#34

https://soundcloud.com/benn-demole/two-four-six-on-the-in-disquiet0246

Sampled myself to warp in time…
Slowed it down first so it reaches normal speed on the sextuple then kept the foot on the accelerator…

3 Likes
#35

Here’s my take:

https://soundcloud.com/plusch/one-two-four-six-disquiet0246

As a learning exercise, I decided to do the audio and sequencing with Pure Data (https://puredata.info/). Pd’s output was recorded into Audacity, where it was normalized and trimmed. I used Reaper only to arrange the large scale structural blocks. For the pitched material starting at 0:14, I patched some amplitude modulation using sin and sawtooth oscillators. The B section at 0:33 was similar, but with the pitches multiplied by the Golden Ratio (https://en.wikipedia.org/wiki/Golden_ratio). For the unpitched rhythm, I used Pd’s noise object with filtering to create the different timbres. Simple sequencing was accomplished with a counter and Pd’s metro, mod, and select objects.

Paul

2 Likes
#36

https://soundcloud.com/qruxsound/pinion-disquiet0246

Hello. Here’s my 2-4-6 track. In keeping with the numerical theme I decided to base my track on three chord degrees in D major. So that would be E minor, G major and B minor. The track begins with a simple 2 note repetition from iPolysix, then progresses to the quadruple phase with a bass line using an Arturia Microbrute monsynth and then lastly a sequence in B minor played on a modular synth that is being modulated by the Microbrute. The entire thing has a bed of Electribe drums. The track was recorded in one take to keep things simple.

1 Like
#37

“Additionally Yours”

https://soundcloud.com/neurogami/additionally-yours-disquiet0246

Thinking about how to approach the time-shift, I decided to mix two techniques. One, the tempo changes, and with it the speed of the notes played. The other idea was to use a fixed sample; its speed would not change, but as the tempo changed the allotted time in each “pattern” would change as well. The sample would get truncated and loop at different points depending on the BPM.

The track was made using Renoise, which allows you to automate the song BPM. Turns out that 32 BPM is the slowest allowed in Renoise; that’s were things start. The base BPM then gets doubled, then quadrupled, then sextupled.

I first recorded a bass line sample to fit the 32 BPM setting. Renoise uses “patterns” in tracks to organize songs. The bass sample starts at the beginning of each pattern. The number of lines (lines-per-beat) in each pattern stayed fixed at 16.

At 32 BPM the entire bass sample plays. At 64 BPM you hear (naturally) only the first half before the next pattern comes up and the sample starts again. And so on. By the time we reach 192 BPM you hear just the first two notes of the sample.

Over this bass I added some piano and percussion, using some delay, ring modulation, and comb filtering to vary the sound.

Some observations: When the BPM first doubles it is hard to detect, owing, I think, to the nature of the percussion. The project guidelines reminded me of a previous Junto where I ended up using Risset tempo changes (http://neurogami.com/blog/neurogami-risset-s-walk.html).

Renoise allows you to set the lines-per-beat for a song. I typically work at a higher BPM; 16 lines for a pattern does not allow for much granularity. It’s not a big deal at 32BPM, but at 192 BPM it gets hard to make subtle adjustments. Note-place and occurrence in Renoise is controlled by line number plus any option delay effects. This is one of those “don’t realize it until it happens” things that influenced the direction of the melody at the higher tempo.

The tempo changes are mixed over the course of the track. 1,2,4,6,1,2,4,1,2

#38

https://soundcloud.com/gus-576228330/246246246-disquiet246

I thought I had a great idea… I started an analogue patch with 4 clocks in multiples of 1,2,4,6.
My idea was to accelerate by 2, 4 and 6, and then treat 6 = 1 and keep going all the way up to kHz but my patch, or rather some of the modules in it, couldn’t handle the fast clocks and collapsed into chaos. After a frustrating attempt at debugging I just recorded it’s failing a few times and made this piece by layering the attempts, all treated in different ways, including convoluting with percussion samples. Because of the sync and timing problems it ends up sounding to me like an amateur percussion band playing along with a sequencer. It doesn’t really answer the brief at all in the way as I kept the basic rhythm going underneath. Actually it sounds like fun, even though it wasn’t really.

2 Likes
#40

I had originally thought of doing the same - going from clock into audio rate, but couldn’t get anything interesting. This is cool and crazy, at 1:30 it starts to sound like a group of maniac tap-dancers having a dance-off!

#41

That was quite a journey! It nearly blew my speakers when it first started because I had been listening to ambient tracks :slight_smile:

#42

Yeah - this is exactly my kind of music.

1 Like
#43

This is spot on - totally unexpected sound, a genius idea. Love it.

1 Like
#44

Simple, and elegant.

1 Like
#45

As yours is often mine :slight_smile:

#46

It’s been a busy weekend, so while I have been keeping the SoundCloud playlist updated, I am just beginning to really dig into the music and discussion. Great stuff.

#48

My concept was to record the track at 60bpm at a length of 4 minutes.Then increase the bpm every minute. Starting with 60 then 120 then 240 then 360
Put a bass part at 60 bpm into Reaper
Added a track of spacey-fx-percussion like sounds
Added a melody/percussion track of beepy/saxophone type sound
Put Eventide’s Ultra-channel on the master track set to micro pitches

1 Like
#49

My track began as a simple drum and bass loop which I progressed through the speed changes. Taking it to the sextuple variation introduced some interesting syncopation. The second half of the track I mixed and matched different speed loops. I composed this track in Korg Gadget.

1 Like
#50

Fulfilled the brief anyway!

So, this week was TOUGH!
I sat thru Thursday, got no where, at all.
I sat thru Friday evening, got no where. Was pissing about with Midi clips.
I sat thru Saturday evening, got no where. Continued pissing about with Midi clips, but devices were kinda half there at the end of it.
Sunday, got no where at the start. About midnight, as the doors of perception are opened (everyone else in the house asleep, basically), I cut it back to basics, and came up with this.
Today, just a few fixes, and mixing stuff.

Ableton on Windows, Kirnu Cream, TAL Uno LX, Strobe2, not too many effects - basically one instance of ReplikaXT I think.
Some sweetners on the Master bus - Sausage Fattener, and some EQ and Compression.

Hope you enjoy, thanks for listening :+1:

Funny one - rendering the audio from Ableton - the progress bar in Ableton must measure beats and bars, and not duration. The rate of change of the progress bar was directly proportional to the track tempo! :slight_smile:
(Hilarious Eanna).

3 Likes
#51

https://soundcloud.com/zunaito/cr0-disquiet0246

tempo is doub/quad/sextupled by dividing the metro in teletype . [then cycled]

this junto has the distinction of being the first sound i recorded with ableton

1 Like
#52

First-time post, here. Glad finally to have finished/posted something on time.

Created with Ableton Live.

2 Likes
#53

I created a new track using the patch for my entry this week, with all the clocks slowed down and a morphing, self-sampling 13 note sine-wave sequence added. The recording I made was 28 minutes long, and it had not finished working through the first cycle of one set of clocks before I faded it out. It is quite relaxing, so I set the patch running about 45 minutes ago while I work, and it seems it gets more interesting as the patch proceeds and the rate of change increases - I am going to have to make another recording - could need to be two hours or more long!

1 Like
#54

i could listen to this for hours… look forward to the 2+ hrs version

#55

i wouldn’t call that cheating, just lateral thinking (or backwards thinking?)
x gus