Share Yer Knowledge (Disquiet Junto Project 0242)

#1

Each Thursday in the Disquiet Junto group, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. A SoundCloud account is helpful but not required. There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

This project was posted in the morning, California time, on Thursday, August 18, 2016, with a deadline of 11:59pm wherever you are on Monday, August 22, 2016.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0242: Share Yer Knowledge
The Assignment: Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware.

Please pay particular attention to all the instructions below, in light of SoundCloud closing down its Groups functionality.

Big picture: One thing arising from the end of the Groups functionality is a broad goal, in which an account on SoundCloud is not necessary for Disquiet Junto project participation. We’ll continue to use SoundCloud, but it isn’t required to use SoundCloud. The aspiration is for the Junto to become “platform-agnostic,” which is why using a message forum, such as llllllll.co, as a central place for each project may work well.

And now, on to this week’s project.

Project Steps:

Step 1: Think of a specific trick or skill or tip you have honed in regard a particular piece of music software or hardware.

Step 2: Create a piece of music in which that trick or skill or tip is intrinsic.

Step 3: Annotate the track to detail the trick/skill/tip.

Five More Important Steps When Your Track Is Done:

Step 1: Per the instructions below, be sure to include the project tag “disquiet0242” in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: This is a new task, if you’ve done a Junto project previously. In the following discussion thread at llllllll.co post your track:

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

This project was posted in the morning, California time, on Thursday, August 18, 2016, with a deadline of 11:59pm wherever you are on Monday, August 22, 2016.

Length: The length is up to you. Between 30 seconds and two minutes seems about right.

Title/Tag: When posting your track, please include “disquiet0242” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track online, please be sure to include this information:

More on this 242nd weekly Disquiet Junto project — “Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware” — at:

http://disquiet.com/0242/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

The image associated with this project is by Susanna Bolle, and is used thanks to a Creative Commons license:

flic.kr/p/8F9Jmz

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#2

The project is now live, here and at disquiet.com/0242.

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#3

As I consider myself in the learning phase and see myself not getting out of it for the foreseeable, I always try to learn a bit more each session. So my trick is what i tried tonight for the first time. I took a synth line on a real(not really) Synclavier. I put the portameto on it. It was playing long drawn out notes and added a delay. I then recorded it in ableton live and reversed it. I then mashed it closer together with the warp markers speeding it up. I call this fx the Detritus Detroit Detox. Triple D for short. I thought i would pass on a few of personal methods of working which I strongly advise you not to use.

  1. I only eq on the master in Ozone using the CD exciter widener preset set to IRC3 and bring up the bass and the mids. I find EQ a slippery slope best left to those that know what they are doing. For me it is a waste of time and only make things muddy.
  2. If I have a bass track I always put the Guitar Rig Bass-DI on it. I like bass and this makes it sound nice to me.
  3. The wonderful thing about MIDI in ableton is you can take a sample and convert it and add midifx to it. One of the best things you can do is slow midi down without degrading the sound quality. Also I always change the C scale default to F#.
    I want to add there were some really nice pictures that I decided not use when I googled DDD in images.
    Peace, Hugh

https://soundcloud.com/detritus-tabu/ddd-dadada-disquiet0242

Later

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#4

I’ve uploaded 'Send Me Flowers" to SoundCloud

https://soundcloud.com/neurogami/send-me-flowers-disquiet0242

I use Renoise as my primary DAW, and (like other DAWs) it offers assorted ways to add, change, and automate track devices (e.g. reverb, filters, delay, etc.).

I often find myself wanting to keep the basic elements of a track the same but with a dramatic shift of character. For example, sudden shifts in EQ or reverb.

Initially I had been piling on devices onto tracks and crafting a careful automation among them. This worked but was hard to manage.

Renoise offers send tracks, where you can collect assorted devices and then channel through other tracks. The choice of send track in use by any track can be automated. To get a sudden change in a track I find it very useful to set up different send tracks and them use automation to jump among them. This way ti’s easy to tell what devices are related, and which are currently in play.

This piece uses that technique for the percussion. The kick, snare, and high-hat are organized in a group track, and the that group in turn is redirected to a send track. When you hear a sudden change in percussion is where the send track has been automated to change. The different send tracks use delay, ring modulation, reverb, and what have to change up the percussion without changing the notes or effects on the percussion tracks themselves

The effects on the other tracks are done in a more conventional way, with all the devices and automation placed on the track itself.

I’ll be making the Renoise song file itself available for download as well (once I get a URL ready for it).

Update: The Renoise song file can be grabbed from http://neurogami.com/renoise-tools/Disquiet_0242.xrns

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#5

https://soundcloud.com/ahornberg/process-the-feedback-loop

Using a feedback delay you can add more color and variations by processing the feedback loop through an effect of choice. In this example I’m using a 5 second delay and a reverb to color the feedback loop. The first part lets you hear the dry loop and the second part with the wet feedback.

Unfortunately adding an effect to a feedback loop is not possible in any DAW. I use Bitwig and Reason for this purpose. In Reaper it should be possible too. Another option is using plugins like MXXX.

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#6

https://soundcloud.com/k-blamo/especial-disquiet0242

inspired by this What is 'electronic music?
sample Making kicks from a sample (LCRP)
processed by this Favorite Free AU and VST Plugins
electronic /granulated, transverb’d, taldub3’d, mjucjr’d/ k-blamo

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Making kicks from a sample (LCRP)
#7

In 2016 I’ve been playing more guitar, mostly a four-string guitar that has an open D tuning. DDAE, in fact. There’s a lengthier piece about this instrument on my blog.

This guitar was used in the first Junto this year, alongside the ice in the glass, and in the other Juntos this month, among other tracks. There is something very engaging about riffing on it.

In the track recorded for the Junto this week, I pick through the open strings and also their harmonics. You can hear it sounds much like a tuned-down guitar. I think the four-note chords keeps it simple and suits the deeper pitch.

Recently I’ve started tapping on the fretboard, which is something I’ve done from time to time on the bass guitar – particularly when I was influenced by Billy Sheehan and Les Claypool. It’s effective for reaching the higher registers.

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#8

Feed(Aleppo)

https://soundcloud.com/gus-576228330/feedaleppodisquiet0242

This track uses 2 of my favourite tricks. 1) FEEDBACK is at the heart of everything electronic, oscillators and filters use it for instance, feedback in any process exaggerates the effects of that process and feedback is one of my favourite tricks, it gives you MORE but always suprises you. This is part of a piece i am working on using four “oscillators” which are feedback loops through delays. By cross-feeding and phase-shifting the feeding you can make anything from tuned harmonic drones to noise. I expect that this shares something with David Tudor’s work but this is all in software. (Max 7) They are difficult to control though and this is edited from a long recording when i was trying to write a song about Aleppo but couldn’t find the words. 2) In addition this piece is AMBISONIC to an extent. The oscillators are tapped at 4 different points (wxyz) to create a spatial image. Ambisonics is my other tip/trick/obsession, such an easy way to deal with 3d space and all the patents have expired so the knowledge is mostly free and available - even for VR, just google it. Here using ATK plugins in Reaper to mix and Binaurally render the 4 channel recordings made in Max7 down to stereo. listen on headphones!

this track is dedicated to the people of Aleppo.

Sorry if this is a bit confusing, i try to describe what i did simply but i don’t think i really succeeded.
Off topic, #0242 makes me think - who remembers Front 242? or the 242 Pilots for that matter?

More on this 242nd weekly Disquiet Junto project — “Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware” — at:

http://disquiet.com/0242/1
More on the Disquiet Junto at:
http://disquiet.com/junto/1
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/1
Project discussion takes place on llllllll.co:
Share Yer Knowledge (Disquiet Junto Project 0242)

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#9

sevenism - anytime i know


this project stumped me because i work quite chaotically with software and kind of think it’s important not to obsess over it. so my tip is a bit of an anti-tip: don’t lose sight of the purpose of the music, it’s not simply to show off a technique; i think there still needs to be emotional resonance and meaning. and yeah, i often forget this.

so what i did was i sang for a minute, improvised, what i felt at the edge of awareness. then in live i put the sample in the mangle and drenched in fx - mods n delays in podfarm, and lots of reverbs and chorus fx. another layer is the dry vocals paulstretched to over 7 minutes long

the idea was that despite the drenched experimental noise feel there’d be a sense of something human there still

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#10

nice work :slight_smile:

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#11

I use Ableton and find myself wishing for that feature so badly! I would love to edit the signal path of each effect if desired, particularly wet/dry and left/right to new tracks or parallel effect lines…Maybe it would get too messy, but I think it could be manageable. Does anyone work like that in a different way that is easy and manageable? I’ve never used Bitwig, Reason, Reaper or MXXX, so I may be looking into that for next couple of hours.

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#12

As far as I know in Ableton there is Max4Life and there are lots of free patches for Max4Life on the web. Maybe you will find some that fit your needs.

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#13

The SoundCloud playlist, for tracks hosted there, is now live:

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0242

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#14

Ommmmm

The stress off modern life can be a bitch so I often find a little bit of sonic mayhem is just the balm I need. First I must stress this point -that you MUST delete all prior tracks as you move along your path of destruction, do not hold onto anything no matter how much you like something that happened. You must commit fully to come out the other side. I do this mostly with drum tracks as they often have the hardest attack and shortest decays and kicks just rock. I put 2 drum loops in. The first one stays the same the 2nd I warp to 2/3 time and do some more warping to get it out of time. I then crossfade those tracks to a new track. This will still have a bit of rhythm to it and that will have to go. Take that track copy it another track and start a a different point. The crossfader will now start clipping those sounds,record that to a new track. Now record that track and using the mouse to change the tempo using big and little changes. That new track now must be unwarped in ableton so that the tempo changes stay. Now you can use the new track and do some transposing. Because it is not warped the transposing also changes the speed of everything. Each new track can be copied and crossfaded between using a different start point. Keep doing this process till you feel the stress leave your body. At no point do I add fx. Fx too early in the process kills the slicing effect of the crossfader. When you finally reach you last track then you copy and paste that to another track. Now add fx to it but record it with you scrolling through the presets at whatever rate feels right. Now crossfade that track with the track with no fx and record to one track. Copy that track once and add different drum master fx to each. Pan one a little left and the other right. Master the master to taste. You should not be attached to the final track. That is not the point. The point is where your head is at now.

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#15

Reminds me, I have a few hardware delays but only one of them allows me to effect the feedback path and it does open up a bunch of possibilities. Like, how a distortion makes subsequent echoes dirtier.

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#16

And using pitch shift in the feedback loop generates melodies or chords.

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#17

It must depends on your DAW but in anything where you can create a send channel, and feed that back on itself, you can do it. You just put the feedback on the delay to zero, and the wet signal to a new channel, insert whatever other fx you want, then have a gain reducing the output of the channel before you feed it back on itself.

That’s very much short hand, happy to explain further if that’s useful. I do this all the time in AudioMulch.

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#18

As the title suggests, this piece is about randomness. Each audio track in this piece has it going on.

  1. The field recording of crickets and katydids provides a natural randomness of rhythm.

  2. A pulsating synth travels throughout the piece. This is from a recording I made from the Korg iMS-20 app. It is a short clip that is repeated and multi-tracked without any thought of having the “beats” line up. There is thought put into how these are arranged.

  3. There is a bit of ambient drone free styling on my part throughout. Can’t remember how I made it. Probably Ableton Live.

  4. Finally, a weird, processed glitchy sound appears occasionally in the background. This is from a processed voicemail. It’s also randomly placed, but with some thought here and there.

The painting is one I made - a culmination of seemingly random brush strokes and blends of paint over time without any expected outcome other than a finished painting.

My web site is markrushton.com

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#19

https://soundcloud.com/happypuppy2/how-to-make-ambient-music-in-10-minutes-disquiet0242

I decided to do an instructional ‘how-to’ session on one of the methods I use for making ambient music, as it’s easier than typing it all out. There isn’t much of a song here, it’s mostly instruction. I know Lunchbox Battles came out in 2006, but so what?

Special shout-out to Robert Nunnally (Gurdonark) for suggesting this software when I was just looking for a simple sample-playback device.

Links:

Lunchbox Battles:
[direct download] http://www.kvraudio.com/developer_challenge/2006/Lunchbox.zip
Made by: http://www.brambos.net/

Free VSTs used:

loop 1 - lo-fi plastic piano http://www.vst4free.com/free_vst.php?id=634

loop 2 - iowa piano http://www.vst4free.com/free_vst.php?plugin=Iowa_Piano&id=2294

loop 3 - piano one http://www.vst4free.com/free_vst.php?plugin=Piano_One&id=1100

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#20

My submission got the copyright smackdown from SoundCloud, so you can download it here: https://www.dropbox.com/s/jxvq5pjxj3455fs/Honey%20Bee%20In%20A%20Trap%20(disquiet0242).aif?dl=0

I did a hip-hop remix of “Honey Bee” by Muddy Waters, and changed the feel from a blues shuffle to straight sixteenth notes to match it to an 808 trap beat I made. I did this using Ableton Live’s invaluable warp feature. First, I quantized the entire track to the sixteenth note grid, thus removing all shuffle. Then I selectively deleted warp markers to relax the audio back to the original shuffle feel in places. Finally, I sliced up the audio in the guitar solo to create expressive stutters.

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