#42

https://soundcloud.com/mtnviewmark-bits/sliding-study-1-disquiet0249

I didn’t quite follow the Junto instructions, instead drawing inspiration form Steve Reich’s later techniques. This is really a study for a compositional element that I’ve been slowing thinking about for over a year. This is the first time I’ve recorded anything based on it, and it is certainly a bit rough, hardly a finished work.

The source material is just two, 2 bar marimba phrases in 4/4 time. These two phrases are played against each other at various poly-rhythmic patterns: first 4:4, then 3:4, 4:5, 3:4, and finally 2:1. However, the shifts from one poly-rhythm to the next are accomplished not by jumping, but by slowing or speeding up the tempo of one or both parts smoothly. (It takes quite some math to get the timing to work out!) Further, in this work, the loops are allowed to repitch (like tape, so a nod to the Reich’s use of tape loops), and so not only do you get a new poly-rhythm, but also a new interval between the two parts.

An additional metal gong accompanies the start and end of each glide, and a shaker carries the tempo of one of the phrases.

This technique is inspired by both the various phasing techniques of Steve Reich, and a glissandi piece by Richard Borovosky (~1980, trying to find a reference.)

1 Like
#43

https://soundcloud.com/k-blamo/kblamojunto249

the imperative of steve reich is-
'let the blues (bruise) blood come out to show them, come out to show them…

if he had had monome_sum, he may have used it, maybe the has
that’s what I used :slight_smile:

1 Like
#44

cool sounds :slight_smile:

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#45

https://soundcloud.com/happypuppy2/repetition-disquiet0249

Wishing Steve Reich a happy 80th with this musical tribute, featuring piano phase, tape-loops, clapping, pendulum melody, voice notation and a little Reich Remixed type beats.

Samples an interview clip from Steve Reich - New Musical Language:
www.youtube.com/watch?v=LbXQThfR5K0

3 Likes
#46

https://soundcloud.com/yawha/for-an-octogenarian

From a seed grows a tree, grows a forest.

Used a simple instance of TAL Uno LX, with Chorus 1 and an up-down arpeggiator. Recorded three different five-bar loops of audio. Then duplicated that track, so I had two audio sequences playing. On one track, I used Voxengo Audio Delay plugin - wonderful free tool - automating some movements of the knobs, delaying the audio from the plugin from fractions of a millisecond up to 500 milliseconds. Got some nice phasing with delays of <1 millisecond, into unison, then syncopation, then doubling, and back around again. Bass part also treated with same process - the doubling on the fast envelopes is very obvious in parts, works well.
Added brushed drums in 5/4 time, and a kick that loops ever 20 bars, but sounds pseudorandom mostly.
Added some vsts on Sends - Ableton’s Overdrive, Audio Damage Mangleverb, FXpansion Bloom, NI Replika XT, and two reverbs on the Master bus - Audio Damage EOS and a Convolution reverb, and the Nugen Stereoizer.

Let’s toast the main man, Steve!

3 Likes
#47

thank you so much.one of the members left a comment on SC ,so you could call it Rock Music,cause its made with these stone samples. was thinking about changing the name.
cheers
Uwe

1 Like
#48

https://soundcloud.com/337is/slowed-phase-conjunto-tipico-sensaciondisquiet0249

I love Minimalism in all forms. It’s been an omnipresent force throughout my entire life. The American branch of musical Minimalism, with the trinity of Adams, Glass, and Reich probably does make up my own personal liturgy. As I dug deeper into the that vein and discovered the forerunners like Riley, Young, and next generation contributors like Bryars and Nyman, the world of Minimal music kept expanding. Ironic.

So, Reich is one of my favorites and I know his music intimately. I knew exactly what I wanted to do in this Junto; sort of a mashup between his percussive pieces like “Music for Pieces of Wood,” and “Drumming,” and something rooted in his phase works like Piano of Violin Phase. For my source material I selected a portion of this field recording that I gathered in Peru:

https://soundcloud.com/337is/conjunto-tipico-sensacion?in=337is/sets/field-recordings

I then set out to create a basic loop which took longer than I anticipated. Once I had the basic loop, I copied it multiple times and rendered it as a new file. I then took two instances of that file and adjusted the playback speed of the second iteration to be slightly slower than the first. I could definitely hear phasing, but it wasn’t as precise as Reich’s work and I was disappointed in the results. So I turned to slowing things down a lot. When I did that, the phase relationship was almost completely obscured. I can still hear a bit of the phasing in the syrupy pings and whirls of the radically pitched down material. I’m pretty unsatisfied with this as a piece of music related to Reich, but am reasonably soothed with it as simply a piece of music.

Doing this Junto revealed to me how much I don’t know about my DAWs. I tried to do this in both Ableton and Reaper and struggled mightily to free the individual tracks from the project’s root tempo. It seems like the software is explicitly designed to mesh everything into compatible rhythms. It was hard to free them from the tyranny of tempo.

1 Like
#49

https://soundcloud.com/don-poe/ancient-inc-talking-machine-disquiet0249

I took the run in and run out of 78RPM records and used this sound only as the sound source for this song.

3 Likes
#50

presents to me a feeling of moving in slow motion.

1 Like
#51

https://soundcloud.com/vgmrmojo/dj0249stevereichfinal

Started up Reaper and created two tracks.
Put AlterEgo vsti on track 1.
Recorded the name Steve Reich with AlterEgo on the first track.
Made 32 copies ( items ) of Steve Reich from the first track and put them on the second track.
Shifted each of the first 16 items on track two to the right by a 16th note.
Shifted
the last 16 items back to the left by a 16th note to bring the two
tracks back into sync but they ended up off by one or two 16th’s.
Added some reverb to both tracks and mixed in Reaper.
Mastered by Landr for Soundcloud.Started up Reaper and created two tracks. Put AlterEgo vsti on track 1. Recorded the name Steve Reich with AlterEgo on the first track. Made 32 copies ( items ) of Steve Reich from the first track and put them on the second track. Shifted each of the first 16 items on track two to the right by a 16th note. Shifted the last 16 items back to the left by a 16th note to bring the two tracks back into sync but they ended up off by one or two 16th’s. Added some reverb to both tracks and mixed in Reaper. Mastered by Landr for Soundcloud.

1 Like
#52

I recorded the creak of my front door, which is pretty melodic, and tried to create a phasing effect.
And I listened to a lot of Steve Reich and most of the project playlist. It’s fantastic. Thank you.

https://soundcloud.com/rudzupuke/can-you-come-out-to-play-mr-reich-disquiet0249

1 Like
#53

https://soundcloud.com/matt-also/caesar-salad-disquiet0249

1 Like
#54

Pretty self-explanatory, I think:
https://soundcloud.com/glenn-sogge/i-told-you-it-was-gonna-rain

2 Likes
#55

https://soundcloud.com/project-dirigent/happy-birthday-disquiet0249

Happy Birthday

Disquiet Junto Project 0249: 80 Phases
Wish the minimalist composer Steve Reich a happy birthday.

Marilyn Monroe singing happy birthday to president Kennedy (couldn’t find one to Steve Reich).

I created three loops. The second and third are slowed slightly creating a gradual phasing effect.

I originally repeated the procedure out to 5 tracks but settled on using only the first 3 because the subtleties of the phasing are more apparent.

Created with Audacity.

Creative Commons license granted.

More on this 249th weekly Disquiet Junto project — “Wish the minimalist composer Steve Reich a happy birthday” — at:http://disquiet.com/0249/

More on the Disquiet Junto at:http://disquiet.com/junto/

2 Likes
#56

One word to sum up my response to this: WOW!

1 Like
#57

I love the ambiguous mood set up by the happy tune/ music box sounds, and the darker ‘glum’ feeling of the rain contrasting with it. It leaves it neither happy nor sad, somewhat melancholic but not melodramatically so. A little like birthdays feel as you get older, I guess - happy enough, but lacking the joy of a childhood birthday and mixed in with a little wistful reminiscence and an ever increasing reminder of our own mortality.

#58

https://soundcloud.com/vgmrmojo/dj0249stevereichfinal

Started up Reaper and created two tracks.
Put AlterEgo vsti on track 1.
Recorded the name Steve Reich with AlterEgo on the first track.
Made 32 copies ( items ) of Steve Reich from the first track and put them on the second track.
Shifted each of the first 16 items on track two to the right by a 16th note.
Shifted
the last 16 items back to the left by a 16th note to bring the two
tracks back into sync but they ended up off by one or two 16th’s.
Added some reverb to both tracks and mixed in Reaper.
Mastered by Landr for Soundcloud.

#59

This is a phasing composition inspired by Steve Reich that uses a sample of a skipping Tori Amos CD as a sound source. The repetition and alteration in speed was done in Audacity.

2 Likes
#60

I played around with my live rig to arrive at this one. I recorded a couple phrases played on my trombone from the happy birthday song into two buffer and played back the sounds into my pedalboard.

IMG_1319.JPG3264×2448 2.09 MB

#61

https://soundcloud.com/triermusic/on-mighty-men-disquiet0249

“Mighty men must master modesty.”

This is a slightly unconventional take on Reich’s phasing, but I think it is in line with his description of “process music.” A short vocal phrase is repeated over and over again by a fake vocal trio. The lowest notes in each voice’s repetition form a chord: C, Bb add 9, Am, F/A, F/Ab, C/G. However, given the way the melody jumps around, the chords are somewhat obscured (but they’re there!).

I transformed the vocal parts through old school tempo-and-pitch shifting (no fancy modern stuff like warping!), because I knew this would give me variety in note durations and the unique timbre of pitch-shifted voices.

I tried to write a melody that would imply suspension and resolutions against pitches that I could not predict, so I used lots of leaps and then steps. I had to track it twice, because after the first time I realized I would need much longer vowels to emphasize the suspensions and resolutions. This second draft worked better, but really I think I could have made the vowels even longer. Ah well.

The final step was a little gated Beat Repeat with lots of echo and panning at the output to add some ambience.