Foreground Effect (Disquiet Junto Project 0241)

For this Junto, I employed delays on every individual track within the composition.

This is my first attempt at publishing to YouTube for the Junto.

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Thank Marc - must be some arcane setting on my creaky old pc. Cheers :slight_smile:

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Just put a track up https://soundcloud.com/r-37/ratiocinate7-disquiet-0241. My track comment explores differences between headphone and laptop speaker after using Valhalla Uber 1.1 effect.


strange - a component toward the bass frequencies is missing on headphones (mac/pc soundcloud, and native). ‘normalized’ coming out of ableton live.

finally shifted the ‘pumper’ under pattern several db higher, to examine.
My expectation was that this under track would pump and boost the effect, in this Case, Valhalla Uber. The ‘dispersion’ of audio should demonstrate a persistent over cast of noise from the energy of the content underneath. My adjustment of pumper level exposed the underlying element which was obscured in the original upload, although the changes of dispersion noise were still apparent.

one element of this track is formed with monophonic audio from a Moog Sub-37 using “trill pickles preset” 7-10. The second element uses the midi from the Sub-37 to drive Izotope Iris using the preset “Glass Flippers”. the levels of the two tracks were matched to mask their seperate sources.

melody line was improvised in one pass.


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couldnt make a tag disquiet0241 in the current sound cloud.

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Thanks. The tag in the track title is sufficient. Something is odd on SoundCloud right now. I don’t see tags on tracks aside from the primary tag.

https://soundcloud.com/ohm-research/sw-362-disquiet0241.

I recorded this on my iPad while on a flight to Houston this past
Thursday to retrieve my older son from his summer internship. I used
iDensity and Sliver with an ambient recording taken inside the plane as
my primary source material. After a 24 hour drive back from Houston, I
took a nap and finished the track in Ableton.

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This has layers of performed effects. The only performed instrument is clarinet.

Clarinet -> small interview mic -> isms system -> guitar pedals -> Ableton

The clarinet was played while monitoring the effects. The modular system had various syncopated low pass gates driving the beat (no input) and giving rhythm to the clarinet’s long held notes with some reverb tank action. this was routed into two separate guitar pedal chains.

  1. Thunderbolt drive -> El Capistan -> Big Sky (magneto)
  2. Deco -> Big Sky (magneto)

Lots of tape emulation! no tape lolz…

After recording to tracks, I used the Ableton Push to play effects. I split tracks out with a ton of vintage compression to tease out the electronics noises and put that through Resonator. I played the resonator by fading the different resonant frequencies and recorded that. Then I added a some panning LFO’s. Lastly I took a master track and used Frequency Shifter with lots of LFO’s controlling things slowly along with an EP-34 emulation (more!). I played the shifter and the tape echo in one more pass. Then I mixed all tracks together with EQ, compression and what not.

It’s pretty fun to play effects.

Thank you @disquiet for the great ideas :smile_cat:

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https://soundcloud.com/project-dirigent/camaldoli-bell-disquiet0241

Camaldoli Bell
Disquiet Junto Project 0241: Foreground Effect
The Assignment: Compose a piece of music in which the material processed is secondary to the processing.

Sound source is the church bell at New Camaldoli Hermitage in Big Sur, California. The bell is rung 4 times a day (sometimes more) calling the monks to prayer.

For the effect I used a module in Cecilia called “Particle”. I set the audio file duration quite long, stretching the sound, slowing the bell sounds and giving it a bit of drone effect.

I ran the source file through several times keeping the settings unchanged except for the source duration and transposition. I tried a lot of transpositions but eventually chose ones that were roughly harmonic.

The bell plays for one minute then the effect continues alone for another minute.

Bell recorded with a Zoom H5 on July 11, 2016 at New Camaldoli Hermitage in Big Sur California. Processed with Cecilia 5 and edited with Audacity.

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This track is a submission in the Disquiet Junto Project 0241. I chose a recognizable track (Diana Ross’s “Upside Down”) as the foreground upon which to put the background. Which in this case is a drum track made on a BeatStep Pro with the song’s audio feed going through the inputs of an old Electribe ER-1.

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https://soundcloud.com/ym2612/transatlantic-disquiet0241-foreground-effect

Samples from a collection of field and radio recordings made in NY and Paris, arranged/mixed in Logic and fed through the “Sphere” convolution effect in Logic’s Space Designer.

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Oooohhh great effects. In my ears this sounds great. No music just effects…? Or effects are music? This really pinpoints the theme of the week (as I interpreted it).

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Nice and little surprising :slight_smile:
Do you have one (combined) or three (separate) wine glass loops that you take thru your modular?

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Okay.

https://soundcloud.com/christopherolson/magnetic-hands-disquiet0241

A simple two-note loop made in GB, run through delay and plate reverb in ToneStack, cleaned up and layered in Audacity. I wanted the reverb to do the talking, and have it build in terms of shimmer and size— there’s an almost cinematic tension to it that I found compelling; a montage, a slow tracking shot across a room, a barren landscape, something dramatic …

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The technique I chose to foreground is Auto-Tune, conveniently available via Soundtrap. I set the Auto-Tune to only allow a single pitch through, and ran it on some acapellas by Depeche Mode and Talking Heads, along with some Coltrane. https://soundcloud.com/ethanhein/auto-tune-salad-disquiet0241

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thank you. much appreciated. unfortunately, i have only been able to pass one single combined wine glass loop though my modular as my little travel kit has quite significant space and size limitations (and has therefore only one external audio input)……….i might revisit your idea (of routing separate tracks through my modular) in about two years time again when i’ll be able to access my complete modular system again. until then i’ll have to regularly take up the challenge of tickling as much out of this cute travel kit as possible. happy limitation breaking:)………awwww.

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Here’s my attempt:

Source audio:

  • a rhythmic synth progression
  • me singing “yeah”
  • me playing a B flat note on a recorder
  • the sound of a computer program for an 8-bit Atari computer, saved on a cassette tape
  • me playing a C minor riff on acoustic guitar
  • the sound of my furnace blower
  • the sound of a metal object being dragged across a rasp
  • the sound of a metal lampshade being struck

Effects employed:

  • Glitchmachines’ Quadrant, using a sequencer module to drive a mixture of grain delay and pitch shifter
  • Valhalla Room for reverb
  • Kombinat Dva for saturation
  • Permut8 for treble rhythm
  • ReaEQ on the Atari program to tame harsh frequencies
  • final normalization and compression in Audacity

Paul

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Foreground Effect (Disquiet Junto Project 0241)
for this project i used so much effects as never before.the hardest thing was to keep the feel of the feel that it has without the fx,which was the real challenge for me.so i tried such an amount of different gear which was already out of my mind. did´t want to use any stretching or other stuff that smears along.
there are seven tracks, and these are the fx i used.
for track one a instrument rack using a preset sound from NI Microprism and
a Operator sound both run thru +phasor,pecheneg tremolo and anarchy rythm.
track two uses a sample i made with pong deluxe and treated it with a grain delay, beat repeat and delay.
track three uses a drum rack with lots of small percussive snippets run thru
grain delay and beat repeat so the original sounds disappear and only the rhythmic structure stays,corpus, jo.pitch and a flanger.
track four and five are the pong deluxe again ,one track i recorded the other one was played by pong throughout the whole track while randomly played the bass.both tracks without fx.
track six is a sound i made with the phase distortion synth uses ak´s graindelay and a flanger.
track seven uses a mellotron sample run thru a flanger-joystick effect rack
and autopan.
thats it.
ps.hereby i want to thank 337is for the great support to get my Classic Keys working again.

       https://soundcloud.com/wust/its-hereunderneathdisquiet0241
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The samples at the core of this are a drumloop, a speech sample and a Duduk sample (a type of flute), Max users will know them well… The sounds pass through a set of tuned bandpass filters, tuned comb filters, waveshapers and IR reverb (though not using traditional reverb IRs). Although there is plenty of smearing occurring here, part of the aim is to retain some characteristics of the original material. The filters are tuned to a scale, with the pitch of each chosen at random from that scale, every 8th beat there is a 3% chance of each filter being assigned a new frequency (and there are 40 altogether). The IR reverbs is loaded with a randomised selection of 1 second slices of Point Line Cloud by Curtis Roads.

This is performed in Max. For Max enthusiasts: FFFB~ is the bandpass filterbank, with the pinging notes sounding when the frequency is changed. These run to output but also drive the phase inlet of wave~ to create the digital distortion present (thanks Audiomatt : ). Double stacked comb~ objects make up the comb filter section. The wonderful sm.sallenkey filter is at the heart of the chain, and then a quad multiconvolve~ setup with the reverbs running in series is at the end of the chain. The final track is a mix of four takes, each with different source and effects settings. Modal_change serves notes out to the filters.

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patch two described here creates a clock, or series of impulses, and the basis for this junto was a modified version of that technique

cold mac to fake a clock
3 sisters filter to highlight certain frequencies (plus act as a weak delay)
just friends to spread and speed the cluster at various points

more detailed patch notes below:

clock _
Cold Mac CREASE out > Gieskes 317 VCPreA AUDIO input
317 AUDIO output > Cold Mac OFFSET
FOLLOW > SURVEY (stackcable)
LEFT out > SURVEY
AND out > SLOPE
MAC out > 3 Sisters ALL input

cloak _
3s CENTER out > 3s FM
3s HIGH out > Just Friends FM
Jf 5N out > 3s SPAN
3s LOW out > RS VCM 1 LO in
R
S VCM 1 out > minidisc

Tips: Whatever VCA you use for clock/pulse, volume should be at MAX . JF in SHAPE + 3S in FORMANT mode . Knobs as seen above except JF ramp, sweep each FM to taste (especially on 3S…)

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https://soundcloud.com/slbiz/disquiet-241

Here is my take on the Disquiet Junto project 241. It was done in Native
Instruments Maschine standalone. I played some random sounds from the
default sound library (i think) and then passed them through series of
effects like LPF, HPF, grain filter, resochord, metaverb, saturator and
chorus. All was done in a single take (real time). The idea was to try
to unify the sounds with the effects as the only common thing between
them.

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