42

Live iPad jam around 3 samples by Marcus Fischer. The main theme is from manipulating one of the samples in Sector. Outside of these three sources there’s one track of softpop, and multiple tracks of effects.

My creative goal with this one was to slow down.

4 Likes
43

It was hard to decide on which track from Marcus Fisher to use for this piece as I found them all quite evocative and inspiring. I settled on “worn path,” mainly because the size of the file allowed it to be uploaded into the Polyend Tracker, which I then used to augment the original recording, along with some additional samples. I decided to keep things minimal and sparse.

And congrats on reaching the 600 mark for the Junto Project! I am so glad I stumbled on this community, as it really sparks my creativity and allows me to listen and learn from the many accomplished artists taking part in this endeavour.

4 Likes
44

Congrats Marc! @disquiet 600, what an achievement! Thank you for keeping it up and for huddling all this creativity together every week. Thank you @marcus_fischer for the nice samples.

I exclusively used and reworked 3 out of the 7 samples using granular synthesis. The track came together by committing improvised automations and fx.

7 Likes
45

“Hurricane Built For Two” by Three Nuts In (disquiet0600)

Recorded, mixed & mastered 01-02 Jul 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. Reworking samples provided by Marcus Fischer.

©2023 Marcus Fischer & Jim Lemanowicz

Process notes -

For this piece, I used an Ableton Live template that I developed for an ongoing (and similar) project with others in Sarah Belle Reid’s Patreon community that we started in Sept 2022. Essentially, it is a way to process samples and then re-process the resampled material. My template also gives me enough flexibility to add/remove elements. For me, it’s just a starting point from which I can grow sample-based materials in a generative manner.

Marcus provided 7 samples for this project but I only used 4 of them.

Sample names -
1 - 600_walking-mfischer
2 - 600_nacre_voit-mfischer
3 - 600_hands_held-mfischer
4 - 600_no_input_matrix_mixer-mfischer

The first three samples were put into my template/devices to pull slices using MIDI files as triggers which were arranged to add randomness to which slice was chosen as well as velocity and probability.

The template channels as used here contain a sampler with some distorted or delay elements added. The resampled results of these were then run through devices that would add some ambience and resonance as well as sample-warp algoriths from Live.

The 4th was only processed by Ableton warp algorithms but per instructions, the piece starts & ends with an unaltered 2 seconds from this sample.

This original version of “Hurricane Built For Two” was submitted as part of Disquiet Junto Project 0600: Reaching Out. The Assignment: This is a shared sample project. Rework a set of seven WAV files provided by Marcus Fischer.

Artwork/photo by Jim Lemanowicz, 30 Jun 2019, Whitney Museum of American Art, NYC, USA

5 Likes
46

I added a pop and a click, but otherwise just used the original samples.

The opening sound is untouched except that it’s gated (gate opens on bars 1, 3, 7 in an 8-bar pattern).

The higher sound is also untouched, I’m just playing slices of it back at its original pitch with a slow envelope.

The lower “main” sound fades in via a high-pass filter and is running into a slow delay with high feedback. From memory it’s a 6-beat delay (1 1/2 bars, a dotted semibreve, etc.). A little tape emulation wobble punctuates the end of every 8 bars. I tweak various settings on this as we go, adding diffusion and rolling off the highs in the feedback chain.

The street poet typing sound comes in very quietly. I stripped off the low end and at first it’s washed out through a delay with massive diffusion. That’s hardly audible (to my old ears), I fade the mix down to fully dry to essentially fade the sound in.

I took the stair well sounds and stretched them more into a consistent tempo, duplicated that, flipped the stereo on one version, then changed the length of one of the resulting loops. So when they play back they’re not in sync and shift about subtly in phase (they’re very long, so this doesn’t actually happen much). I put both tracks through amp emulations and then notch EQs on each track with shifting frequencies, each track modulated differently to add a bit more variation between them. That’s all running through a delay.

Pop and click drums are added sounds.

6 Likes
47

SuperCollider3 + ValhallaDelay

b = Buffer.readChannel(s, "~/sc_projects/samples/Junto_600/600_walking-mfischer.wav".absolutePath, channels:0);

(
SynthDef(\grbf, { |impulse = 10, rate = 1.0, pos = 0.5, dur = 1, lfo_freq = 1.3, env_atk = 1, env_rel = 1|
    var pan = LFTri.ar(0.2).range(-0.25, 0.25);
    var amp_lfo = LFTri.ar(lfo_freq).exprange(0.5, 0.8);
    var trig = Impulse.ar(impulse + LFNoise1.ar(0.1).range(-1,1));
    var env = EnvGen.ar(Env.perc(env_atk, env_rel), doneAction: 2) * 0.2;
    var out = GrainBuf.ar(2,trig,dur + LFNoise0.ar(2.5).range(0.1, 0.5), b,rate,pos,4,pan, -1, 512) * amp_lfo * env;
    Out.ar(0, out!2);
}).add;
)

(
Tdef(\texture, {
    var size = 30;
    var positions = Array.interpolation(size, 0.1, 0.8);
    var durs = Array.interpolation(size, 0.1, 2);
    var imp = Array.interpolation(size, 10, 15);
    var rate = Array.interpolation(size, 0.7, 1);
    var trem = Array.interpolation(size, 1.2, 0.8);
    size.do{|i|
        ["iter ", i].postln;
        Synth(\grbf, [
            \pos, positions[i],
            \impulse, imp[i],
            \dur, durs[i],
            \rate, rate[i],
            \lfo_freq, trem[i],
            \env_atk, rrand(3, 7),
            \env_rel, rrand(6, 20)
        ]);
        rrand(3,10).wait;
    };
});
)

(
Tdef(\main, {
    (0..4).do { |i|
        Tdef(\texture).fork;
        (i+1)*2.wait;
    }
});
)

Tdef(\main).play;
5 Likes
48

[I get an error 403 from SoundCloud so no preview - contact me if you know the fix]

My first Disquiet Junto submission in quite a while. In this track I decided to explore a dozen or so FX available in Logic Pro, which I use to master most of my music. Various tracks use flanging, compression, distortion, echo, reverb, multi-band filtering, stereo tremolo, etc., in various combinations. For the most part I left the source tracks intact, with a few exceptions, and quite a bit of looping.
Thanks go to Marcus Fischer for the source samples!

8 Likes
49

Longtime listener, first time caller. I’ve finally gotten round to setting a weekly reminder when this e-mail comes in, to do the work before the deadline. I wanted to try and fo something with my new chase bliss mood mkII but abandoned that particular knob twiddling for this ableton session.

I started noodling with a bunch of the felt instruments plugins I bought during 2020-21 and finally put them to good use, fed a few samles through the Lore from PureMagnetik and Hainbach’s Wires from AudioThings.

Gone a bit Adam Curtis soundtrack, but i’m pleased with it and thank you for the excellent work this community does and the inspiration it’s given me. I’d not made music for about 4 years until this weekend. Wonderful to scratch that itch.

5 Likes
50

I used two tracks from Marcus Fischer, the street poet typing and walking

4 Likes
51

Long time no Junto, but couldn’t resist dropping back in for number 600! I loaded Marcus’ samples into an old automatic sample mangler patch I made in pure data, and let the system run itself for a while. Then I lightly edited and layered the results, in a hopefully compelling way. Lots of quiet and space, it turns out. Thanks!

6 Likes
52


Hey all,
Humbling to be part of this one.
Hats off to you Marc. Another milestone. Congratulations.
Thank you also to Marcus for the cool samples.
I think I used them all.
No other sounds or instruments were harmed in this outing.
Lots of editing in Logic.
Peace. Jeff

5 Likes
53

600 Disquiet Juntos is an incredible achievement. Thank you Marc Weidenbaum for initiating these projects all these years and allowing us to make contributions every week. I’ve been very inspired and have learned a lot in the short time I’ve participated.

Thank you @marcus_fischer for sharing your wonderful samples. My initial idea was to process the samples with a recently assembled small modular system using Beads, Morphagene and Arbhar. I ended up abandoning that idea after getting persistent noise issues with one of the modules (Arbhar). I then imported five of the audio files into Ableton Live and used the following plugins/effects: Max For Live Slink Devices, Arturia Rev LX-24, Phonolyth Cascade, Valhalla Delay, Baby Audio Spaced Out/Smooth Operator, Bleass Granulizer, SoundGhost Scatter, Strymon Big Sky and Eventide Blackhole. In addition, I added a field recording “Walking in a Shopping Mall” by Sugai Ken and a track using Klevgrand Tomofon.

4 Likes
54

Congratulations, @disquiet, another incredible milestone. I am indebted to you for providing such consistently challenging prompts and, simultaneously, an incredibly supportive environment in which to share them. Disquiet Junto has become something by which I now define my creative self.

For this challenge, I created some patterns from the stems provided by Marcus, using HY-Slicer 2. I then mixed these with the 600_no_input_matrix_mixer-mfischer sample. I included some reverb, via Eventide Blackhole and Sinevibes Albedo, resonance via Reason’s Objekt, and granular processing using Byome and Silo, from Unfiltered Audio.

Thank you to Marcus Fischer for the marvellous stems.

6 Likes
55

Fantastic samples! Loved the atmosphere. I took a few different approach and blended them together: one sample I placed into Ableton’s simpler and triggered different slices, added echo and reverb, another I time-stretched to a slower tempo, a third I added a modulated granular reverb filter, and the last one I supplemented with some chords and bells.

6 Likes
56

Really enjoyed this one. I used 600_PSU_stairs-mfischer and 600_street_poet_typing-mfischer, ran them through delays, reverbs etc. Added a couple of themes with Surge XT and LABS.

5 Likes
57

:partying_face: Another milestone. Here’s to the next :slight_smile:

Initially I resampled most of the audio files into my octatrack and then started manipulating and arranging, but had to take care of some chores after an hour, so went back to thinking.

Though the original idea sounded alright, I had a hard time imagining the arrangement fitting with the challenge. So instead I focused on how to approach starting and ending with the unaltered sound(s) and fitting it with my general approach.
The OT’s crossfader is quite handy here.

Starting from the “hands held” sample I faded from normal playback to applying extreme time stretch and a comb filter of varying intensity, this is then layered 4 times with the same sample at different pitches and levels of time stretch with LFOs altering volume, pan and FXs. Quite pleased with the final very ambient result.

Main takeaway: It is sometimes worth it to take a step back and think, even when it’s forced upon you.

6 Likes
58

I used Bitwig’s samplers to slice and create patterns for percussive parts or in some cases just let the original content playback in real time. I used a tempo that matched one of the lead pads from Marcus’s set. Its gotta beat.

7 Likes
59

Here’s my first Disquiet Junto track:

I processed the samples in a few different ways. Some I just looped small parts from, tuned, and made them playable. I made a generative patch in Bitwig’s note grid for one of them, and recorded a few minutes of it. I ran one sample through the Mutable Instruments Beads. Another one was played with a random LFO controlling the transport of the Bitwig sampler. For percussion I used the PSU_stairs recording processed in different ways; a booming bass drum created by pinging the Joranalogue Filter-8, a snare-like sound created by doubling it with the tree monster effect in Bitwig, and finally, I cut the entire recording to pieces and rearranged it.

5 Likes
60

Congrats on the 600th Junto! All though I only started participating this year, I have enjoyed my time. And thank to Marcus Fischer for the samples!

My proces was mostly focused on using a Max patch from Electronic Music and Sound Vol 2 using what the authors calls the blocks technique - that is cutting sound in to small blocks and playing the back in various ways. Other than using that to create a melody line, it is mostly chopping samples and arranging them with some processing (mostly reverb and delay + a little compression).

4 Likes
61

Let’s rejoice about the 600 DJ landmark and look forward for many more! Thanks for this challenging, educative and beautiful initiative, Mark! Thanks to all contributors too, a well of inspiration and wisdom.
And thanks for the loops, Markus! All of them were finally integrated in the track, and it begins and ends with clear segments of them, as a way to acknowledge your generosity.
After listening to all the loops I thought that some of them could be stacked, some of them extended, and some of them stretched, in order to create a basic flow and tonal framework. The track includes some drum machines and processing of the original loops by means of pitch-delayed transpositions, harmonizations, distortions, etc., everything spiced with a bit of reverbs and delays.
The track made me think of a sunrise, moving from dawn to some frantic activity, to achieve rest again. And this idea made Monet’s painting pop up in my mind.

4 Likes