Vocal Cuts (Disquiet Junto Project 0266)

bassling · 2017-02-04T19:27:22.317Z

Glad to hear the drums because I had to resist the urge to add them at every step.

ikjoyce · 2017-02-04T23:31:17.383Z

I’m a big fan of Ligeti. Got to see 2001 with live orchestra and choir last year, and will be seeing Ligeti’s Atmospheres performed on Friday, can’t wait!

Hypoid · 2017-02-05T01:14:43.262Z

Agreed, every turn was NOT adding something needed! With my strict adhesion I paid the price Next time I will give in to the darkside, BWAH HA HA HA HA…

tapes · 2017-02-05T03:18:21.827Z

back again with a quick one. stuck to the no processing and mono recommendations in the description…it was really hard to not add a bunch of effects

https://soundcloud.com/matthewsimonson/mouth-vowels-disquiet0266

recorded vowels with a shure sm7b
put each note into a sampler in ableton
did the thing where you make the LFO randomize the sample start, so that i’m starting in a new place on the sample every trigger
made a disjointed rhythm by taking the loop length of each midi clip and making them all different (3 beats, 5 beats, etc)
added M4L LFO to some of the samples sustain and release to make each line a little more varied
called it a day

Neurogami · 2017-02-05T05:47:27.583Z

Breath First

https://soundcloud.com/neurogami/breath-first-disquiet0266

I sang the sound of an “Oooo”. Then chopped it into varying segments, trying to capture parts that differed in texture. These were then used to make a Renoise instrument (there were five different notes, including the full take, which appears at the start of the piece and again later on.)

The first version had some clicking sounds owing to how the original wav was cut. It sounded OK but I felt it introduced an overly artificial element. So I rounded-off the wavs a bit to remove the clicks. The pulses still remained, which is what I was aiming for.

duckpow · 2017-02-05T10:25:02.778Z

I never listen to any tracks made for a project before having finished my own, cause I usually want to find my own interpretation of the rules. And this week, like so many before it, I find that my own interpretation is way more restrictive than others have found…
So “no fx” as laid out in step 5, meant that most of my usual tricks (like time-streching, pitch/fequency-shifting and variable playback speeds) were useless… Instead I had to rely on me being able to sing something in one breath that had all the content I wanted. And to make matters worse: I’m a terrible singer…
https://soundcloud.com/duckpow/at-a-loss-for-titles-disquiet0266
I set up my mic anyway and took a few takes of me holding some nondescript vowel. I chopped it up into several small pieces and began making rythms. The drones were done using multiple shortloops of the same clip layer on top of each other. The clap-like sound is some accidental background noise, that is heavily amplified.
As a final step I fed it all trough my analog mixer and did a light mixdown adding a slight bit of EQ and reverb.
To my mind, that final reverb ended up being the only ‘fx’ on the entire track.

unstable_range · 2017-02-05T11:06:33.514Z

Well that was fun, but also a little painful. Added a bit reverb.
https://soundcloud.com/rudzupuke/buff-tailed-bumblebee-disquiet0266

unstable_range · 2017-02-05T14:05:55.974Z

glad i’m not the only one who found it painful

Hypoid · 2017-02-05T18:12:14.426Z

Always enjoy your videos. As someone who can barely make the weekly deadline and has also edited too much video, I don’t know how you do it! But we are glad you do Cheers!

jks · 2017-02-05T18:27:58.303Z

i went for ‘uh’ because i have a kind of faith in uncertainty & hesitation.

I squashed it down to mono which seemed to hollow out the noise which don’t find appealing but, hey, a learning experience, i guess.

bassling · 2017-02-05T18:35:12.085Z

Thanks! Video is a ridiculously fiddly medium but Ableton Live’s handling of this media makes it a bit easier but also a bit frustrating when it crashes while exporting.

There’s a paradox with video though: one wants to show where the sounds come from but gets an impression that viewers don’t listen as closely.

Don_Stanley · 2017-02-05T23:25:59.414Z

The letter 0, split mostly into beginning, middle and end. Just layering and volume changes as said in the instructions. The good thing is this pushed me to learn some new stuff, for example I made many more tracks than I usually would so that I could do more layering, so then it become more convenient to put things into groups (in Abelton) which I haven’t really done before.

https://soundcloud.com/user-696185036/o2-disquiet0266

Craig_Wharton · 2017-02-05T23:45:13.292Z

https://soundcloud.com/ohm-research/zurfi-disquiet-0266
The source material for this piece is a 20 second sample of my voice recorded on my phone, then processed through a Mutable Instruments Clouds module.

fjna · 2017-02-06T03:06:13.861Z

Because of this Junto, I bought “Stay tuned” from Machinefabriek. I am a big fan of his work, but I always was hesitant to buy that album… no regrets at all! Nice 50 minutes drone

Hypoid · 2017-02-06T03:17:44.185Z

It’s funny you say that, with music videos I like to listen while working and then watch later. With vlogs or podcasts I am not as picky Exporting video can be brutal!

flyingtonefish · 2017-02-06T15:12:52.930Z

I started my work on this project with the information from the email-notification, which said that this week´s Junto involves singing, or making sounds with the voice. When I listened to other contributions, I noticed that I had apparantly missed out on one particular piece of information - the part about the held vowel…
Well, my piece of music does contain a held vowel, one I used repeatedly to bring silence into this mash-up, and I hope this will do.
Usually, I do not like my voice…but I liked the idea of everybody involved listening to each other

DeDe · 2017-02-06T15:37:29.699Z

https://soundcloud.com/daniel-diaz/om-disquiet0266

I started singing couple tracks of “O” but I realized that, during decay I was closing my O vowel with a nasal sound, like an M, then on following tracks I went straight to the cosmic-mystic Om. So I plead guilty of using a syllable instead of a vowel. Here I am to be convicted by a jury of my peers…
Recorded Saturday morning on the road somewhere in Argentina, with my laptop and a AKG 451 microphone locked in my room while outside an apocalyptic tempest raised. Tall trees fell, along with electric and telephone posts. So a full blackout followed, here I am online again…

8 tracks recorded, one used octave down pitch shift, the other 7 are “natural” albeit with some melodyne to tale pitch wobbles during sustained notes.
One dense convolution reverb used (10 seconds)
No eq, no compression.

I sang C major notes randomly over a click track, so the harmonies are really hazardous.
Love

DD

ikjoyce · 2017-02-06T16:41:27.260Z

fjna:

Stay tuned" from Machinefabriek

Me too - I have always loved the tune up at the beginning of an orchestral concert (and sometimes between pieces, particularly with period instruments!), so this is right up my street.

ntrier · 2017-02-06T21:15:32.953Z

I recorded myself singing the choral pronunciations of a, e, i, o, and u (same as Spanish, basically). Then I selected the most interesting bits, which tended to be when I was running out of breath and the pitch was wobbling, or when there were weird shifts in the overtones.

I made an interesting motive by mapping the samples to buttons on my Push and improvising a bit. Except - uh oh! - I had 9 samples and the Push grid only goes as far as 8. What to do? Well, I put samples 1-8 on channel/track 1, sample #9 looped around to to be the first sample on channel/track 2, and then I put samples 1-7 on channel/track 2 again. Then I played my cool little motive again, this timing using two fingers to trigger 2 samples at a time instead of 1. This layering made the track much more interesting - each sound repeats often but are seldom paired with the same sample, so it’s always slightly different.

I used the physical gesture of the first motive to generate the rest of the piece, especially the end. In Ableton terms, I switched between “scenes” 1 and 3 a few times, then let 4 last a bit longer. I generated the end of the piece treating that as a sequence (1,3,1,3,4 then 2,4,2,4,5 then 3,5,3,5,6 etc.)

True to the assignment, I did very little vocal processing. I did add a limiter to bring down the volume jump from my attack on the “a” vowel (I forgot to put it on the other track, so you can really hear the difference at 1:04 vs. 1:14, if you’re so inclined). I also added a touch of reverb.

Holl1f3ld · 2017-02-06T23:44:40.368Z

https://soundcloud.com/laslo_holl1f3ld/disquiet-junto-project-266

One vocal take
SM-57 into MPC 1K

Chopped, Looped slices, Long release
Recorded some different pitches at different intervals
Dumped full vocal take into re:mix app for monome
Set up 3 rows with varying octaves in the upper ranges

Recorded MPC sequence into live while automating the tempo