haven’t done before:

Longest recording created so far at 2 min
Created individual tracks (3) into my DAW one at a time instead of just a single mix
Track 1 = Beads with no sound input, modulated for a sort of haunting background
Track 2 = Rings only strummed with semi-random pulses for a non-rhythmic beat
Track 3 = Ansible/Grid/Kria modulating Ripples as a resonating chirpy sound on top

I’m describing this as “Soundscape of a disgruntled ship captain from a dystopian future navigating unknown waters with his high-strung mechanical parrot.”

Hopefully I did this right, what a fun project to be a part of - thanks.

ray_cobley · 2022-07-22T14:52:04.498Z

blisterpop · 2022-07-22T21:53:56.546Z

I’ve been sitting out for the past few weeks and I may need to sit this one out too.

Sometimes it seems like my entire reason for making music has been to break any rule I previously had about making music, barring any financial constraints or abilities on specific instruments.

This built up over the years into creating my own “projects,” each having rules of their own, but when taken with all the other “projects” that I have created, there really are no rules.

Still, I might think of something by Monday.

ossimuratore · 2022-07-23T14:45:12.183Z

Ostinato Ritmico Con Episodio Furbetto

Here I bent the rule of never using pre-sequenced parts by using a rhytmic Massive patch.

Made with NI Maschine+

disquiet · 2022-07-23T14:59:45.829Z

And the playlist is rolling:

RabMusicLab · 2022-07-23T16:43:25.778Z

In most of my tracks I am strict on beat and on scale (I admit these are two things…).
The Disquiet Projects have already helped me out of these restrictions, but only on special occasions: Ingoring rhythm in ambient tracks like the vox drone or cinematic soundscapes is easy. And ignoring scales is easy in experimental sound-explorations.

So I decided to create a “normal” piece of music in which I (up to now) always stick to these “rules”. I started to record the piano-track on my keyboard, switching off the metronome and trying to deliberately not think about scales while playing notes.
Only looking at the graphical score without knowing what notes I have played so far I then recorded one sound after the other with the keyboard: The bassoon, the bass, the pad, the harp and the trombone.
So there is no set tempo, no explicit beats, and no explicit scale or harmonies.

Then I reused the drum-kit I created for the ice-cube track and triggered it with the wind-chimes plugin to create random drum-sounds. And I was inspired by @Glitcher (a big Thank You) to try out IanniX which he mentioned in the last Junto. I have to admit I just scratched the surface, now struggling to understand the trigger → message conversion, but I succeeded in adapting one example and let the created midi play the pizzicato strings in the background.

I refrained from changing much after recording and only adapted few cues and pitches. I am quite happy with the track that I would never have thought of creating and publishing without being prompted to bend my rules. Again thanks Marc @disquiet !

Glitcher · 2022-07-24T00:48:12.495Z

So for a while now I’ve been using sequencers or midi or some kind of note information in my sessions.
Decided to break this rule and create a modular patch with just modulation for controlling sound.
I used Braids, Skorn da bask (the chicken), transistor ladder filter and six function generator outs, clocks etc.
Piped the patch into bespoke synth for reverb, live jammed it and then chopped in two and layered in DAW.
That’s it. Hope all are well. Thanks Marc

Anatol · 2022-07-24T12:16:06.164Z

I have to admit, I’m a sucker for applause. With the attention economy for artists in full effect, I’m guilty of wanting as many plays as possible for my music. As we all know, the first entries in any playlist get played more often, so I tend to rush the Disquiet Junto projects in order to be fast. This is just stupid, because you shouldn’t measure success just by quantity.

So I bent my expectations this time, forced myself to work slowly, took all the time I needed to get the piece as finished as you can get in four days. Instead of just going for the melodic parts, I added some drum parts this time, which took a while. Still, after having spent at lease 12-18 hours, the piece isn’t ready yet. I may leave it for a while and come back to it later.

kterauch · 2022-07-24T17:51:52.104Z

I’m a recovering classical pianist and have been relying heavily on DAWs to make music. Since my “strict rule” has been a simple avoidance of the piano, I wanted to center the piano as a compositional tool for this Junto project.

To keep the piece simple, I wrote a few melodies and patterns centering the pitch D, recorded the whole thing as a midi file and added slight enhancements to make the piano superhuman.

I think this can be a way for me to make peace with the piano?

krakenkraft · 2022-07-24T18:37:31.567Z

I’m strict about not using presets. So this is a preset track:

It’s a Landforms preset routed through a Arturia Fragments preset and some Supermassive presets. Plus a iZotope BreakTweaker preset for some drums and again rerouted through Fragments creating those artifacts which one could perceive as strange vocals. Because I went for a drum preset with jazz in the name it really feels torn inside, which I liked at the end.

fakeg3nius · 2022-07-24T19:56:19.563Z

I often / always start by putting some different ideas into Ableton (though I might source them from various places, vcv-rack, recording of playing in instrument, et.), then when I can imagine some of them working together I composite the whole thing together and so on. Now I deliberately started outside of Ableton. I chose Reason, because (1) I’ve used it in the 90s so there is nostalgia, (2) because it seems to be getting quite cool recently (again) with all the new “player” additions. Then, to not completely break the rule but bend it, I did go back to Ableton, exporting the stems from Reason and putting it together, adding just a little bit of effects here and there, not too much.

PaulBeaudoin · 2022-07-24T23:58:13.342Z

Within a Slowly Unfolding Universe

Like most humans on this small planet, I have been astonished by the images returning from the James Webb telescope. I wanted to explore that vastness and restrict myself to only free libraries. On this track, I am only using samples from the PIanobook collection - and in particular, the many superb samples made available by the generous Dan Keen.

Glitcher · 2022-07-25T01:48:41.227Z

Some of this rings true for me also but quite often I just dont know if I will have time to work some more on a project or not I don’t want to fall into the trap of never finishing anything and so sometimes when I decide it’s finished I can publish it and be happy with it. Occassionally though something feels wrong. That’s probably because part of me wants to work on it some more and doesn’t feel that it’s really finished. Thats how I felt about my track for this week but as some time became available this evening I have worked with my patch some more and added another layer to it

Anatol:

forced myself to work slowly, took all the time I needed to get the piece as finished as you can get in four days.

This is definitely a good way to approach the Junto. Well said

bassling · 2022-07-25T05:31:37.347Z

I decided to try an idea to assemble lines of lyrics.

As part of my haiku-writing habit, I’ve collected five-syllable lines.

For this piece I printed them, then cut them out to pull randomly from a box.

Calmnesia · 2022-07-25T09:03:42.600Z

Sorry, I’m a few hours late but I’m here with some tense dark ambient.

The point of this disquiet junto project was to bend a ‘rule’ that you normally follow while making music. I personally always make my songs change over time in a significant way. It could be that there are different sections like a typical song or that elements fade in and out over time. Here I created some generative patches and just let them run with a simple fade in and fade out for the whole track.

celaeno · 2022-07-25T14:10:58.569Z

I usually make ambient, drone, noise etc. music, inspired by motifs, settings, atmospheres or ideas of the Cthulhu Mythos. I mostly use hardware synths as an inspiration. For the Junto I always think of something new.
So this time I broke with all of that: I used an old sketch of a sample/bassline song in verse/chorus form with only soft synths – and finished it Monday afternoon. It’s nothing like the stuff I usually do, but I like it

derangement · 2022-07-25T18:25:30.954Z

I realised I always, without fail, run pitch CV through a quantiser. So for this Disquiet Junto I ignored pitch quantisation. Three voices - drone in background, Rings acting as bass, and a melodic voice.

SonicSearch · 2022-07-25T18:34:23.450Z

(reuploaded the track link)

TLDR

Looking back through the lens of this prompt, there’s a few “habits” I tried to challenge this week:

being more of a synthesist than a DJ - preferring to work from the ground up, building my own synthetic sounds rather than taking advantage of readily available, complex and rich sonic material like acoustic instruments, recordings, sample packs, stems or even parts of tracks/movies/etc.
a fixed mindset when approaching familiar sounds: e.g. treating an acoustic guitar part as just that, rather than seeing it as raw sonic material that can be stretched and transformed in any way imaginable
not embracing randomness, again for me it’s about having a fixed mindset of “I know what I want to do”, rather than being open to “what is”, the randomness and chance and embracing the fact that the world isn’t the way I want it to be. There’s beauty in such embracement, it’s like having the randomness as you co-author. I love it.
disregarding the old projects, but revisiting them to re-contextualize the old recorded material and ideas could be a wonderful experience

The Context

Lately I’ve been doing a lot of sound synthesis - to the point where sound synthesis has become the core of my music practice. Just a few days before the challenge I realized that I’m pretty tired of it now and I could probably benefit from a change…

When I read this weeks’ prompt I thought of challenging this in this way: what if I work with bigger building blocks?

Rather than building up my own sounds and compose the basic elements, working my way from the “bottom up”, I’d work “top-down”, starting with already rich and complex sonic material and arranging it together.

I thought of a DJ workflow as the opposite of what I’ve been doing recently (thought informed by my recent visit to a DJ friend who showed me the basics of how to work with a mixing desk).

Not owning a mixing desk and not being savvy enough with it, I decided to stick to the tools I knew (for the purposes of this challenge). I’ve an idea of opening some old project that I didn’t finish and treat its tracks as stems on a DJ desk, remixing it and giving it a new life.

The Process

I decided to open an old project of mine (I knew which), but when I loaded it in Ableton, I realized I opened the wrong one… My first impulse was “Let’s close it, I need to find that particular I had in mind!”, but then (thanks to the lens of this challenge) I decided to embrace this random event and work with the project I did open.

I revisited a project from 11 months ago. I rarely do that. I was stunned how different I approached music back then: there’s a danceable beat! There’s recordings of me playing guitar and a bass! There’s a recording of my breathing as an ambient background noise texture! There’s also that custom percussive/timbral instrument hacked together from an (almost audio-rate) arpeggiator, a drum rack, and a pitch shifter which I almost forgot about…

It was really fun to apply my new knowledge and experience to an old project - playing mostly modular synths for these 11 months seemed to influence my approach to organizing sound

Just one example: that project contained a muted nylon guitar track. I remember having fun jamming along the track, but the part just didn’t fit. This time I was able to re-contextualize that material:

I no longer saw it as a fixed “guitar part”, rather I saw it as a malleable raw sonic material, from which I can create new sounds, new parts.

To fit the mood of the track, I transformed a 2 bar loop of the guitar part into a percussive sound by pitch shifting and rhythmically gating it:

image2204×472 117 KB

Then, I sliced the part on the timeline to create more space and variation, and to make it fit the other elements of the track:

image2346×274 91.8 KB

Finally, I put a Beat Repeater effect on it to give it even more randomized variation.

In the end, that track (muted and disregarded in the original project) has become the essential part of the whole track, serving as the main melodic content and a nice contrasting element to the noisy sound in the 2nd part.

Take-aways

A quick summary of my experience this week:

working with “larger building blocks” - e.g. samples or even stems can be helpful to fight the fatigue from doing lots of synthesis. Think of DJs -vs- synthesists. Sometimes it’s nice to change the hats.
revisiting one’s old projects can be surprisingly refreshing - it allows to see one’s progress, get in contact with the shift of your perspective and interests, also apply new knowledge techniques in a different context.
approaching any sound with an open mind, seeing it as raw, malleable sonic material can be helpful. E.g. being able to take a nylon guitar sound and turn it into a percussive melody. Or taking a cymbal sample and turning it into a drone or a bass sound. Anything is possible, I’d love to remember that more often.

Reflections on Juntos

Since I first started doing the juntos I can see how much progress I made in terms of being able to release imperfect, “unfinished” tracks.

Duh! Of course the tracks are unfinished, of course they are imperfect. They will always be, just like any art works!
I’m learning to accept this fact as being an integral part of the creative practice. When I did my first junto a few months back things weren’t so simple - the perceived imperfection and unfinished-ness of my own work caused much frustration.

It was refreshing to see and experience works of other Junto members, to get a glimpse into their creative worlds, to see the amazing variety of approaches. Such a good reminder that there’s no right and wrong.

I learned to work faster, implementing and iterating on the ideas, then letting them go for the next one. And it feels great! So much better than sweating over details and getting stuck with one project

Now on to listening works of others, so intrigued by which habits other folks identified and challenged.

Thank you for this excellent prompt!