The way the noises (knives, etc) melt into the track is mental.
What are you spreading in the bread first? Olive oil? The rest looks alright, never toasted Brie in my life actually. Will try it.
The music’s good too.
cheers/DD
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followed the instructions and used a treated mellotron sound,a guitar track which is played in CatStretch2 and a bass sound made with Darksynth.
as fx there is only Diffuse,compression and saturation.
htpp://soundcloud.com/wust/increasing-speed-on-13-clips-disquiet0246
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The exercise came at the same time I happened to be working on a fugue, so I incorporated the two into one:
https://soundcloud.com/she-suburban-heroin-electronics/field-fugue-in-fm-disquiet0246
Instruments include guitar, moog minitaur, electric piano, field recording, and modular synthesizer.
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The thumbnail doesn’t do your image justice (click the link 
) Nice to have a fellow photographer/music nut to keep an eye on here on the Junto!
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Cheers, that’s olive oil. Too much Brie though, probably could’ve used half that amount.
I added the wind noise with the idea it would merge with the hiss of the machine. The other noises I knew would find their own way to fit into the mix. There’s an interesting film called 21-87 that illustrates the way our brains make sense of audible and visual information, see http://bassling.blogspot.com.au/p/21-87.html
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Interesting idea, and one that had me thinking about using multiple switched clocks to generate the tempo changes. To make it more interesting, instead of having just the master clock change tempo I used three different and independent but correlated clocking systems with lots of switches and sequential switches, to achieve a mixture of two sequences that change speed in the required 2-4-6 manner, with the changeover points dictated by the third clocking system. I then faded in the sequences and tweaked the filters as the track moved on to a slight crescendo, then eased off and faded out.
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https://soundcloud.com/triermusic/be-in-jail-disquiet0246
I worked backwards and found a beat that worked at 120 bpm and then began the piece with the beat at 20 bpm. I like to explore Reich’s idea of “process music,” where the transition between states forms the piece, but in an electronic/glitched up context. So I worked a smooth transition between states into the piece, starting Ableton’s tempo at 20 and gradually increasing to 120.
As I was setting this up, my school’s a capella group was rehearsing in the room next door, so I decided to make the most of the coincidence and record them (shh don’t tell them they don’t know!). Keeping in the spirit of the piece, I timestretched a 45 second recording out into about 2 minutes. I told Ableton to warp the recording as if it was a beat, meaning Ableton tried to fill in the gaps with percussive sounds.
I picked out the most interesting glitches, and I arranged them by my usual golden mean subdivisions. However, this time I tried to look at the “big picture” groupings of subdivisions rather than each one. I split the piece up into thirds and ended up with something similar to ABA form.
Mixing this was tough - the singers were recorded from the other side of the wall, and the timbre of the timestretched beat changed as the tempo changed. I tested it on a few systems, including one in a building where I often hear weird, confounding sounds when I think I’m alone. As I was checking my mix, I realized that there was probably someone else in the building hearing weird, confounding sounds. Maybe there’s another Junto participant right under my nose? 
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https://soundcloud.com/ohm-research/requiem-iii-disquiet-0246
I recorded two pieces for this project. The first is “Requiem I”, which can be found on Soundcloud if anyone is interested. It is dedicated to Don Buchla. I didn’t post it here because the math is a little sloppy, which is my fault. This piece is more mathematically correct. Don’t want to be greedy–one piece only. This track should really be longer to allow it to unfold properly, but I try to stay within 4 minutes. Freeze dried. Condensed soup.
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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…
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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
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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.
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“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
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.
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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!
That was quite a journey! It nearly blew my speakers when it first started because I had been listening to ambient tracks
Yeah - this is exactly my kind of music.
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This is spot on - totally unexpected sound, a genius idea. Love it.
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Simple, and elegant.
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As yours is often mine
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.