Fri, 03 Apr 2026 19:43:22 +0200 https://hearthis.at/kaboodle-sound/ en-EN contact@hearthis.at contact@hearthis.at https://hearthis.at/kaboodle-sound/ https://img.hearthis.at/8/8/9/_/uploads/9021330/image_user/w1400_h1400_q70_ptrue_v2_----cropped_1518525642988.jpg no no https://hearthis.at/kaboodle-sound/exercise3-4/
[image adapted from this one: http://commons.wikimedia.org/wiki/File:Phenakistoscope_3g07690d.gif]]]>
[image adapted from this one: http://commons.wikimedia.org/wiki/File:Phenakistoscope_3g07690d.gif]]]> 1762614 no no Sat, 27 Apr 2013 14:15:08 +0200 2013-04-27T14:15:08+02:00 0:57 https://hearthis.at/kaboodle-sound/urf/
As we had to record at least 2 audio tracks in the classroom, I chose to record one using the microphone built into the Mac, and another through my headphones, plugged into the audio interface as a microphone. My vocal contribution was simply whispering and breathing, which I turned into screaming and noise. The evil monk chant was a sample I downloaded from Freesound - when I find the link, I will credit it here.

It's called 'urf' because that's the noise I was originally going to make to base this track around. I changed the noise, but kept the name, just because.

[image adapted from this one: http://commons.wikimedia.org/wiki/File:Monk-Ascetic.jpg]]]>
As we had to record at least 2 audio tracks in the classroom, I chose to record one using the microphone built into the Mac, and another through my headphones, plugged into the audio interface as a microphone. My vocal contribution was simply whispering and breathing, which I turned into screaming and noise. The evil monk chant was a sample I downloaded from Freesound - when I find the link, I will credit it here.

It's called 'urf' because that's the noise I was originally going to make to base this track around. I changed the noise, but kept the name, just because.

[image adapted from this one: http://commons.wikimedia.org/wiki/File:Monk-Ascetic.jpg]]]> 1762615 no no Thu, 11 Apr 2013 18:33:34 +0200 2013-04-11T18:33:34+02:00 3:11 https://hearthis.at/kaboodle-sound/invisible-light-instrumental-cover/ http://soundcloud.com/djkaboodle/invisible-light-cover

An avant-garde cover of the Scissor Sisters' Invisible Light. All sounds were created and recorded as part of a multimedia project replacing the music and sounds in the original video (vimeo.com/17871386). The idea of the multimedia project was to compliment the visuals with audio that directly related to what was happening on screen. The idea of this cover was to use the newly recorded audio to recreate the video and the concept of the song without using any of the melody or original music.

90% of the vocal sounds were made by Von Fenton (http://soundcloud.com/von-fenton), the rest by me. Von Fenton's vocals were recorded through an AKG C1000s and an AKG C414 XLS into Pro Tools. My vocal noises and field recordings were recorded on a Zoom H4n.

Most of the sounds were cut up in Audacity and loaded into a Korg Electribe SX. The main spoken word vocals were cut up in Audacity, and played on a Roland SP555, which fed into a Korg Kaoss pad, and back into the Electribe.

A thousand thanks to Von for her fantastic vocal work and wonderful reading of the song lyrics.

The sounds comprising this sonic re-imagining are:

[Von Fenton's sounds]:
gasps
breathing
screaming
muffled gasps and screams
giggling and laughing

[my sounds]:
moaning and breathing
chains
a detuned guitar struck with part of a mic stand
rubbing
dragging and creaking
removing a loose tooth (acutally a die)
licking
opening and closing a door
blood dripping (dripping noises)
body thump]]> http://soundcloud.com/djkaboodle/invisible-light-cover

An avant-garde cover of the Scissor Sisters' Invisible Light. All sounds were created and recorded as part of a multimedia project replacing the music and sounds in the original video (vimeo.com/17871386). The idea of the multimedia project was to compliment the visuals with audio that directly related to what was happening on screen. The idea of this cover was to use the newly recorded audio to recreate the video and the concept of the song without using any of the melody or original music.

90% of the vocal sounds were made by Von Fenton (http://soundcloud.com/von-fenton), the rest by me. Von Fenton's vocals were recorded through an AKG C1000s and an AKG C414 XLS into Pro Tools. My vocal noises and field recordings were recorded on a Zoom H4n.

Most of the sounds were cut up in Audacity and loaded into a Korg Electribe SX. The main spoken word vocals were cut up in Audacity, and played on a Roland SP555, which fed into a Korg Kaoss pad, and back into the Electribe.

A thousand thanks to Von for her fantastic vocal work and wonderful reading of the song lyrics.

The sounds comprising this sonic re-imagining are:

[Von Fenton's sounds]:
gasps
breathing
screaming
muffled gasps and screams
giggling and laughing

[my sounds]:
moaning and breathing
chains
a detuned guitar struck with part of a mic stand
rubbing
dragging and creaking
removing a loose tooth (acutally a die)
licking
opening and closing a door
blood dripping (dripping noises)
body thump]]> 1762616 no no Tue, 09 Apr 2013 01:43:15 +0200 2013-04-09T01:43:15+02:00 3:52 https://hearthis.at/kaboodle-sound/invisible-light-cover-with-vocals-by-von-fenton/
All sounds were created and recorded as part of a multimedia project replacing the music and sounds in the original video (vimeo.com/17871386). The idea of the multimedia project was to compliment the visuals with audio that directly related to what was happening on screen. The idea of this cover was to use the newly recorded audio to recreate the video and the concept of the song without using any of the melody or original music.

An 'instrumental' version, without the spoken-word lyrics, is available here:
http://soundcloud.com/djkaboodle/invisible-light-instrumental

90% of the vocal sounds were made by Von Fenton (http://soundcloud.com/von-fenton), the rest by me. Von Fenton's vocals were recorded through an AKG C1000s and an AKG C414 XLS into Pro Tools. My vocal noises and field recordings were recorded on a Zoom H4n.

Most of the sounds were cut up in Audacity and loaded into a Korg Electribe SX. The main spoken word vocals were cut up in Audacity, and played on a Roland SP555, which fed into a Korg Kaoss pad, and back into the Electribe.

A thousand thanks to Von for her fantastic vocal work and wonderful reading of the song lyrics.

The sounds comprising this sonic re-imagining are:

[Von Fenton's sounds]:
gasps
breathing
screaming
muffled gasps and screams
giggling and laughing

[my sounds]:
moaning and breathing
chains
a detuned guitar struck with part of a mic stand
rubbing
dragging and creaking
removing a loose tooth (acutally a die)
licking
opening and closing a door
blood dripping (dripping noises)
body thump]]>
All sounds were created and recorded as part of a multimedia project replacing the music and sounds in the original video (vimeo.com/17871386). The idea of the multimedia project was to compliment the visuals with audio that directly related to what was happening on screen. The idea of this cover was to use the newly recorded audio to recreate the video and the concept of the song without using any of the melody or original music.

An 'instrumental' version, without the spoken-word lyrics, is available here:
http://soundcloud.com/djkaboodle/invisible-light-instrumental

90% of the vocal sounds were made by Von Fenton (http://soundcloud.com/von-fenton), the rest by me. Von Fenton's vocals were recorded through an AKG C1000s and an AKG C414 XLS into Pro Tools. My vocal noises and field recordings were recorded on a Zoom H4n.

Most of the sounds were cut up in Audacity and loaded into a Korg Electribe SX. The main spoken word vocals were cut up in Audacity, and played on a Roland SP555, which fed into a Korg Kaoss pad, and back into the Electribe.

A thousand thanks to Von for her fantastic vocal work and wonderful reading of the song lyrics.

The sounds comprising this sonic re-imagining are:

[Von Fenton's sounds]:
gasps
breathing
screaming
muffled gasps and screams
giggling and laughing

[my sounds]:
moaning and breathing
chains
a detuned guitar struck with part of a mic stand
rubbing
dragging and creaking
removing a loose tooth (acutally a die)
licking
opening and closing a door
blood dripping (dripping noises)
body thump]]> 1762617 no no Tue, 09 Apr 2013 01:11:22 +0200 2013-04-09T01:11:22+02:00 3:51 https://hearthis.at/kaboodle-sound/tailors-home-rough-mix-01/ Track: Home

Session recorded on 17th December at Perth College with fellow sound engineers Pawel (http://soundcloud.com/pavski) and Arek (http://soundcloud.com/aereka), using a Pro Tools 10 hardware system. The recording was pretty much a live take (two quick overdubs and one mistake erased).

This is a quick rough mix (by me on my own), done in about an hour, as time was limited. A more polished mix will follow later in the new year.]]> Track: Home

Session recorded on 17th December at Perth College with fellow sound engineers Pawel (http://soundcloud.com/pavski) and Arek (http://soundcloud.com/aereka), using a Pro Tools 10 hardware system. The recording was pretty much a live take (two quick overdubs and one mistake erased).

This is a quick rough mix (by me on my own), done in about an hour, as time was limited. A more polished mix will follow later in the new year.]]> 1762618 no no Thu, 20 Dec 2012 00:28:57 +0100 2012-12-20T00:28:57+01:00 5:10 https://hearthis.at/kaboodle-sound/tailors-fear-rough-mix-01/ Track: Fear

Session recorded on 17th December at Perth College with fellow sound engineers Arek (http://soundcloud.com/aereka) and Pawel (http://soundcloud.com/pavski) using a Pro Tools 10 hardware system. The recording was pretty much a live take (two quick overdubs and one mistake erased).

This is a quick rough mix (by me on my own), done in about an hour, as time was limited. A more polished mix will follow later in the new year.]]> Track: Fear

Session recorded on 17th December at Perth College with fellow sound engineers Arek (http://soundcloud.com/aereka) and Pawel (http://soundcloud.com/pavski) using a Pro Tools 10 hardware system. The recording was pretty much a live take (two quick overdubs and one mistake erased).

This is a quick rough mix (by me on my own), done in about an hour, as time was limited. A more polished mix will follow later in the new year.]]> 1762619 no no Wed, 19 Dec 2012 02:20:28 +0100 2012-12-19T02:20:28+01:00 4:06 https://hearthis.at/kaboodle-sound/death-minimal-guitar-mix-disquiet0041-dirtyminimalism/
Assignment:

"For this Disquiet Junto project, the constraint is a matter of terminology. This week we're exploring how the concept of "genre" can itself serve as a restraint, and we'll accomplish this by pushing back at genre conventions.

"The project instructions are straightforward: Record an original piece of music that you feel belongs within the genre of "minimalism" — but that also, you feel, sounds "dirty" in some considerable way.

"The idea we're pushing at here is that most of the time, when one sees the word "minimalism" employed in regard to art and music, there's an understanding that it involves an almost clinical aesthetic. The sole exception on any regular basis would be certain realms of droning death metal — examples of which would certainly be welcome in this week's Junto. This week we're going to push minimalism out of its comfort zone.

"Restrictions: You can use any source material, any instrumentation, except the human voice. "


Method:

I was originally going for 'minimal death metal' on this, but I don't think I achieved it. I certainly made a noise, though.

I was inspired by hearing the Velvet Underground, John Cale and Lou Reed on BBC 6 Music. In particular, hearing John Cale talk about his production work and then remembering Lester Bangs' review of Nico's 'The Marble Index', where he describes Cale's production of the album as "He built a cathedral for a woman in hell." That was also the vibe I was going for.

In addition, I'm reading a book about Futurism at the moment, and Luigi Russolo's The Art of Noises was at the back of my mind, too.

I made a very simple beat on my Korg N364 workstation, out of drum instruments I'd made myself, and fed the output of it into a KP3 Kaoss Pad. I connected a Kaossilator Pro (on 'Distorted Guitar' setting) to two mini KP Kaoss pads (both on different settings of 'Fuzz Distortion'), and fed this signal to a variety of guitar footpedals, which went into a Behringer Bass Amp. I fiddled around with the pedals until I got a sound I was reasonably happy with. One of the pedals was a Behringer Feedback/Distortion pedal, which I used on and off.

I recorded one track of the repetitive beats from the N364 keyboard, and another track with me playing the Kaossilator Pro through the effects pedals. The beats were played as a pattern, and the Kaossilator played live while listening back to the beats through the Zoom H4n on MTR mode (the tracks were recorded separately).

Lastly, I swapped the Kaossilator for a modified and mangled Tanglewood guitar (cheap Chinese Strat copy), which I played through the same effects pedals, using an E-Bow and a slide. I recorded two takes of this, again, 'playing' more or less in time with the beats... I was going to play with feedback through the bass amp, too, but it was midnight, and I thought I might wake my children or the neighbours...

All four tracks were recorded one by one on a Zoom H4n, then mixed in Audacity. I ended up with a version with drums and one with just guitar.

I couldn't decide which version I preferred, so I posted them both.

(The with-drums version is here: http://soundcloud.com/djkaboodle/death-minimal-drum-version).

Title inspired partially by Metallica's 'Death Magnetic'.

Just realised that I was also subliminally inspired by westyreflector's feedback track from last week's Junto assignment: http://soundcloud.com/thereflectors/arc-welded

--

Track image adapted from this one:

http://commons.wikimedia.org/wiki/File:SkullSchaedel3.png

--

More details on the Disquiet Junto at:

Disquiet Junto
]]>
Assignment:

"For this Disquiet Junto project, the constraint is a matter of terminology. This week we're exploring how the concept of "genre" can itself serve as a restraint, and we'll accomplish this by pushing back at genre conventions.

"The project instructions are straightforward: Record an original piece of music that you feel belongs within the genre of "minimalism" — but that also, you feel, sounds "dirty" in some considerable way.

"The idea we're pushing at here is that most of the time, when one sees the word "minimalism" employed in regard to art and music, there's an understanding that it involves an almost clinical aesthetic. The sole exception on any regular basis would be certain realms of droning death metal — examples of which would certainly be welcome in this week's Junto. This week we're going to push minimalism out of its comfort zone.

"Restrictions: You can use any source material, any instrumentation, except the human voice. "


Method:

I was originally going for 'minimal death metal' on this, but I don't think I achieved it. I certainly made a noise, though.

I was inspired by hearing the Velvet Underground, John Cale and Lou Reed on BBC 6 Music. In particular, hearing John Cale talk about his production work and then remembering Lester Bangs' review of Nico's 'The Marble Index', where he describes Cale's production of the album as "He built a cathedral for a woman in hell." That was also the vibe I was going for.

In addition, I'm reading a book about Futurism at the moment, and Luigi Russolo's The Art of Noises was at the back of my mind, too.

I made a very simple beat on my Korg N364 workstation, out of drum instruments I'd made myself, and fed the output of it into a KP3 Kaoss Pad. I connected a Kaossilator Pro (on 'Distorted Guitar' setting) to two mini KP Kaoss pads (both on different settings of 'Fuzz Distortion'), and fed this signal to a variety of guitar footpedals, which went into a Behringer Bass Amp. I fiddled around with the pedals until I got a sound I was reasonably happy with. One of the pedals was a Behringer Feedback/Distortion pedal, which I used on and off.

I recorded one track of the repetitive beats from the N364 keyboard, and another track with me playing the Kaossilator Pro through the effects pedals. The beats were played as a pattern, and the Kaossilator played live while listening back to the beats through the Zoom H4n on MTR mode (the tracks were recorded separately).

Lastly, I swapped the Kaossilator for a modified and mangled Tanglewood guitar (cheap Chinese Strat copy), which I played through the same effects pedals, using an E-Bow and a slide. I recorded two takes of this, again, 'playing' more or less in time with the beats... I was going to play with feedback through the bass amp, too, but it was midnight, and I thought I might wake my children or the neighbours...

All four tracks were recorded one by one on a Zoom H4n, then mixed in Audacity. I ended up with a version with drums and one with just guitar.

I couldn't decide which version I preferred, so I posted them both.

(The with-drums version is here: http://soundcloud.com/djkaboodle/death-minimal-drum-version).

Title inspired partially by Metallica's 'Death Magnetic'.

Just realised that I was also subliminally inspired by westyreflector's feedback track from last week's Junto assignment: http://soundcloud.com/thereflectors/arc-welded

--

Track image adapted from this one:

http://commons.wikimedia.org/wiki/File:SkullSchaedel3.png

--

More details on the Disquiet Junto at:

Disquiet Junto
]]> 1762620 no no Mon, 15 Oct 2012 18:55:17 +0200 2012-10-15T18:55:17+02:00 3:39 https://hearthis.at/kaboodle-sound/death-minimal-drum-version-disquiet0041-dirtyminimalism/
Assignment:

"For this Disquiet Junto project, the constraint is a matter of terminology. This week we're exploring how the concept of "genre" can itself serve as a restraint, and we'll accomplish this by pushing back at genre conventions.

"The project instructions are straightforward: Record an original piece of music that you feel belongs within the genre of "minimalism" — but that also, you feel, sounds "dirty" in some considerable way.

"The idea we're pushing at here is that most of the time, when one sees the word "minimalism" employed in regard to art and music, there's an understanding that it involves an almost clinical aesthetic. The sole exception on any regular basis would be certain realms of droning death metal — examples of which would certainly be welcome in this week's Junto. This week we're going to push minimalism out of its comfort zone.

"Restrictions: You can use any source material, any instrumentation, except the human voice. "


Method:

I was originally going for 'minimal death metal' on this, but I don't think I achieved it. I certainly made a noise, though.

I was inspired by hearing the Velvet Underground, John Cale and Lou Reed on BBC 6 Music. In particular, hearing John Cale talk about his production work and then remembering Lester Bangs' review of Nico's 'The Marble Index', where he describes Cale's production of the album as "He built a cathedral for a woman in hell." That was also the vibe I was going for.

In addition, I'm reading a book about Futurism at the moment, and Luigi Russolo's The Art of Noises was at the back of my mind, too.

I made a very simple beat on my Korg N364 workstation, out of drum instruments I'd made myself, and fed the output of it into a KP3 Kaoss Pad. I connected a Kaossilator Pro (on 'Distorted Guitar' setting) to two mini KP Kaoss pads (both on different settings of 'Fuzz Distortion'), and fed this signal to a variety of guitar footpedals, which went into a Behringer Bass Amp. I fiddled around with the pedals until I got a sound I was reasonably happy with. One of the pedals was a Behringer Feedback/Distortion pedal, which I used on and off.

I recorded one track of the repetitive beats from the N364 keyboard, and another track with me playing the Kaossilator Pro through the effects pedals. The beats were played as a pattern, and the Kaossilator played live while listening back to the beats through the Zoom H4n on MTR mode (the tracks were recorded separately).

Lastly, I swapped the Kaossilator for a modified and mangled Tanglewood guitar (cheap Chinese Strat copy), which I played through the same effects pedals, using an E-Bow and a slide. I recorded two takes of this, again, 'playing' more or less in time with the beats... I was going to play with feedback through the bass amp, too, but it was midnight, and I thought I might wake my children or the neighbours...

All four tracks were recorded one by one on a Zoom H4n, then mixed in Audacity. I ended up with a version with drums and one with just guitar.

I couldn't decide which version I preferred, so I posted them both.

(The guitar-only mix is here: http://soundcloud.com/djkaboodle/death-minimal-guitar-mix).

Title inspired partially by Metallica's 'Death Magnetic'.

Just realised that I was also subliminally inspired by westyreflector's feedback track from last week's Junto assignment: http://soundcloud.com/thereflectors/arc-welded

--

Track image adapted from this one:

http://commons.wikimedia.org/wiki/File:SkullSchaedel3.png

--

More details on the Disquiet Junto at:

Disquiet Junto
]]>
Assignment:

"For this Disquiet Junto project, the constraint is a matter of terminology. This week we're exploring how the concept of "genre" can itself serve as a restraint, and we'll accomplish this by pushing back at genre conventions.

"The project instructions are straightforward: Record an original piece of music that you feel belongs within the genre of "minimalism" — but that also, you feel, sounds "dirty" in some considerable way.

"The idea we're pushing at here is that most of the time, when one sees the word "minimalism" employed in regard to art and music, there's an understanding that it involves an almost clinical aesthetic. The sole exception on any regular basis would be certain realms of droning death metal — examples of which would certainly be welcome in this week's Junto. This week we're going to push minimalism out of its comfort zone.

"Restrictions: You can use any source material, any instrumentation, except the human voice. "


Method:

I was originally going for 'minimal death metal' on this, but I don't think I achieved it. I certainly made a noise, though.

I was inspired by hearing the Velvet Underground, John Cale and Lou Reed on BBC 6 Music. In particular, hearing John Cale talk about his production work and then remembering Lester Bangs' review of Nico's 'The Marble Index', where he describes Cale's production of the album as "He built a cathedral for a woman in hell." That was also the vibe I was going for.

In addition, I'm reading a book about Futurism at the moment, and Luigi Russolo's The Art of Noises was at the back of my mind, too.

I made a very simple beat on my Korg N364 workstation, out of drum instruments I'd made myself, and fed the output of it into a KP3 Kaoss Pad. I connected a Kaossilator Pro (on 'Distorted Guitar' setting) to two mini KP Kaoss pads (both on different settings of 'Fuzz Distortion'), and fed this signal to a variety of guitar footpedals, which went into a Behringer Bass Amp. I fiddled around with the pedals until I got a sound I was reasonably happy with. One of the pedals was a Behringer Feedback/Distortion pedal, which I used on and off.

I recorded one track of the repetitive beats from the N364 keyboard, and another track with me playing the Kaossilator Pro through the effects pedals. The beats were played as a pattern, and the Kaossilator played live while listening back to the beats through the Zoom H4n on MTR mode (the tracks were recorded separately).

Lastly, I swapped the Kaossilator for a modified and mangled Tanglewood guitar (cheap Chinese Strat copy), which I played through the same effects pedals, using an E-Bow and a slide. I recorded two takes of this, again, 'playing' more or less in time with the beats... I was going to play with feedback through the bass amp, too, but it was midnight, and I thought I might wake my children or the neighbours...

All four tracks were recorded one by one on a Zoom H4n, then mixed in Audacity. I ended up with a version with drums and one with just guitar.

I couldn't decide which version I preferred, so I posted them both.

(The guitar-only mix is here: http://soundcloud.com/djkaboodle/death-minimal-guitar-mix).

Title inspired partially by Metallica's 'Death Magnetic'.

Just realised that I was also subliminally inspired by westyreflector's feedback track from last week's Junto assignment: http://soundcloud.com/thereflectors/arc-welded

--

Track image adapted from this one:

http://commons.wikimedia.org/wiki/File:SkullSchaedel3.png

--

More details on the Disquiet Junto at:

Disquiet Junto
]]> 1762621 no no Mon, 15 Oct 2012 18:50:53 +0200 2012-10-15T18:50:53+02:00 3:54 https://hearthis.at/kaboodle-sound/kpk-disquiet0040-kirschnerplus1/
Assignment:

"The latest release from Kenneth Kirschner is a series of duets for himself on piano and Tawnya Popoff on viola.

"For this Disquiet Junto project you will add your own performance to one of the duets. This will turn it, in effect, into a trio.

"You cannot change the existing audio, except to the extent that you can elect to trim it to a more manageable length, in which case you might choose to fade in and out. "


Method:

My first Junto entry for several weeks now (lots going on at the moment) - decided to do this at the last minute.

I wanted to add just a little to the track without changing it too much, and I wanted an excuse to use my BC8 synthesiser. (Some videos of a BC8 here and here).

I played the Kenneth Kirschner track through my computer and fed the output to a small Behringer mixer. I connected the BC8 to an ARTcessories 4-way splitter, which sent the output to a Miidio Vibration Speaker (http://www.reghardware.com/2008/02/13/miidio_vibration_speakers/) and to a Mini KP Kaoss Pad, which in turn sent its output to another Miidio Vibration Speaker.

(For anyone that doesn't know, vibration speakers turn any surface they are placed on or are attached to into audio speakers, simply by making the surface vibrate).

The vibration speaker connected to the Kaoss pad was placed on a wooden shelf thing that I made years ago. The other speaker was placed on a steel tea tray. So the output of the BC8 synth was, in effect, sent to two speakers, the signal of one being delayed by the Kaoss pad. The Kaoss pad was set to 'Tape Delay' at 33.6 BPM.

I then set up my Zoom h4N , placing it underneath the steel tray and the wooden shelf unit, as the output was clearer. I taped contact mics to the steel tray and to the wooden shelf unit, and connected these to Zoom h4N as well. I set the h4N to 4 channel mode, and recorded simultaneously through the inbuilt microphones and the contact mics.

I plugged headphones into the Behringer mixer, and listened to Kenneth Kirschner's track while playing along with the BC8. I recorded two sessions like this, and then swapped the BC8 for another mini synth, which I sadly can't remember the name of. (I bought it from eBay a few years ago, and it's suprisingly good).

I tried using a theremin and a Kaossilator as well, but the results were much less satisfying. (My theremin is pretty crap, which didn't help).

I mixed all three recordings with Kenneth Kirschner's original track using Audacity.

I'm not particularly pleased with the result, but I might re-do this some time with a guitar or some other real instrument, or try out some drum patterns...

--

The track image is a photo of my setup for this piece, complete with an evil monkey head and the bottom of carved Japanese lampstand.

--

The source audio for this track is part three of the Kenneth Kirschner album June 5, 2012, which features Kirschner on piano and Tawnya Popoff on viola. The album was released in September 2012 on the shskh.com netlabel, where it is available for free download.

More on this 40th Disquiet Junto project at:

http://disquiet.com/2012/10/04/disquiet0040-kirschnerplus1/

More details on the Disquiet Junto at:

Disquiet Junto

More on Kenneth Kirschner at:

www.kennethkirschner.com/]]>
Assignment:

"The latest release from Kenneth Kirschner is a series of duets for himself on piano and Tawnya Popoff on viola.

"For this Disquiet Junto project you will add your own performance to one of the duets. This will turn it, in effect, into a trio.

"You cannot change the existing audio, except to the extent that you can elect to trim it to a more manageable length, in which case you might choose to fade in and out. "


Method:

My first Junto entry for several weeks now (lots going on at the moment) - decided to do this at the last minute.

I wanted to add just a little to the track without changing it too much, and I wanted an excuse to use my BC8 synthesiser. (Some videos of a BC8 here and here).

I played the Kenneth Kirschner track through my computer and fed the output to a small Behringer mixer. I connected the BC8 to an ARTcessories 4-way splitter, which sent the output to a Miidio Vibration Speaker (http://www.reghardware.com/2008/02/13/miidio_vibration_speakers/) and to a Mini KP Kaoss Pad, which in turn sent its output to another Miidio Vibration Speaker.

(For anyone that doesn't know, vibration speakers turn any surface they are placed on or are attached to into audio speakers, simply by making the surface vibrate).

The vibration speaker connected to the Kaoss pad was placed on a wooden shelf thing that I made years ago. The other speaker was placed on a steel tea tray. So the output of the BC8 synth was, in effect, sent to two speakers, the signal of one being delayed by the Kaoss pad. The Kaoss pad was set to 'Tape Delay' at 33.6 BPM.

I then set up my Zoom h4N , placing it underneath the steel tray and the wooden shelf unit, as the output was clearer. I taped contact mics to the steel tray and to the wooden shelf unit, and connected these to Zoom h4N as well. I set the h4N to 4 channel mode, and recorded simultaneously through the inbuilt microphones and the contact mics.

I plugged headphones into the Behringer mixer, and listened to Kenneth Kirschner's track while playing along with the BC8. I recorded two sessions like this, and then swapped the BC8 for another mini synth, which I sadly can't remember the name of. (I bought it from eBay a few years ago, and it's suprisingly good).

I tried using a theremin and a Kaossilator as well, but the results were much less satisfying. (My theremin is pretty crap, which didn't help).

I mixed all three recordings with Kenneth Kirschner's original track using Audacity.

I'm not particularly pleased with the result, but I might re-do this some time with a guitar or some other real instrument, or try out some drum patterns...

--

The track image is a photo of my setup for this piece, complete with an evil monkey head and the bottom of carved Japanese lampstand.

--

The source audio for this track is part three of the Kenneth Kirschner album June 5, 2012, which features Kirschner on piano and Tawnya Popoff on viola. The album was released in September 2012 on the shskh.com netlabel, where it is available for free download.

More on this 40th Disquiet Junto project at:

http://disquiet.com/2012/10/04/disquiet0040-kirschnerplus1/

More details on the Disquiet Junto at:

Disquiet Junto

More on Kenneth Kirschner at:

www.kennethkirschner.com/]]> 1762622 no no Sun, 07 Oct 2012 21:37:35 +0200 2012-10-07T21:37:35+02:00 10:57 https://hearthis.at/kaboodle-sound/sir-cumference-disquiet0034-theradius/

Assignment:

"This is a shared-sample project. The sample is the opening jingle (or "sound logo") for the excellent Chicago-based series called Radius. The series is broadcast in Chicago at 88.9 FM. Its jingle is titled "Radius loop."

"You will make an original piece of music in which the sample will serve as your sole sound source. Your track will open with the jingle/logo running in full. As it comes to a close, you will segue into an original piece of music built from a transformation of that jingle/logo. You can transform this source audio as you please, but you cannot include any additional sounds.

The jingle/logo, which is just 14 seconds long, can be downloaded from here:

http://theradius.us/about

"Background: The Radius show's goal is "to support work that engages the tonal and public spaces of the electromagnetic spectrum." The goal of this Disquiet Junto project is to explore the idea of a radio show's theme song, its jingle/logo; we'll do this by imagining that the jingle/logo is in fact the subject of such a show's entire content, rather than simply its opening introduction. "


Method:

Cut up the 14 second track into 19 separate samples in Audacity. Fed them all to an Electribe ESX, and played with the parts. No other sounds were used - all sounds were manipulated with combinations of pitch modulation, low-pass filters, delay and cutoff and amp modulation. The finished track was played through a KP3 Kaoss pad, which had a dub-style delay on, fairly low.

This track bears certain similarities with last week's track - I guess I couldn't get the rhythm out of my head.

I wanted to make the track longer, but don't have as much time as I'd like at the moment!

The first 14 seconds of the track are the original loop, at the end of which my track instantly starts.

--

The track image is adapted from this:

http://commons.wikimedia.org/wiki/File:Vl%C4%8D%C3%AD_radius.jpg


--

More details on the Disquiet Junto at:
Disquiet Junto]]>

Assignment:

"This is a shared-sample project. The sample is the opening jingle (or "sound logo") for the excellent Chicago-based series called Radius. The series is broadcast in Chicago at 88.9 FM. Its jingle is titled "Radius loop."

"You will make an original piece of music in which the sample will serve as your sole sound source. Your track will open with the jingle/logo running in full. As it comes to a close, you will segue into an original piece of music built from a transformation of that jingle/logo. You can transform this source audio as you please, but you cannot include any additional sounds.

The jingle/logo, which is just 14 seconds long, can be downloaded from here:

http://theradius.us/about

"Background: The Radius show's goal is "to support work that engages the tonal and public spaces of the electromagnetic spectrum." The goal of this Disquiet Junto project is to explore the idea of a radio show's theme song, its jingle/logo; we'll do this by imagining that the jingle/logo is in fact the subject of such a show's entire content, rather than simply its opening introduction. "


Method:

Cut up the 14 second track into 19 separate samples in Audacity. Fed them all to an Electribe ESX, and played with the parts. No other sounds were used - all sounds were manipulated with combinations of pitch modulation, low-pass filters, delay and cutoff and amp modulation. The finished track was played through a KP3 Kaoss pad, which had a dub-style delay on, fairly low.

This track bears certain similarities with last week's track - I guess I couldn't get the rhythm out of my head.

I wanted to make the track longer, but don't have as much time as I'd like at the moment!

The first 14 seconds of the track are the original loop, at the end of which my track instantly starts.

--

The track image is adapted from this:

http://commons.wikimedia.org/wiki/File:Vl%C4%8D%C3%AD_radius.jpg


--

More details on the Disquiet Junto at:
Disquiet Junto]]> 1762623 no no Mon, 27 Aug 2012 21:40:29 +0200 2012-08-27T21:40:29+02:00 3:17 https://hearthis.at/kaboodle-sound/about-turn-disquiet0033-turntable/
Assignment:

"This week’s project is the Disquiet Junto's 33rd, and since the number 33 (or, more specifically, the number 33 1/3) is so closely tied with the LP turntable, that device will be the primary object of investigation.

"You will make an original piece of music in which all the sounds are derived from a turntable — only from the turntable itself, which means you can't put any vinyl on it. You can knock on the turntable, blow on the needle, record the sound of its internal mechanisms, whatever you like. You can also transform those sounds as you please, but you cannot include any additional sounds. "


Method:

Ran very close to the deadline once again - but I had a decent excuse: my partner gave birth to our son 5 days ago. I made half of this track with him asleep, cradled in one arm.

I used an old Aiwa turntable from a hi-fi semi-separate system which I've had for about 15 years. The needle has been damaged for years, and the turntable out of action. So I didn't mind what happened to it.

I scratched the needle back and forth on the turntable, without any vinyl, bounced the needle up and down, took off the rubber mat and played the needle on the steel platter. I started and stopped the motor several times, tried twanging the rubber band under the platter, and opened and closed the lid a few times. I recorded all of this on a Zoom H4n, using both the phono outputs of the record player and 2 contact mics.

I chopped up the recording in Audacity - into 42 small samples, loaded the chopped up 'hits' into a Korg Electribe ESX, and started constructing the rhythms. The only effects I used were two types of delay. Most of the sounds are basically raw except for the occasional use of low pass filters, some panning and a very small amount of modulation. The beats/drum sounds are mostly the start/stop action of the turntable, and some small, quiet bits of the lid being opened and closed.

Obviously, no vinyl or other sound was used in making this - just the sounds of the turntable itself.

--

The track image is adapted from this:

http://commons.wikimedia.org/wiki/File:Berliner_Gramophone_Company_Montreal_1910.jpgg

--

More details on the Disquiet Junto at:
Disquiet Junto]]>
Assignment:

"This week’s project is the Disquiet Junto's 33rd, and since the number 33 (or, more specifically, the number 33 1/3) is so closely tied with the LP turntable, that device will be the primary object of investigation.

"You will make an original piece of music in which all the sounds are derived from a turntable — only from the turntable itself, which means you can't put any vinyl on it. You can knock on the turntable, blow on the needle, record the sound of its internal mechanisms, whatever you like. You can also transform those sounds as you please, but you cannot include any additional sounds. "


Method:

Ran very close to the deadline once again - but I had a decent excuse: my partner gave birth to our son 5 days ago. I made half of this track with him asleep, cradled in one arm.

I used an old Aiwa turntable from a hi-fi semi-separate system which I've had for about 15 years. The needle has been damaged for years, and the turntable out of action. So I didn't mind what happened to it.

I scratched the needle back and forth on the turntable, without any vinyl, bounced the needle up and down, took off the rubber mat and played the needle on the steel platter. I started and stopped the motor several times, tried twanging the rubber band under the platter, and opened and closed the lid a few times. I recorded all of this on a Zoom H4n, using both the phono outputs of the record player and 2 contact mics.

I chopped up the recording in Audacity - into 42 small samples, loaded the chopped up 'hits' into a Korg Electribe ESX, and started constructing the rhythms. The only effects I used were two types of delay. Most of the sounds are basically raw except for the occasional use of low pass filters, some panning and a very small amount of modulation. The beats/drum sounds are mostly the start/stop action of the turntable, and some small, quiet bits of the lid being opened and closed.

Obviously, no vinyl or other sound was used in making this - just the sounds of the turntable itself.

--

The track image is adapted from this:

http://commons.wikimedia.org/wiki/File:Berliner_Gramophone_Company_Montreal_1910.jpgg

--

More details on the Disquiet Junto at:
Disquiet Junto]]> 1762624 no no Tue, 21 Aug 2012 00:20:59 +0200 2012-08-21T00:20:59+02:00 2:36 https://hearthis.at/kaboodle-sound/the-march-of-progress-disquiet0032-sonicvote/
This track features the mangled voices of several famous politicians (mostly American), Tibetan Buddhist monk chanting, Mongolian throat singing, church bells, coins, a bank machine, bank notes being counted, a mad woman lamenting, children playing, 'The Last Post' played on a trumpet, some screaming, a Japanese political announcement, an african percussion ensemble, a military band, foot stomps, artillery fire, airplanes, helicopters and a cash register. I think, altogether, that this relationship between society, religion, the miltary and, most of all, money sums up the global political system for me at the moment.

I wanted it to 'enjoyable' for fans of military and weird martial-industrial music such as Laibach or Current 93, but also to work as soundscape-cum-commentary. Please note: this track is not just a comment on/reaction to American elections - it's all elections.

Assignment:

"This week's project revisits the concept of the graphic score, something we explored with earlier in project 0019. You will treat the provided image as if it were a musical score. The image can be found at this link:

"http://disquiet.com/wp-content/uploads/2012/08/2012.08-sonicvotetpm.png

"You can use any instrumentation you choose. (You may employ the human voice, but no comprehensible words should be used, just sounds.) The goal is for you to "read" the image as if it were presented as a piece of notated music. You might do this by assigning note values across the page horizontally, or by interpreting it holistically, or by running the image through a piece of software — or by any other systematic approach."


Method:

Kind of messed up this week - went over the alloted track length (of 2 to 4 minutes) by just nearly 6 minutes... Reasons will follow:

Knowing that this was an image relating to an election, I decided to use samples that related, in my mind, to what an election means. The list of samples I used is at the bottom of the text. All were from Freesound, and I chopped them all up into loops, hits and longer sections. The loops and hits I fed into an Electribe ESX.

Next step was to read the score.

I cut up the image into bars (the vertical lines in the image). There were 34 bars in total, so I did some quick calculations, and worked out the BPM that I wanted (74 BPM), which would produce a track of around 3 and half minutes.

However, I messed up. Somehow, I ended up setting the BPM to 113.6 BPM, and using sections of 8 bars in length instead of 1 bar. Dumb. I guess I should have paid more attention. I didn't realise what I'd done until I'd programmed about 3 or 4 sections, at which point I thought "what the Hell" - what I had would no longer fit with 74 BPM or a 1 bar section. Hence the 10 minute running time...

I followed the 'score' by treating the dots as 'voices' or instruments, and the lines as a general reading of intensity. I would have followed the score more closely, but my method meant that I had to interpret the score in a more general way. Each of the 34 'bars' ended up being an 8 bar section on the Electribe, and I followed the dots-as-voices rule strictly until about the 20th bar/section, where it kind of turns more to chaos.

Once the track was assembled on the Electribe, I recorded it on a Zoom H4n, imported it into Audacity, and then added background sections, such as crowd chanting, airplanes, helicopters, political rally voices, some more drums and a few other bits and pieces. My intention was to create a Surround Sound mix, but I didn't have enough time left... Not sure if it would even be playable through Soundcloud anyway...

OK. Hold onto your hat - what follows is a list of all the samples I used from Freesound in making this track. There are a few that are too buried in the mix to really be noticeable, but, apart from perhaps one or two that I lost track of, they're all in there somewhere:


S: alé l'ogyym alé.wav by olive-yeah
S: kids playing soccer in the park, shouting and arguing.aif by Tomlija
S: . . . .. . .Nice.mp3 by olive-yeah
S: Allez.mp3 by olive-yeah
S: noise#01.aif by huubjeroen
S: Step.wav by CGEffex
S: Cardiff fans Oxford Circus tube.wav by LondonSoundSurvey
S: Multi Groan 2.wav by vtownpunks
S: small crowd yelling 'YEAH'.wav by Tomlija
S: scream_group_long.aif by thanvannispen
S: jackals.wav by ERH
S: lyin' to ya 2.wav by ERH
S: ExcessiveExposure.wav by acclivity
S: Hiroshima.wav by ERH
S: regieme.wav by JohnLaVine333
S: the famous Belgrade Police Department chopper flying over the city during 'Belgrade Pride 2010', monitoring the street riots [as seen on various TV networks].aif by Tomlija
S: Antiwar protestor outside Parliament.mp3 by LondonSoundSurvey
S: bells1.wav by sagetyrtle
S: nelsonmandela-freedomforall.wav by ERH
S: PoliteApplause.flac by acclivity
S: Fires of frustration.wav by ERH
S: G.W.Bush - An empire of oppression.wav by m_colon_o
S: cash_register.wav by pierrecartoons1979
S: kumi1#04.aif by djgriffin
S: 3Sometimes_i_Scare_Myself.wav by hello_flowers
S: mass in croatian cathedral.wav by Satoration
S: 20110517.sevilla.demonstration.20.38.wav by dobroide
S: TokyoElectionMessage2001.aif by strawberryviagra
S: 20110517.sevilla.demonstration.20.40.wav by dobroide
S: 00075 bankomat 1.wav by Robinhood76
S: 00125 banknoty wkladanie.wav by Robinhood76
S: 00183 counting a lot of money manually.wav by Robinhood76
S: 01103 banking machine counting.wav by Robinhood76
S: 00637 small coins spilt.wav by Robinhood76
S: 00150 monety wysypywanie 1.wav by Robinhood76
S: cha ching.wav by creek23
S: Single Coin Return.wav by tweeterdj
S: Coin dropping.wav by Jace
S: till beep aldi.aif by happyband
S: SW005.WAV by Koen
S: Last Post 2.wav by Benboncan
S: Last Post 3.wav by Benboncan
S: Last Post.wav by Benboncan
S: 00892 funeral silencium trumpet.wav by Robinhood76
S: churchBellTapeFails.wav by nicStage
S: DommeBells.wav by acclivity
S: Heineken percussion Ensemble before start 005.wav by klankbeeld
S: Heineken percussion Ensemble 008.wav by klankbeeld
S: Heineken percussion Ensemble 009.wav by klankbeeld
S: Heineken percussion Ensemble 0062.wav by klankbeeld
S: Heineken percussion Ensemble 0011.wav by klankbeeld
S: Heineken percussion Ensemble 0061.wav by klankbeeld
S: STE-009 minden market square military marching band.wav by dankopp
S: Ceremonie militaire - Caserne Marceau - Limoges -1996 by ingeos.mp3 by ingeos
S: Symphony Orchestra Warming Up Noisily by blouhond
S: BRASS END IN A 001.wav by sandyrb
S: Military exercise.wav by juskiddink
S: USAT BOMB.wav by sandyrb
S: Nuclear_Alarm.wav by IFartInUrGeneralDirection
S: t128.wav by guitarguy1985
S: carterattack.mp3 by guitarguy1985
S: Warfare drums.wav by jobro
S: Police_Helicopters_SanFrancisco_2003MAR03.mp3 by medialint
S: referee-whistle.wav by Pablo-F
S: One Blast Whistle.wav by tommon
S: Ant Marching Band - Dave Girtsman by blimp66
S: fort.wav by mattbronka
S: MarchingBand.wav by daveincamas
S: lamentations.mp3 by fourbissime
S: 20070402.crowd.flac by dobroide
S: Kirmes_Orgel_004_3_Radetzkimarsch.mp3 by bilwiss
S: Foot Stomp B.wav by patchen
S: Foot Stomp D.wav by patchen
S: Foot Stomp A.wav by patchen
S: Foot Stomp C.wav by patchen
S: brass band metz.mp3 by pmelidis
S: drums.parade.mp3 by dobroide
S: Police sirens.wav by fonogeno
S: brass band and public atmos.flac by klankbeeld
S: marching boots from left to right.wav by klankbeeld
S: marching boots in room.wav by klankbeeld
S: marching boots.wav by klankbeeld
S: Floor_trading5.wav by touchassembly
S: Salut. by urupin
S: cw_monk4.mp3 by cyberworm
S: high low chant.aif by djgriffin
S: tibetan chant 4 colargol 2.aif by djgriffin
S: tibetan chant 1.wav by djgriffin
S: mongolian folk chant.aif by djgriffin
S: solemn.mass.liturgy.20050813.mp3 by dobroide
S: Chant01.wav by chipfork
S: Demon Chant (Latin) by cycro
S: chanting_cultists.wav by Incarnadine
S: evil_incantation.wav by Incarnadine


--

The track image is adapted from this:

http://commons.wikimedia.org/wiki/File:ARS_sheep_herding.jpg

and from this:

http://disquiet.com/wp-content/uploads/2012/08/2012.08-sonicvotetpm.png

--

More details on the Disquiet Junto at:
Disquiet Junto]]>
This track features the mangled voices of several famous politicians (mostly American), Tibetan Buddhist monk chanting, Mongolian throat singing, church bells, coins, a bank machine, bank notes being counted, a mad woman lamenting, children playing, 'The Last Post' played on a trumpet, some screaming, a Japanese political announcement, an african percussion ensemble, a military band, foot stomps, artillery fire, airplanes, helicopters and a cash register. I think, altogether, that this relationship between society, religion, the miltary and, most of all, money sums up the global political system for me at the moment.

I wanted it to 'enjoyable' for fans of military and weird martial-industrial music such as Laibach or Current 93, but also to work as soundscape-cum-commentary. Please note: this track is not just a comment on/reaction to American elections - it's all elections.

Assignment:

"This week's project revisits the concept of the graphic score, something we explored with earlier in project 0019. You will treat the provided image as if it were a musical score. The image can be found at this link:

"http://disquiet.com/wp-content/uploads/2012/08/2012.08-sonicvotetpm.png

"You can use any instrumentation you choose. (You may employ the human voice, but no comprehensible words should be used, just sounds.) The goal is for you to "read" the image as if it were presented as a piece of notated music. You might do this by assigning note values across the page horizontally, or by interpreting it holistically, or by running the image through a piece of software — or by any other systematic approach."


Method:

Kind of messed up this week - went over the alloted track length (of 2 to 4 minutes) by just nearly 6 minutes... Reasons will follow:

Knowing that this was an image relating to an election, I decided to use samples that related, in my mind, to what an election means. The list of samples I used is at the bottom of the text. All were from Freesound, and I chopped them all up into loops, hits and longer sections. The loops and hits I fed into an Electribe ESX.

Next step was to read the score.

I cut up the image into bars (the vertical lines in the image). There were 34 bars in total, so I did some quick calculations, and worked out the BPM that I wanted (74 BPM), which would produce a track of around 3 and half minutes.

However, I messed up. Somehow, I ended up setting the BPM to 113.6 BPM, and using sections of 8 bars in length instead of 1 bar. Dumb. I guess I should have paid more attention. I didn't realise what I'd done until I'd programmed about 3 or 4 sections, at which point I thought "what the Hell" - what I had would no longer fit with 74 BPM or a 1 bar section. Hence the 10 minute running time...

I followed the 'score' by treating the dots as 'voices' or instruments, and the lines as a general reading of intensity. I would have followed the score more closely, but my method meant that I had to interpret the score in a more general way. Each of the 34 'bars' ended up being an 8 bar section on the Electribe, and I followed the dots-as-voices rule strictly until about the 20th bar/section, where it kind of turns more to chaos.

Once the track was assembled on the Electribe, I recorded it on a Zoom H4n, imported it into Audacity, and then added background sections, such as crowd chanting, airplanes, helicopters, political rally voices, some more drums and a few other bits and pieces. My intention was to create a Surround Sound mix, but I didn't have enough time left... Not sure if it would even be playable through Soundcloud anyway...

OK. Hold onto your hat - what follows is a list of all the samples I used from Freesound in making this track. There are a few that are too buried in the mix to really be noticeable, but, apart from perhaps one or two that I lost track of, they're all in there somewhere:


S: alé l'ogyym alé.wav by olive-yeah
S: kids playing soccer in the park, shouting and arguing.aif by Tomlija
S: . . . .. . .Nice.mp3 by olive-yeah
S: Allez.mp3 by olive-yeah
S: noise#01.aif by huubjeroen
S: Step.wav by CGEffex
S: Cardiff fans Oxford Circus tube.wav by LondonSoundSurvey
S: Multi Groan 2.wav by vtownpunks
S: small crowd yelling 'YEAH'.wav by Tomlija
S: scream_group_long.aif by thanvannispen
S: jackals.wav by ERH
S: lyin' to ya 2.wav by ERH
S: ExcessiveExposure.wav by acclivity
S: Hiroshima.wav by ERH
S: regieme.wav by JohnLaVine333
S: the famous Belgrade Police Department chopper flying over the city during 'Belgrade Pride 2010', monitoring the street riots [as seen on various TV networks].aif by Tomlija
S: Antiwar protestor outside Parliament.mp3 by LondonSoundSurvey
S: bells1.wav by sagetyrtle
S: nelsonmandela-freedomforall.wav by ERH
S: PoliteApplause.flac by acclivity
S: Fires of frustration.wav by ERH
S: G.W.Bush - An empire of oppression.wav by m_colon_o
S: cash_register.wav by pierrecartoons1979
S: kumi1#04.aif by djgriffin
S: 3Sometimes_i_Scare_Myself.wav by hello_flowers
S: mass in croatian cathedral.wav by Satoration
S: 20110517.sevilla.demonstration.20.38.wav by dobroide
S: TokyoElectionMessage2001.aif by strawberryviagra
S: 20110517.sevilla.demonstration.20.40.wav by dobroide
S: 00075 bankomat 1.wav by Robinhood76
S: 00125 banknoty wkladanie.wav by Robinhood76
S: 00183 counting a lot of money manually.wav by Robinhood76
S: 01103 banking machine counting.wav by Robinhood76
S: 00637 small coins spilt.wav by Robinhood76
S: 00150 monety wysypywanie 1.wav by Robinhood76
S: cha ching.wav by creek23
S: Single Coin Return.wav by tweeterdj
S: Coin dropping.wav by Jace
S: till beep aldi.aif by happyband
S: SW005.WAV by Koen
S: Last Post 2.wav by Benboncan
S: Last Post 3.wav by Benboncan
S: Last Post.wav by Benboncan
S: 00892 funeral silencium trumpet.wav by Robinhood76
S: churchBellTapeFails.wav by nicStage
S: DommeBells.wav by acclivity
S: Heineken percussion Ensemble before start 005.wav by klankbeeld
S: Heineken percussion Ensemble 008.wav by klankbeeld
S: Heineken percussion Ensemble 009.wav by klankbeeld
S: Heineken percussion Ensemble 0062.wav by klankbeeld
S: Heineken percussion Ensemble 0011.wav by klankbeeld
S: Heineken percussion Ensemble 0061.wav by klankbeeld
S: STE-009 minden market square military marching band.wav by dankopp
S: Ceremonie militaire - Caserne Marceau - Limoges -1996 by ingeos.mp3 by ingeos
S: Symphony Orchestra Warming Up Noisily by blouhond
S: BRASS END IN A 001.wav by sandyrb
S: Military exercise.wav by juskiddink
S: USAT BOMB.wav by sandyrb
S: Nuclear_Alarm.wav by IFartInUrGeneralDirection
S: t128.wav by guitarguy1985
S: carterattack.mp3 by guitarguy1985
S: Warfare drums.wav by jobro
S: Police_Helicopters_SanFrancisco_2003MAR03.mp3 by medialint
S: referee-whistle.wav by Pablo-F
S: One Blast Whistle.wav by tommon
S: Ant Marching Band - Dave Girtsman by blimp66
S: fort.wav by mattbronka
S: MarchingBand.wav by daveincamas
S: lamentations.mp3 by fourbissime
S: 20070402.crowd.flac by dobroide
S: Kirmes_Orgel_004_3_Radetzkimarsch.mp3 by bilwiss
S: Foot Stomp B.wav by patchen
S: Foot Stomp D.wav by patchen
S: Foot Stomp A.wav by patchen
S: Foot Stomp C.wav by patchen
S: brass band metz.mp3 by pmelidis
S: drums.parade.mp3 by dobroide
S: Police sirens.wav by fonogeno
S: brass band and public atmos.flac by klankbeeld
S: marching boots from left to right.wav by klankbeeld
S: marching boots in room.wav by klankbeeld
S: marching boots.wav by klankbeeld
S: Floor_trading5.wav by touchassembly
S: Salut. by urupin
S: cw_monk4.mp3 by cyberworm
S: high low chant.aif by djgriffin
S: tibetan chant 4 colargol 2.aif by djgriffin
S: tibetan chant 1.wav by djgriffin
S: mongolian folk chant.aif by djgriffin
S: solemn.mass.liturgy.20050813.mp3 by dobroide
S: Chant01.wav by chipfork
S: Demon Chant (Latin) by cycro
S: chanting_cultists.wav by Incarnadine
S: evil_incantation.wav by Incarnadine


--

The track image is adapted from this:

http://commons.wikimedia.org/wiki/File:ARS_sheep_herding.jpg

and from this:

http://disquiet.com/wp-content/uploads/2012/08/2012.08-sonicvotetpm.png

--

More details on the Disquiet Junto at:
Disquiet Junto]]> 1762625 no no Mon, 13 Aug 2012 13:37:35 +0200 2012-08-13T13:37:35+02:00 9:42 https://hearthis.at/kaboodle-sound/waves-of-silence-disquiet0030-nonsilent/
Assignment:

"Step 1: Select a segment of recorded sound that would generally be perceived as silent. Examples include: the gap between tracks on a tape cassette or vinyl record, the noise your laptop’s headphone jack emits when nothing is playing, the quietest moment in an MP3, a radio signal when nothing is supposed to be heard.

"Step 2: Amplify or otherwise magnify that supposed absence of sound until it makes a perceivable noise.

"Step 3: Compose, perform, and record a new original piece of music that takes this sound as its sole source material. You can manipulate the original audio as you see fit, but you can’t add other pre-existing audio elements to it."


Method:

I had originally envisaged a good rhythmic beat-fest with this week's project, but everything seems to be an uphill struggle at the moment, and I ran out of time again.

I had an old recording knocking about that had some silence recorded on it, when I didn't realise I'd hit the wrong button and left the thing running. The recording was on a Zoom h4N, and so the silence is the internal digital (?) hiss of that machine.

Using Audacity, I amplified a 4 minute segment of the silence so that it was as loud as it could go without distortion.

I played the track through 2 Korg Mini KP Kaoss pads, a Korg KP3 Kaoss pad, and the effects part of a Roland SP555. I manipulated all the effects live, and recorded the performance back onto the Zoom h4N. The only effects I used were 4 varieties of slicer, so that different parts of the sound were removed at different times as I moved my fingers around the Kaoss pads and the knobs on the SP555. In effect, I was adding silence to the recording of silence (or removing sound from the silence).

I fed the recorded track back into Audacity, and applied a comb filter, a comb slicer, and a sliding pitch shift, both up and down. These 3 tracks I then mixed with the main recorded track to create the resulting track.

I don't really like the track very much, but it's interesting as a way of playing with silence and the concept of silence.

--

Track image adapted from this image:

http://commons.wikimedia.org/wiki/File:Silence_mg_6668.jpg

--

More details on the Disquiet Junto at:
Disquiet Junto]]>
Assignment:

"Step 1: Select a segment of recorded sound that would generally be perceived as silent. Examples include: the gap between tracks on a tape cassette or vinyl record, the noise your laptop’s headphone jack emits when nothing is playing, the quietest moment in an MP3, a radio signal when nothing is supposed to be heard.

"Step 2: Amplify or otherwise magnify that supposed absence of sound until it makes a perceivable noise.

"Step 3: Compose, perform, and record a new original piece of music that takes this sound as its sole source material. You can manipulate the original audio as you see fit, but you can’t add other pre-existing audio elements to it."


Method:

I had originally envisaged a good rhythmic beat-fest with this week's project, but everything seems to be an uphill struggle at the moment, and I ran out of time again.

I had an old recording knocking about that had some silence recorded on it, when I didn't realise I'd hit the wrong button and left the thing running. The recording was on a Zoom h4N, and so the silence is the internal digital (?) hiss of that machine.

Using Audacity, I amplified a 4 minute segment of the silence so that it was as loud as it could go without distortion.

I played the track through 2 Korg Mini KP Kaoss pads, a Korg KP3 Kaoss pad, and the effects part of a Roland SP555. I manipulated all the effects live, and recorded the performance back onto the Zoom h4N. The only effects I used were 4 varieties of slicer, so that different parts of the sound were removed at different times as I moved my fingers around the Kaoss pads and the knobs on the SP555. In effect, I was adding silence to the recording of silence (or removing sound from the silence).

I fed the recorded track back into Audacity, and applied a comb filter, a comb slicer, and a sliding pitch shift, both up and down. These 3 tracks I then mixed with the main recorded track to create the resulting track.

I don't really like the track very much, but it's interesting as a way of playing with silence and the concept of silence.

--

Track image adapted from this image:

http://commons.wikimedia.org/wiki/File:Silence_mg_6668.jpg

--

More details on the Disquiet Junto at:
Disquiet Junto]]> 1762627 no no Mon, 30 Jul 2012 23:48:15 +0200 2012-07-30T23:48:15+02:00 3:48 https://hearthis.at/kaboodle-sound/hits-from-the-g-web-disquiet0029-countzero/
Assignment:

"This week's project is inspired by an aside that occurs at the opening of chapter 17 of William Gibson's classic cyberpunk novel Count Zero, originally published in 1986. The chapter is titled "The Squirrel Wood." It opens as follows:

"The plane had gone to ground near the sound of running water. Turner could hear it, turning in the g-web in his fever or sleep, water down stone, one of the oldest songs."

"This idea of water running down stone, of a gentle but insistent natural stream, being one of the "oldest songs" is explored further in the chapter in various subtle ways. The Disquiet Junto project this week is to explore that idea: that there is music in the natural environment. We'll makes songs from running water.

"The instructions are as follows:

"Step 1: Locate and make a field recording of source material that involves running water. It can be a stream, as in the Gibson book, but it needn't be natural. The sink, a toilet, a hose in the backyard — any such source material would be fine.

"Step 2: Extract a segment of the recording. That segment will serve as the basis for your composition, as its foundation. It will provide both rhythmic and melodic material. You can either use one long piece of the recording, or you can create the foundation of the track by combining and looping one or more brief segments of your original field recording.

"Step 3: Add elements and treatments to the foundation recording of running water. Do so with the intention of highlighting the water's internal sense of rhythm and melody. Do not embellish so much that the foundation recording becomes unrecognizable."


Method:

Been away from the Junto for a few weeks due to moving house and all the associated problems and adventures that entails... only just beat the deadline this week (by 15 minutes!)

Due to lack of time, I used a field recording from 2009/2010 of a river in Culloden Forest, Scotland. There were two recordings of the same river - one with the onboard mic of a Zoom h4N, and one with a pair of hydrophones (bought from Jez Riley French [http://soundcloud.com/jezrileyfrench] - he makes excellent hydrophones and contact mics [see here: http://hydrophones.blogspot.co.uk/ ).

My idea was to make it futuristic (in a 'Gibsonish' way if at all possible), while retaining as much of the watery quality as possible.

I edited, looped and mixed the recordings in Audacity, using one small portion of the hydrophone recording as the looped rhythm. I played the resulting mix through a Sansa Clip, fed into an Artcessories 4 channel splitter/mixer. The four outputs of the splitter were sent to a KP3 Kaoss pad, a Roland SP555, and two mini KP Kaoss pads. The outputs from the three effects units and the sampler were fed into a Behringer 5 channel mixer, and recorded by the Zoom h4N.

I played the effects live ('tape' delay, talk filter, LFO and reverb), and played 3 'hits' on the sampler in and out of time with the rhythm of the recording (the 'hits' being fragments of sound - almost granular samples - from the hydrophone recording).

I mixed the resulting effects track with the original mix in Audacity, and that was it. It took longer to set up the equipment than to play, edit, record and upload...

Not sure I managed to keep enough of the water sound in there, but I enjoyed the process and the feel... will spend a bit more time on the next assignment, hopefully!

--

Track image adapted from this image:

http://commons.wikimedia.org/wiki/File:Rocks_and_water_%28nude%29.jpg

[I couldn't resist this when I searched for "water and rocks" on Wikimedia Commons and this came up - I think it looks like she's listening to the water].

--

More details on the Disquiet Junto at:
Disquiet Junto]]>
Assignment:

"This week's project is inspired by an aside that occurs at the opening of chapter 17 of William Gibson's classic cyberpunk novel Count Zero, originally published in 1986. The chapter is titled "The Squirrel Wood." It opens as follows:

"The plane had gone to ground near the sound of running water. Turner could hear it, turning in the g-web in his fever or sleep, water down stone, one of the oldest songs."

"This idea of water running down stone, of a gentle but insistent natural stream, being one of the "oldest songs" is explored further in the chapter in various subtle ways. The Disquiet Junto project this week is to explore that idea: that there is music in the natural environment. We'll makes songs from running water.

"The instructions are as follows:

"Step 1: Locate and make a field recording of source material that involves running water. It can be a stream, as in the Gibson book, but it needn't be natural. The sink, a toilet, a hose in the backyard — any such source material would be fine.

"Step 2: Extract a segment of the recording. That segment will serve as the basis for your composition, as its foundation. It will provide both rhythmic and melodic material. You can either use one long piece of the recording, or you can create the foundation of the track by combining and looping one or more brief segments of your original field recording.

"Step 3: Add elements and treatments to the foundation recording of running water. Do so with the intention of highlighting the water's internal sense of rhythm and melody. Do not embellish so much that the foundation recording becomes unrecognizable."


Method:

Been away from the Junto for a few weeks due to moving house and all the associated problems and adventures that entails... only just beat the deadline this week (by 15 minutes!)

Due to lack of time, I used a field recording from 2009/2010 of a river in Culloden Forest, Scotland. There were two recordings of the same river - one with the onboard mic of a Zoom h4N, and one with a pair of hydrophones (bought from Jez Riley French [http://soundcloud.com/jezrileyfrench] - he makes excellent hydrophones and contact mics [see here: http://hydrophones.blogspot.co.uk/ ).

My idea was to make it futuristic (in a 'Gibsonish' way if at all possible), while retaining as much of the watery quality as possible.

I edited, looped and mixed the recordings in Audacity, using one small portion of the hydrophone recording as the looped rhythm. I played the resulting mix through a Sansa Clip, fed into an Artcessories 4 channel splitter/mixer. The four outputs of the splitter were sent to a KP3 Kaoss pad, a Roland SP555, and two mini KP Kaoss pads. The outputs from the three effects units and the sampler were fed into a Behringer 5 channel mixer, and recorded by the Zoom h4N.

I played the effects live ('tape' delay, talk filter, LFO and reverb), and played 3 'hits' on the sampler in and out of time with the rhythm of the recording (the 'hits' being fragments of sound - almost granular samples - from the hydrophone recording).

I mixed the resulting effects track with the original mix in Audacity, and that was it. It took longer to set up the equipment than to play, edit, record and upload...

Not sure I managed to keep enough of the water sound in there, but I enjoyed the process and the feel... will spend a bit more time on the next assignment, hopefully!

--

Track image adapted from this image:

http://commons.wikimedia.org/wiki/File:Rocks_and_water_%28nude%29.jpg

[I couldn't resist this when I searched for "water and rocks" on Wikimedia Commons and this came up - I think it looks like she's listening to the water].

--

More details on the Disquiet Junto at:
Disquiet Junto]]> 1762628 no no Tue, 24 Jul 2012 00:43:03 +0200 2012-07-24T00:43:03+02:00 3:02 https://hearthis.at/kaboodle-sound/unscheduled-stop-disquiet0025-skedsong/
[Warning: HEAVY BASS RUMBLE in this track]

Assignment:

"This week's project treats the previous week's (project 24) as its source material. The goal of project 25 is to construct a single track made from audio elements that were initially intended to serve as sonic alerts. The tracks contributed to project 24 included four distinct elements, one each to signify the arrival of an email, the arrival of an IM, the arrival of a phone call, and a calendar event. Please select one or two tracks from project 24 and make a new song by combining their individual parts. Please structure your new song in the form of a day: opening, for example, with an alarm clock, and ending at bedtime. You can add new sounds and you can transform the elements from the pre-existing tracks."


Method:

Well, I tried to do something nice and beat-driven with a selection of samples from last week's project (http://disquiet.com/2012/06/14/disquiet0024-alertsuite/), but I couldn't get anywhere with producing anything I liked.

As I'm moving house next weekend, and have a LOT of other things to sort out, I couldn't spend as much time as I'd have liked to on this. In trying for a quick result, I ended up exclusively using Paulstretch (http://hypermammut.sourceforge.net/paulstretch/) and Audacity.

There were a lot of great tracks to choose from last week. I eventually managed to narrow my choices down to four tracks that I thought I could work with.

I was going to use these, but I couldn't do them justice. Maybe another time:
http://soundcloud.com/thereflectors/call-pop-disquiet0024
http://soundcloud.com/notl/tintinnabuli-tones

But I ended up using samples from these:
http://soundcloud.com/average-alien/disquiet0024-alertsuite
http://soundcloud.com/sighup/prompt

I chopped up all four tracks in Audacity, generating single hits and short samples.

I tried and failed to create some kind of bizarre hip-hop beat on the Korg Electribe ESX. My initial idea was to start with a kind of 'wake up' call and the gradually chill the track out, ending with Westy Reflector's sunny guitar loop. But the beats just weren't working. I should have added extra instruments, but I had wanted to keep this very basic.

Eventually, I became frustrated and irritable and was running out of time, so I decided to just abandon everything, and make something quick and relaxing. The most obvious thing to do was use Paulstretch for a 'quick result'.

For no apparent reason, I decided the track would be 4 minutes and 44 seconds long, so I stretched all of Average Alien and Sighup's samples to that length. The samples were all only a few seconds at most.

The idea is that I would structure the track as an antidote to a stressful, scheduled day. My intention was to build tension in the track and then release it towards the end, but it didn't work out like that. I kind of like the way the alert sounds have been stretched beyond breaking point to make them into something much slower-paced and non-urgent, but it seems like an obvious 'trick'.

I ran some samples backwards, some forwards, some pitched-shifted up or down, some shortened when Paulstretch made the track too long. I ended up mixing 11 different Paulstretch tracks in 6 different ways. I then mixed all 6 mixes with one of the stretched tracks to create the final track.

The irony is, I ended up spending even longer fiddling about with Paulstretch and getting the right sounds (about 2 hours or so) than it would have taken me to finish off the hip-hop style track. Oh well.

I'm sure most people won't find it all that relaxing, but it worked for me. I find listening to Diamanda Galas and Foetus therapeutic, so I guess I'm 'different'...

--

Track image adapted from this image:

http://commons.wikimedia.org/wiki/File:Elderly_Shed.png

(The idea was 'Shed Yule'. Not hilarious, but it was all I had in me.)

[Note to our American 'cousins' - here in Britain, many of us pronouce 'schedule' "shed-yule", and not "sked-yule". It's mostly the 'old school' ('school' pronounced "skool") who say "shed-yule", and those WHO CAN SPEAK PROPER, LIKE.]

--

More details on the Disquiet Junto at:
Disquiet Junto]]>
[Warning: HEAVY BASS RUMBLE in this track]

Assignment:

"This week's project treats the previous week's (project 24) as its source material. The goal of project 25 is to construct a single track made from audio elements that were initially intended to serve as sonic alerts. The tracks contributed to project 24 included four distinct elements, one each to signify the arrival of an email, the arrival of an IM, the arrival of a phone call, and a calendar event. Please select one or two tracks from project 24 and make a new song by combining their individual parts. Please structure your new song in the form of a day: opening, for example, with an alarm clock, and ending at bedtime. You can add new sounds and you can transform the elements from the pre-existing tracks."


Method:

Well, I tried to do something nice and beat-driven with a selection of samples from last week's project (http://disquiet.com/2012/06/14/disquiet0024-alertsuite/), but I couldn't get anywhere with producing anything I liked.

As I'm moving house next weekend, and have a LOT of other things to sort out, I couldn't spend as much time as I'd have liked to on this. In trying for a quick result, I ended up exclusively using Paulstretch (http://hypermammut.sourceforge.net/paulstretch/) and Audacity.

There were a lot of great tracks to choose from last week. I eventually managed to narrow my choices down to four tracks that I thought I could work with.

I was going to use these, but I couldn't do them justice. Maybe another time:
http://soundcloud.com/thereflectors/call-pop-disquiet0024
http://soundcloud.com/notl/tintinnabuli-tones

But I ended up using samples from these:
http://soundcloud.com/average-alien/disquiet0024-alertsuite
http://soundcloud.com/sighup/prompt

I chopped up all four tracks in Audacity, generating single hits and short samples.

I tried and failed to create some kind of bizarre hip-hop beat on the Korg Electribe ESX. My initial idea was to start with a kind of 'wake up' call and the gradually chill the track out, ending with Westy Reflector's sunny guitar loop. But the beats just weren't working. I should have added extra instruments, but I had wanted to keep this very basic.

Eventually, I became frustrated and irritable and was running out of time, so I decided to just abandon everything, and make something quick and relaxing. The most obvious thing to do was use Paulstretch for a 'quick result'.

For no apparent reason, I decided the track would be 4 minutes and 44 seconds long, so I stretched all of Average Alien and Sighup's samples to that length. The samples were all only a few seconds at most.

The idea is that I would structure the track as an antidote to a stressful, scheduled day. My intention was to build tension in the track and then release it towards the end, but it didn't work out like that. I kind of like the way the alert sounds have been stretched beyond breaking point to make them into something much slower-paced and non-urgent, but it seems like an obvious 'trick'.

I ran some samples backwards, some forwards, some pitched-shifted up or down, some shortened when Paulstretch made the track too long. I ended up mixing 11 different Paulstretch tracks in 6 different ways. I then mixed all 6 mixes with one of the stretched tracks to create the final track.

The irony is, I ended up spending even longer fiddling about with Paulstretch and getting the right sounds (about 2 hours or so) than it would have taken me to finish off the hip-hop style track. Oh well.

I'm sure most people won't find it all that relaxing, but it worked for me. I find listening to Diamanda Galas and Foetus therapeutic, so I guess I'm 'different'...

--

Track image adapted from this image:

http://commons.wikimedia.org/wiki/File:Elderly_Shed.png

(The idea was 'Shed Yule'. Not hilarious, but it was all I had in me.)

[Note to our American 'cousins' - here in Britain, many of us pronouce 'schedule' "shed-yule", and not "sked-yule". It's mostly the 'old school' ('school' pronounced "skool") who say "shed-yule", and those WHO CAN SPEAK PROPER, LIKE.]

--

More details on the Disquiet Junto at:
Disquiet Junto]]> 1762629 no no Sun, 24 Jun 2012 20:21:45 +0200 2012-06-24T20:21:45+02:00 4:44 https://hearthis.at/kaboodle-sound/your-country-needs-lerts-disquiet0024-alertsuite/
All of the individual sounds are available for download here:
[Dis] Functional Alert Loops [Your Country Needs Lerts] by DJ Kaboodle.


Assignment:

"This week's project is about "functional music." You will make four individual sounds that serve as alerts for digital communications. They will be in these categories:

1. email arrival
2. incoming phone call
3. new IM received
4. calendar event alert

"The goal is that the four alerts will work together as a suite — that is, that they will complement each other, yet be distinct and recognizable from each other... you'll present these four alert sounds as one single track, repeating each sound a few times."

Method:

I don't like alert bells. I hate them. So, I haven't used an audible bell in years.

Way back in the 90s, when I first got a 'home computer', I quickly tired of Windows' built-in sounds. So I had all sorts of amusing sounds sampled from the Simpsons, Beavis and Butthead and so on - but even these got on my nerves eventually. Then, one day, I hit on the 'novel' idea of having no sound at all.

I think most people working with music eventually opt to turn off all 'alert bells' and similar aural annoyances. There's nothing more irritating than trying to record a track and have an e-mail beep interrupt what would have been a great take...

So the sounds I created were both a reaction to the irritation of the audible alert noises, and what I would use as sounds if I did use audible alerts. Also, they express the irritation that the interruption of e-mails, phone calls, IM messages and appointments often represent.

- For the e-mail arrival noise, I opted for the sound of a 'splat', because that is roughly the sound I imagine a tin of Spam makes when its contents are slopped onto the floor.

- For the incoming phone call, I chose a chainsaw because I find it similarly irritating - and a phone call at a bad time is like a chainsaw to your thoughts.

- For the IM message, I chose heavy breathing, because there are so many perverts, marketeers and other time-wasters who use instant messaging to annoy you even further.

- And for the calender event, I chose a funereal bell, as it represents the hours of your life ticking away (or being stolen away by idiots), until the grim reaper comes to take you away... at least, that's how looking at calendar appointments makes me feel...

Due to time constraints I couldn't create any entirely new sounds, so I found the appropriate sounds at Freesound, adapted, chopped, remixed and edited them, and made them all loop-able. I made them into this simplistic demo, which summarises my feelings and experiences of the 'audible alert', while also showcasing how the sounds may be used together.

--

Track image adapted from these images:

http://content8.flixster.com/photo/11/08/55/11085534_ori.jpg (from the page http://www.rottentomatoes.com/celebrity/spike_milligan/)

http://commons.wikimedia.org/wiki/File:Flag_of_the_United_Kingdom.svg

http://commons.wikimedia.org/wiki/File:%22Be_alert_for_turning_cars%22_-_NARA_-_513925.jpg

http://commons.wikimedia.org/wiki/File:Be_on_alert._Help_prevent_sabotage_by_promptly_reporting_any_suspicious_person_or_act%5E_-_NARA_-_535209.jpg


The gag "Be alert! Your country needs lerts!" was taken from The Goon Show, written mostly by Spike Milligan, who had presumably seen (or contributed to) the war-time graffiti, where the gag was painted on "Be Alert!" posters.

For more on the Goons, check out the following links:

http://www.youtube.com/watch?v=fb14Cstuc34

http://www.thegoonshow.net/

--

More details on the Disquiet Junto at:
Disquiet Junto]]>
All of the individual sounds are available for download here:
[Dis] Functional Alert Loops [Your Country Needs Lerts] by DJ Kaboodle.


Assignment:

"This week's project is about "functional music." You will make four individual sounds that serve as alerts for digital communications. They will be in these categories:

1. email arrival
2. incoming phone call
3. new IM received
4. calendar event alert

"The goal is that the four alerts will work together as a suite — that is, that they will complement each other, yet be distinct and recognizable from each other... you'll present these four alert sounds as one single track, repeating each sound a few times."

Method:

I don't like alert bells. I hate them. So, I haven't used an audible bell in years.

Way back in the 90s, when I first got a 'home computer', I quickly tired of Windows' built-in sounds. So I had all sorts of amusing sounds sampled from the Simpsons, Beavis and Butthead and so on - but even these got on my nerves eventually. Then, one day, I hit on the 'novel' idea of having no sound at all.

I think most people working with music eventually opt to turn off all 'alert bells' and similar aural annoyances. There's nothing more irritating than trying to record a track and have an e-mail beep interrupt what would have been a great take...

So the sounds I created were both a reaction to the irritation of the audible alert noises, and what I would use as sounds if I did use audible alerts. Also, they express the irritation that the interruption of e-mails, phone calls, IM messages and appointments often represent.

- For the e-mail arrival noise, I opted for the sound of a 'splat', because that is roughly the sound I imagine a tin of Spam makes when its contents are slopped onto the floor.

- For the incoming phone call, I chose a chainsaw because I find it similarly irritating - and a phone call at a bad time is like a chainsaw to your thoughts.

- For the IM message, I chose heavy breathing, because there are so many perverts, marketeers and other time-wasters who use instant messaging to annoy you even further.

- And for the calender event, I chose a funereal bell, as it represents the hours of your life ticking away (or being stolen away by idiots), until the grim reaper comes to take you away... at least, that's how looking at calendar appointments makes me feel...

Due to time constraints I couldn't create any entirely new sounds, so I found the appropriate sounds at Freesound, adapted, chopped, remixed and edited them, and made them all loop-able. I made them into this simplistic demo, which summarises my feelings and experiences of the 'audible alert', while also showcasing how the sounds may be used together.

--

Track image adapted from these images:

http://content8.flixster.com/photo/11/08/55/11085534_ori.jpg (from the page http://www.rottentomatoes.com/celebrity/spike_milligan/)

http://commons.wikimedia.org/wiki/File:Flag_of_the_United_Kingdom.svg

http://commons.wikimedia.org/wiki/File:%22Be_alert_for_turning_cars%22_-_NARA_-_513925.jpg

http://commons.wikimedia.org/wiki/File:Be_on_alert._Help_prevent_sabotage_by_promptly_reporting_any_suspicious_person_or_act%5E_-_NARA_-_535209.jpg


The gag "Be alert! Your country needs lerts!" was taken from The Goon Show, written mostly by Spike Milligan, who had presumably seen (or contributed to) the war-time graffiti, where the gag was painted on "Be Alert!" posters.

For more on the Goons, check out the following links:

http://www.youtube.com/watch?v=fb14Cstuc34

http://www.thegoonshow.net/

--

More details on the Disquiet Junto at:
Disquiet Junto]]> 1762630 no no Fri, 15 Jun 2012 16:59:42 +0200 2012-06-15T16:59:42+02:00 0:53 https://hearthis.at/kaboodle-sound/heavy-breathing-alert-loop/
The idea is that this is an 'alert bell' sound to be used for audible alerts on a computer. It can be looped and repeated ad nauseum.

This track is a remix of the following samples from Freesound:

http://www.freesound.org/people/samule44/sounds/96023/
http://www.freesound.org/people/GB01/sounds/142643/
http://www.freesound.org/people/GB01/sounds/152818/

The track image is adapted from this one:
http://content8.flixster.com/photo/11/08/55/11085534_ori.jpg
found on this page:
http://www.rottentomatoes.com/celebrity/spike_milligan/]]>
The idea is that this is an 'alert bell' sound to be used for audible alerts on a computer. It can be looped and repeated ad nauseum.

This track is a remix of the following samples from Freesound:

http://www.freesound.org/people/samule44/sounds/96023/
http://www.freesound.org/people/GB01/sounds/142643/
http://www.freesound.org/people/GB01/sounds/152818/

The track image is adapted from this one:
http://content8.flixster.com/photo/11/08/55/11085534_ori.jpg
found on this page:
http://www.rottentomatoes.com/celebrity/spike_milligan/]]> 1762632 no no Fri, 15 Jun 2012 16:30:52 +0200 2012-06-15T16:30:52+02:00 0:04 https://hearthis.at/kaboodle-sound/chainsaw-alert-loop/
The idea is that this is an 'alert bell' sound to be used for audible alerts on a computer. It can be looped and repeated ad nauseum.

This track is an excerpt and remix of the following sample from Freesound:

http://www.freesound.org/people/theTone/sounds/77945/

The track image is adapted from this one:
http://content8.flixster.com/photo/11/08/55/11085534_ori.jpg
found on this page:
http://www.rottentomatoes.com/celebrity/spike_milligan/]]>
The idea is that this is an 'alert bell' sound to be used for audible alerts on a computer. It can be looped and repeated ad nauseum.

This track is an excerpt and remix of the following sample from Freesound:

http://www.freesound.org/people/theTone/sounds/77945/

The track image is adapted from this one:
http://content8.flixster.com/photo/11/08/55/11085534_ori.jpg
found on this page:
http://www.rottentomatoes.com/celebrity/spike_milligan/]]> 1762633 no no Fri, 15 Jun 2012 16:23:00 +0200 2012-06-15T16:23:00+02:00 0:05 https://hearthis.at/kaboodle-sound/funeral-bell-alert-loop/
The idea is that this is an 'alert bell' sound to be used for audible alerts on a computer. It can be looped and repeated ad nauseum.

This track is a remix of the following samples from Freesound:

http://www.freesound.org/people/Schalkalwis/sounds/37311/
http://www.freesound.org/people/piet.candeel@pandora.be/sounds/123810/

The track image is adapted from this one:
http://content8.flixster.com/photo/11/08/55/11085534_ori.jpg
found on this page:
http://www.rottentomatoes.com/celebrity/spike_milligan/
]]>
The idea is that this is an 'alert bell' sound to be used for audible alerts on a computer. It can be looped and repeated ad nauseum.

This track is a remix of the following samples from Freesound:

http://www.freesound.org/people/Schalkalwis/sounds/37311/
http://www.freesound.org/people/piet.candeel@pandora.be/sounds/123810/

The track image is adapted from this one:
http://content8.flixster.com/photo/11/08/55/11085534_ori.jpg
found on this page:
http://www.rottentomatoes.com/celebrity/spike_milligan/
]]> 1762634 no no Fri, 15 Jun 2012 16:01:06 +0200 2012-06-15T16:01:06+02:00 0:06 https://hearthis.at/kaboodle-sound/primal-chaos-on-the-edge-of-oblivion-disquiet0023-palindrone/
Thanks to Mystified (aka Thomas Park) for the wonderful samples. [http://mystified.bandcamp.com/album/various-wind-instrument-drone-samples and http://archive.org/details/Junto_23_Samples]

See also: http://www.mystifiedmusic.com/

Assignment:

"This week's project is about drones, a pervasive undercurrent in contemporary music. Whatever your definition of "drone," you will compose a piece of drone music using five of the provided source tracks. These source tracks are a series of drones made by Mystified (aka Thomas Park) from such analog instruments as kazoo, bottle, slide whistle, and didgeridoo. There are 20 source tracks in all, and you will select 5 for your piece. You cannot add any new sounds, but you can transform the provided ones as you wish.

"Your drone will take the form of a palindrome. This is to say: once the track reaches its midpoint its structure will then continue to unfold as a mirror, or reverse, of its first half. As always, these instructions are intended as a starting point, and are open to interpretation. "


Method:

I don't normally discuss my religious beliefs in public, largely because there are a lot of prejudices and misconceptions, and it makes people uncomfortable. Also, a lot of it doesn't make a great deal of sense to those who are still 'endarkened'.

However, this is a special occasion. 23 is a Holy Number in my religion, and, this being the 23rd Junto assignment, I felt it necessary to honour my Goddess - Eris, Our Lady of Discord - with this Sacred Chaos Drone.

Five is also a special and sacred number:

"The Law of Fives is one of the oldest Erisian Mysterees... And POEE [PARATHEO-ANAMETAMYSTIKHOOD OF ERIS ESOTERIC] also recognizes the holy 23 (2+3=5) that is incorporated by Episkopos Dr. Mordecai Malignatus, KNS, into his Discordian sect, The Ancient Illuminated Seers of Bavaria.

"The Law of Fives states simply that: ALL THINGS HAPPEN IN FIVES, OR ARE DIVISIBLE BY OR ARE MULTIPLES OF FIVE, OR ARE SOMEHOW DIRECTLY OR INDIRECTLY APPROPRIATE TO 5.

"The Law of Fives is never wrong."

[from the Principia Discordia - http://principiadiscordia.com/book/23.php ←←← note the page number]

I started contributing to the Disquiet Junto on the 5th week/assignment.

And we had to choose 5 samples on this 23rd assignment, thus proving that "The Law of Fives is never wrong."

After playing around with the 20 samples, I finally chose the following to work with:

02_Bottle2
07_Didg3a
10_Didg
12_Kazoo2
18_Slidewhistle3

I decided to stick to the 5 and 23 concept religiously.

[WARNING: very simplistic use of mathematics ahead]

(23x23)-(23x5)=414

414/2=207

I time-stretched the 5 samples to exactly 207 seconds, for what will become obvious reasons.

I played two samples at a time, using Mixxx (DJing software) on an Acer laptop running Debian Linux. I fed the two samples through three Kaoss pads (two Mini KPs feeding into one KP3). [2 and 3 relating to 23 again].

On the Mini KP Kaoss pads, I made good use of effect number 23 (pitch shift + delay), and I had the BPM set at 115 (23x5=115). I also used various delays, the talk filter, fuzz distortion and filters.

The Kaoss pads were fed into a Behriger DJ mixer, and, when I wasn't playing the Kaoss pads, I played with the EQ settings on both the Behringer mixer and the ones built in to the Mixxx software.

I did this 10 times, resulting in 10 files, each with two samples mixed together through effects. (I would have done it 23 times, but hey, life's too short, and at least it's a multiple of 5).

Obviously, all effects and EQ settings were applied live.

I opened the 10 mixed files in Ardour (Digital Audio Workstation), and carefully adjusted the levels and pan settings. I had five core files that formed the centre of the track. The other five files were to be less prominent in the mix.

I applied fade envelopes to all the files, with the tracks fading in and out at intervals of 23 seconds, or multiple of 23 seconds (46 seconds, 69 seconds, etc.) The five 'core' files faded out only to -23dB so that they were still just about audible, while the other five files faded to silence.

I exported the mix, and opened the resulting file in Audacity. As the delay effects I'd used had resulted in the file being slightly longer than 207 seconds, I chopped the file off at exactly 207 seconds. I then copied the file, reversed it, and glued it on the end. I adjusted the transition so that it seemed seamless, but the resulting track was a little short of the planned 414 seconds (about 0.97 seconds). So I time-stretched it to exactly 414 seconds, and palindromic drone was complete. I think it looks a little like a bat, or a Rorschach test.

The title of the track relates to this passage from the Principia Discordia:

"1. Before the beginning was the Nonexistent Chao, balanced in Oblivion by the Perfect Counterpushpull of the Hodge and the Podge.

"2. Whereupon, by an Act of Happenstance, the Hodge began gradually to overpower the Podge -- and the Primal Chaos thereby came to be.

"3. So in the beginning was the Primal Chaos, balanced on the Edge of Oblivion by the Perfect Counterpullpush of the Podge and the Hodge.

"4. Whereupon, by the Law of Negative Reversal,** the Podge swiftly underpowered the Hodge and Everything broke loose.

"5. And therein emerged the Active Force of Discord, the Subtle Manifestation of the Nonexistent Chao, to guide Everything along the Path back to Oblivion - that it might not become lost among Precepts of Order in the Region of Thud.

"6. Forasmuch as it was Active, the Force of Discord entered the State of Confusion, wherein It copulated with the Queen and begat ERIS, Our Lady of Discord and Gross Manifestation of the Nonexistent Chao."

[from THE BOOK OF UTERUS, from The Honest Book of Truth revealed to Lord Omar, Principia Discordia (http://principiadiscordia.com/book/51.php)]


The track image adapted from these two images:
http://en.wikipedia.org/wiki/File:Sacred-Chao.svg
http://en.wikipedia.org/wiki/File:Michaelpalinnightingale.jpg

I find it disturbing how much the warped image of Michael Palin looks like John Hurt.

[as a Discordian, it was EXTREMELY IMPORTANT to me to get a reference to beloved comedian and traveller Michael Palin in here, as the title of this weeks Junto assignment was 'Palindrone']

NB: Contrary to some people's conception, Discordianism is not a joke religion, but it is a joke about religion and it does take religion as a joke. As a religion, it is completely serious (maybe).

Ahem.

Hail Eris!

--

Samples courtesy of Mystified, aka frequent Disquiet Junto participant Thomas Park:

http://archive.org/details/Junto_23_Samples

[see also: http://www.mystifiedmusic.com/ and http://mystified.bandcamp.com/album/various-wind-instrument-drone-samples]

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/info

For more details on Discordianism, consult your pineal gland.]]>
Thanks to Mystified (aka Thomas Park) for the wonderful samples. [http://mystified.bandcamp.com/album/various-wind-instrument-drone-samples and http://archive.org/details/Junto_23_Samples]

See also: http://www.mystifiedmusic.com/

Assignment:

"This week's project is about drones, a pervasive undercurrent in contemporary music. Whatever your definition of "drone," you will compose a piece of drone music using five of the provided source tracks. These source tracks are a series of drones made by Mystified (aka Thomas Park) from such analog instruments as kazoo, bottle, slide whistle, and didgeridoo. There are 20 source tracks in all, and you will select 5 for your piece. You cannot add any new sounds, but you can transform the provided ones as you wish.

"Your drone will take the form of a palindrome. This is to say: once the track reaches its midpoint its structure will then continue to unfold as a mirror, or reverse, of its first half. As always, these instructions are intended as a starting point, and are open to interpretation. "


Method:

I don't normally discuss my religious beliefs in public, largely because there are a lot of prejudices and misconceptions, and it makes people uncomfortable. Also, a lot of it doesn't make a great deal of sense to those who are still 'endarkened'.

However, this is a special occasion. 23 is a Holy Number in my religion, and, this being the 23rd Junto assignment, I felt it necessary to honour my Goddess - Eris, Our Lady of Discord - with this Sacred Chaos Drone.

Five is also a special and sacred number:

"The Law of Fives is one of the oldest Erisian Mysterees... And POEE [PARATHEO-ANAMETAMYSTIKHOOD OF ERIS ESOTERIC] also recognizes the holy 23 (2+3=5) that is incorporated by Episkopos Dr. Mordecai Malignatus, KNS, into his Discordian sect, The Ancient Illuminated Seers of Bavaria.

"The Law of Fives states simply that: ALL THINGS HAPPEN IN FIVES, OR ARE DIVISIBLE BY OR ARE MULTIPLES OF FIVE, OR ARE SOMEHOW DIRECTLY OR INDIRECTLY APPROPRIATE TO 5.

"The Law of Fives is never wrong."

[from the Principia Discordia - http://principiadiscordia.com/book/23.php ←←← note the page number]

I started contributing to the Disquiet Junto on the 5th week/assignment.

And we had to choose 5 samples on this 23rd assignment, thus proving that "The Law of Fives is never wrong."

After playing around with the 20 samples, I finally chose the following to work with:

02_Bottle2
07_Didg3a
10_Didg
12_Kazoo2
18_Slidewhistle3

I decided to stick to the 5 and 23 concept religiously.

[WARNING: very simplistic use of mathematics ahead]

(23x23)-(23x5)=414

414/2=207

I time-stretched the 5 samples to exactly 207 seconds, for what will become obvious reasons.

I played two samples at a time, using Mixxx (DJing software) on an Acer laptop running Debian Linux. I fed the two samples through three Kaoss pads (two Mini KPs feeding into one KP3). [2 and 3 relating to 23 again].

On the Mini KP Kaoss pads, I made good use of effect number 23 (pitch shift + delay), and I had the BPM set at 115 (23x5=115). I also used various delays, the talk filter, fuzz distortion and filters.

The Kaoss pads were fed into a Behriger DJ mixer, and, when I wasn't playing the Kaoss pads, I played with the EQ settings on both the Behringer mixer and the ones built in to the Mixxx software.

I did this 10 times, resulting in 10 files, each with two samples mixed together through effects. (I would have done it 23 times, but hey, life's too short, and at least it's a multiple of 5).

Obviously, all effects and EQ settings were applied live.

I opened the 10 mixed files in Ardour (Digital Audio Workstation), and carefully adjusted the levels and pan settings. I had five core files that formed the centre of the track. The other five files were to be less prominent in the mix.

I applied fade envelopes to all the files, with the tracks fading in and out at intervals of 23 seconds, or multiple of 23 seconds (46 seconds, 69 seconds, etc.) The five 'core' files faded out only to -23dB so that they were still just about audible, while the other five files faded to silence.

I exported the mix, and opened the resulting file in Audacity. As the delay effects I'd used had resulted in the file being slightly longer than 207 seconds, I chopped the file off at exactly 207 seconds. I then copied the file, reversed it, and glued it on the end. I adjusted the transition so that it seemed seamless, but the resulting track was a little short of the planned 414 seconds (about 0.97 seconds). So I time-stretched it to exactly 414 seconds, and palindromic drone was complete. I think it looks a little like a bat, or a Rorschach test.

The title of the track relates to this passage from the Principia Discordia:

"1. Before the beginning was the Nonexistent Chao, balanced in Oblivion by the Perfect Counterpushpull of the Hodge and the Podge.

"2. Whereupon, by an Act of Happenstance, the Hodge began gradually to overpower the Podge -- and the Primal Chaos thereby came to be.

"3. So in the beginning was the Primal Chaos, balanced on the Edge of Oblivion by the Perfect Counterpullpush of the Podge and the Hodge.

"4. Whereupon, by the Law of Negative Reversal,** the Podge swiftly underpowered the Hodge and Everything broke loose.

"5. And therein emerged the Active Force of Discord, the Subtle Manifestation of the Nonexistent Chao, to guide Everything along the Path back to Oblivion - that it might not become lost among Precepts of Order in the Region of Thud.

"6. Forasmuch as it was Active, the Force of Discord entered the State of Confusion, wherein It copulated with the Queen and begat ERIS, Our Lady of Discord and Gross Manifestation of the Nonexistent Chao."

[from THE BOOK OF UTERUS, from The Honest Book of Truth revealed to Lord Omar, Principia Discordia (http://principiadiscordia.com/book/51.php)]


The track image adapted from these two images:
http://en.wikipedia.org/wiki/File:Sacred-Chao.svg
http://en.wikipedia.org/wiki/File:Michaelpalinnightingale.jpg

I find it disturbing how much the warped image of Michael Palin looks like John Hurt.

[as a Discordian, it was EXTREMELY IMPORTANT to me to get a reference to beloved comedian and traveller Michael Palin in here, as the title of this weeks Junto assignment was 'Palindrone']

NB: Contrary to some people's conception, Discordianism is not a joke religion, but it is a joke about religion and it does take religion as a joke. As a religion, it is completely serious (maybe).

Ahem.

Hail Eris!

--

Samples courtesy of Mystified, aka frequent Disquiet Junto participant Thomas Park:

http://archive.org/details/Junto_23_Samples

[see also: http://www.mystifiedmusic.com/ and http://mystified.bandcamp.com/album/various-wind-instrument-drone-samples]

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/info

For more details on Discordianism, consult your pineal gland.]]> 1762635 no no Sun, 10 Jun 2012 12:02:49 +0200 2012-06-10T12:02:49+02:00 6:54 https://hearthis.at/kaboodle-sound/bass-apocalypse-disquiet0022-sonicdecay/
Equipment used: (some cheap, semi-shitty, and some decent stuff)
- a modifed Tanglewood Stratocaster copy with a sitar bridge
- an E-bow
- an old Panasonic tape recorder
- a Behringer bass amp
- a Digitech multi-effects pedal
- a Behringer DI box
- a guitar slide

I recorded over a cassette tape of 'The Very Best of Dollar' which was already in bad condition and very old when I bought it for 10p in a charity shop several years ago. To erase all trace of Dollar, I recorded feedback fed through a flanger first, and then recorded this guitar work with slide and E-bow.

As any guitarist can tell, I am not a guitarist. This is just an experimental piece that was going to be mangled to death. But I kind of liked it, so I stuck it up here.

The guitar sounds so low because the Digitech effects pedal was set to make the sound an octave lower. Also, I tune my guitar to 432hz instead of the usual 440, just for the Hell of it. And my guitar is tuned to DADAAD instead of EADGBE.

I messed about with the recording in Audacity, multi-tracking the guitar and pitching it down even further in the left and right channels. Also, I cut out about 2 minutes worth of guitar wankery because it was just too embarrassing. Other than that, it's one take, near enough left alone apart from what I just explained...

If you fancy remixing it or adding more instruments, go ahead - just let me know what you did with it. I'll probably do something else with it myself.

The track image is adapted from this one:
http://commons.wikimedia.org/wiki/File:DEMON_MASK.jpg]]>
Equipment used: (some cheap, semi-shitty, and some decent stuff)
- a modifed Tanglewood Stratocaster copy with a sitar bridge
- an E-bow
- an old Panasonic tape recorder
- a Behringer bass amp
- a Digitech multi-effects pedal
- a Behringer DI box
- a guitar slide

I recorded over a cassette tape of 'The Very Best of Dollar' which was already in bad condition and very old when I bought it for 10p in a charity shop several years ago. To erase all trace of Dollar, I recorded feedback fed through a flanger first, and then recorded this guitar work with slide and E-bow.

As any guitarist can tell, I am not a guitarist. This is just an experimental piece that was going to be mangled to death. But I kind of liked it, so I stuck it up here.

The guitar sounds so low because the Digitech effects pedal was set to make the sound an octave lower. Also, I tune my guitar to 432hz instead of the usual 440, just for the Hell of it. And my guitar is tuned to DADAAD instead of EADGBE.

I messed about with the recording in Audacity, multi-tracking the guitar and pitching it down even further in the left and right channels. Also, I cut out about 2 minutes worth of guitar wankery because it was just too embarrassing. Other than that, it's one take, near enough left alone apart from what I just explained...

If you fancy remixing it or adding more instruments, go ahead - just let me know what you did with it. I'll probably do something else with it myself.

The track image is adapted from this one:
http://commons.wikimedia.org/wiki/File:DEMON_MASK.jpg]]> 1762637 no no Fri, 01 Jun 2012 21:37:46 +0200 2012-06-01T21:37:46+02:00 9:13 https://hearthis.at/kaboodle-sound/unseasoned-disquiet0021-4seasons/
Assignment:

"For this project you will employ four distinct samples. Each sample will individually represent one of the four seasons: spring, summer,autumn, winter. You will either construct your own field recordings to represent these seasons, [... or use] provided samples.

"Once you have collected your four samples, you will construct one single track from them. The track will be between two and four minutes in length. Each of the four seasonal samples will be highlighted insequence for one quarter the length of your track, and there should be discernible transitions between the four segments — that is to say,each sample/season should slowly transform into the next. The underlying sonic bed should be constructed only from the four samples in combination — and in that role, they can be transformed as much as you desire. There should be no additional sounds. While a given sample is in the foreground (that is, during its prominent quarter of the overall track) it should remain at least somewhat recognizable."

Method:

I decided to keep this one fairly simple, as I was pushed for time.

My aim was to evoke the cycle of the year as being a continuous, fluid movement, with separate defined sections that share many features. (For example, it is windy in Autumn and Winter, ice forms in Winter andmelts in Spring, it rains in Spring and is stormy in Summer, etc.)

I used four of my own original samples (all recorded in the Highlands of Scotland) - in the order they appear in the track, they are:

- Spring: birds, barking dog and stream recorded in Culloden woods at the end of March 2011
- Summer: contact mic recording of a thunder storm, near Inverness, July 2011. (Contact mics taped to a window).
- Autumn: wind at the edge of cliffs, recorded near Durness April 2011 (didn't have any recordings I wanted that were recorded in Autumn)
- Winter: logs crackling in a fireplace, Moray, April 2012 (it was snowing outside, and just like Winter)

All recordings made on a Zoom h4N, using the internal mic and Jez Riley French's superb contact mics. (See http://hydrophones.blogspot.co.uk/and http://soundcloud.com/jezrileyfrench)

I was originally going to use a recording of ice melting in a drainpipe (recorded with Jez Riley hydrophones) for the Winter section, butI preferred the feeling and statement of the crackling fire.

In Audacity, I chopped the samples into 55 second slices. I manipulated them slightly so that the transitions were noticeable but still fairly smooth. I slowed them down a little in the last 5 seconds, and applied fade-ins and fade-outs.

Next, I assembled a 'sonic bed' from the four 55 second samples by time-stretching them to the length of the 4 samples blended together (2 minutes and 55 seconds). I also layered them in various other ways, creating an (unnecessarily) complex background - a mixture of mono and stereo, pitch-shifted, time-stretched and reversed mixes and layers.

Lastly, I pasted the main mix of the four samples flowing into one another over the top of the 'sonic bed'.

Not sure I like the 'sonic bed', but the rest of it is reasonably satisfying to me. I think this track/concept would work much better over the course/length of an album.

The track image was adapted slightly from this one: http://commons.wikimedia.org/wiki/File:Four_seasons.jpg

--

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto]]>
Assignment:

"For this project you will employ four distinct samples. Each sample will individually represent one of the four seasons: spring, summer,autumn, winter. You will either construct your own field recordings to represent these seasons, [... or use] provided samples.

"Once you have collected your four samples, you will construct one single track from them. The track will be between two and four minutes in length. Each of the four seasonal samples will be highlighted insequence for one quarter the length of your track, and there should be discernible transitions between the four segments — that is to say,each sample/season should slowly transform into the next. The underlying sonic bed should be constructed only from the four samples in combination — and in that role, they can be transformed as much as you desire. There should be no additional sounds. While a given sample is in the foreground (that is, during its prominent quarter of the overall track) it should remain at least somewhat recognizable."

Method:

I decided to keep this one fairly simple, as I was pushed for time.

My aim was to evoke the cycle of the year as being a continuous, fluid movement, with separate defined sections that share many features. (For example, it is windy in Autumn and Winter, ice forms in Winter andmelts in Spring, it rains in Spring and is stormy in Summer, etc.)

I used four of my own original samples (all recorded in the Highlands of Scotland) - in the order they appear in the track, they are:

- Spring: birds, barking dog and stream recorded in Culloden woods at the end of March 2011
- Summer: contact mic recording of a thunder storm, near Inverness, July 2011. (Contact mics taped to a window).
- Autumn: wind at the edge of cliffs, recorded near Durness April 2011 (didn't have any recordings I wanted that were recorded in Autumn)
- Winter: logs crackling in a fireplace, Moray, April 2012 (it was snowing outside, and just like Winter)

All recordings made on a Zoom h4N, using the internal mic and Jez Riley French's superb contact mics. (See http://hydrophones.blogspot.co.uk/and http://soundcloud.com/jezrileyfrench)

I was originally going to use a recording of ice melting in a drainpipe (recorded with Jez Riley hydrophones) for the Winter section, butI preferred the feeling and statement of the crackling fire.

In Audacity, I chopped the samples into 55 second slices. I manipulated them slightly so that the transitions were noticeable but still fairly smooth. I slowed them down a little in the last 5 seconds, and applied fade-ins and fade-outs.

Next, I assembled a 'sonic bed' from the four 55 second samples by time-stretching them to the length of the 4 samples blended together (2 minutes and 55 seconds). I also layered them in various other ways, creating an (unnecessarily) complex background - a mixture of mono and stereo, pitch-shifted, time-stretched and reversed mixes and layers.

Lastly, I pasted the main mix of the four samples flowing into one another over the top of the 'sonic bed'.

Not sure I like the 'sonic bed', but the rest of it is reasonably satisfying to me. I think this track/concept would work much better over the course/length of an album.

The track image was adapted slightly from this one: http://commons.wikimedia.org/wiki/File:Four_seasons.jpg

--

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto]]> 1762638 no no Fri, 25 May 2012 23:18:10 +0200 2012-05-25T23:18:10+02:00 2:55 https://hearthis.at/kaboodle-sound/rooftop-chase-disquiet0019-rojiura/ "You can use any instrumentation you choose. The goal is for you to "read" the image as if it were presented as a piece of notated music. You might do this by assigning note values across the page horizontally, or by interpreting it holistically, or by running the image through a piece of software — or by any other systematic approach. "
This track treats a photo by Yojiro Imasaka as its score. More on Imasaka at http://yojiroimasaka.com. (I subtly adapted the photograph for the Soundcloud track image).More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto--MethodI approached the photograph in several ways:Firstly, as a simple guide to the sounds - so I decided to use the sounds of pipes, wires, a fire escape, an alleyway and so on.Secondly, I saw the photograph as a map of the music - the pipes and window frames (or whatever they are) and fire escape all recede into the distance, for example.Thirdly, I viewed the photograph as providing the tone and atmosphere of the track.Essentially, I tried to get as much information from the photograph as possible in order to use it to its fullest as a piece of graphical notation.I decided the photograph evoked, for me, something of a rooftop chase scene from a film.So I downloaded what is probably best described as a shitload of samples from Freesound.I chopped up and re-edited all of the samples in Audacity, and created a percussion track with some of them on a Korg Electribe SX. I created a background 'alleyway ambience' with about 30 samples, using Ardour (DAW) on Debian Linux. I chopped up the output of the Electribe in Audacity, and, using Ardour again, I arranged and mixed the percussive audio with the 'alleyway ambience' I had created.My idea was to re-create an audio version of the classic film/movie rooftop chase scene, but only using the sounds that I associated with this photograph of this alleyway.All sounds in this track are from the following samples:
- a few elements from each of the following packs were used:
P: street ambience by bulbastre
P: footsteps on pavement by bulbastre
P: remains by klankbeeld
P: Trashscape Project by SunnySideSound
P: walking percussion by edwin_p_manchester
P: Metal by RutgerMuller
P: Metal by dheming
- and all of the following individual samples were used:

S: 148795__mentalsanityoff__footsteps-solid-wood-female-barefoot-running HUM Removed.wav by hubyduby
S: FOLEY_Footsteps_Metal_001.wav by conleec
S: RUNNING_Two_People.wav by Tdude9000
S: Running_Boots_on_Pavement.wav by Tdude9000
S: Running_Kid_Heavy_Footsteps.wav by Tdude9000
S: running sounds by zombiechaser3
S: Footsteps On Metal.mp3 by nickb1608
S: 03251 running on dirt path.wav by Robinhood76
S: Running Footsteps.wav by jspath1
S: 1 man running on pavement.wav by bulbastre
S: Run basement 08.wav by LG
S: Run basement 06.wav by LG
S: Run basement 03.wav by LG
S: Run basement 05.wav by LG
S: Run basement 07.wav by LG
S: Run basement 04.wav by LG
S: footsteps.flac by Streety
S: 20070922.running.wav by dobroide
S: MoroccanMorning.mp3 by acclivity
S: Run basement 01.wav by LG
S: Run basement 02.wav by LG
S: running hard surface.wav by bevangoldswain
S: 20 hn_footstepsConcreteHH.wav by cmusounddesign
S: light_crate_smash2.wav by Srehpog
S: light_crate_smash1.wav by Srehpog
S: boxes_falling_down_stairs_01.wav by joedeshon
S: 49-2 boxes.wav by FreqMan
S: box falls.wav by FreqMan
S: Hunk's revolver by Ty Ford
S: garage-broken-glass.aif by alienistcog
S: garage-broken-glass2.aif by alienistcog
S: light_crate_smash3.wav by Srehpog
S: AE0092 Volvo 740 GLE handbrake turn 03.flac by audible-edge
S: Nissan Maxima burnout (04-25-2009).wav by audible-edge
S: AE0090 Volvo 740 GLE handbrake turn 01.flac by audible-edge
S: noyerdumpster2_short.wav by bsumusictech
S: engine_close.aif by jacobsteel
S: garbage_truck.wav by Corsica_S
S: plastic box blown 01.wav by klankbeeld
S: Recycling Truck.wav by snowdome
S: Winter wind whistling through window.mp3 by audible-edge
S: Back Alley in London (night:traffic).wav by Walter_Odington
S: City_Alley.aif by amszala
S: whislingwind.WAV by stomachache
S: UoA_PJ120202_HighStAlleyEch.wav by clt008
S: object falls (5).wav by FreqMan
S: aircleaner_hum_noise_coronaldischarge.wav by sarana
S: metal pylons.wav by Kyster
S: Metal Pressure Meter Scraped.aif by RutgerMuller
S: Medium_Steel_Pipe_On_Concrete_1.wav by dheming
S: Spring 2004 rain & thunder 02.wav by jakeharries
S: Fire Escape AMB.wav by semccab
S: City Fire Escape Ambience Quiet Distant Voices.wav by mzui
S: Metal Fire Escape.wav by Razzvio
Perhaps needless to say, but I generated enough material to score an entire film - at some point, I will try and make an album following the same theme...Oh, and the beat really is 66.6 BPM; I programmed half of the percussion in triple time, and the rest in double time. I also used a 'swing' setting of 66, just to keep things consistent.

]]> "You can use any instrumentation you choose. The goal is for you to "read" the image as if it were presented as a piece of notated music. You might do this by assigning note values across the page horizontally, or by interpreting it holistically, or by running the image through a piece of software — or by any other systematic approach. "
This track treats a photo by Yojiro Imasaka as its score. More on Imasaka at http://yojiroimasaka.com. (I subtly adapted the photograph for the Soundcloud track image).More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto--MethodI approached the photograph in several ways:Firstly, as a simple guide to the sounds - so I decided to use the sounds of pipes, wires, a fire escape, an alleyway and so on.Secondly, I saw the photograph as a map of the music - the pipes and window frames (or whatever they are) and fire escape all recede into the distance, for example.Thirdly, I viewed the photograph as providing the tone and atmosphere of the track.Essentially, I tried to get as much information from the photograph as possible in order to use it to its fullest as a piece of graphical notation.I decided the photograph evoked, for me, something of a rooftop chase scene from a film.So I downloaded what is probably best described as a shitload of samples from Freesound.I chopped up and re-edited all of the samples in Audacity, and created a percussion track with some of them on a Korg Electribe SX. I created a background 'alleyway ambience' with about 30 samples, using Ardour (DAW) on Debian Linux. I chopped up the output of the Electribe in Audacity, and, using Ardour again, I arranged and mixed the percussive audio with the 'alleyway ambience' I had created.My idea was to re-create an audio version of the classic film/movie rooftop chase scene, but only using the sounds that I associated with this photograph of this alleyway.All sounds in this track are from the following samples:
- a few elements from each of the following packs were used:
P: street ambience by bulbastre
P: footsteps on pavement by bulbastre
P: remains by klankbeeld
P: Trashscape Project by SunnySideSound
P: walking percussion by edwin_p_manchester
P: Metal by RutgerMuller
P: Metal by dheming
- and all of the following individual samples were used:

S: 148795__mentalsanityoff__footsteps-solid-wood-female-barefoot-running HUM Removed.wav by hubyduby
S: FOLEY_Footsteps_Metal_001.wav by conleec
S: RUNNING_Two_People.wav by Tdude9000
S: Running_Boots_on_Pavement.wav by Tdude9000
S: Running_Kid_Heavy_Footsteps.wav by Tdude9000
S: running sounds by zombiechaser3
S: Footsteps On Metal.mp3 by nickb1608
S: 03251 running on dirt path.wav by Robinhood76
S: Running Footsteps.wav by jspath1
S: 1 man running on pavement.wav by bulbastre
S: Run basement 08.wav by LG
S: Run basement 06.wav by LG
S: Run basement 03.wav by LG
S: Run basement 05.wav by LG
S: Run basement 07.wav by LG
S: Run basement 04.wav by LG
S: footsteps.flac by Streety
S: 20070922.running.wav by dobroide
S: MoroccanMorning.mp3 by acclivity
S: Run basement 01.wav by LG
S: Run basement 02.wav by LG
S: running hard surface.wav by bevangoldswain
S: 20 hn_footstepsConcreteHH.wav by cmusounddesign
S: light_crate_smash2.wav by Srehpog
S: light_crate_smash1.wav by Srehpog
S: boxes_falling_down_stairs_01.wav by joedeshon
S: 49-2 boxes.wav by FreqMan
S: box falls.wav by FreqMan
S: Hunk's revolver by Ty Ford
S: garage-broken-glass.aif by alienistcog
S: garage-broken-glass2.aif by alienistcog
S: light_crate_smash3.wav by Srehpog
S: AE0092 Volvo 740 GLE handbrake turn 03.flac by audible-edge
S: Nissan Maxima burnout (04-25-2009).wav by audible-edge
S: AE0090 Volvo 740 GLE handbrake turn 01.flac by audible-edge
S: noyerdumpster2_short.wav by bsumusictech
S: engine_close.aif by jacobsteel
S: garbage_truck.wav by Corsica_S
S: plastic box blown 01.wav by klankbeeld
S: Recycling Truck.wav by snowdome
S: Winter wind whistling through window.mp3 by audible-edge
S: Back Alley in London (night:traffic).wav by Walter_Odington
S: City_Alley.aif by amszala
S: whislingwind.WAV by stomachache
S: UoA_PJ120202_HighStAlleyEch.wav by clt008
S: object falls (5).wav by FreqMan
S: aircleaner_hum_noise_coronaldischarge.wav by sarana
S: metal pylons.wav by Kyster
S: Metal Pressure Meter Scraped.aif by RutgerMuller
S: Medium_Steel_Pipe_On_Concrete_1.wav by dheming
S: Spring 2004 rain & thunder 02.wav by jakeharries
S: Fire Escape AMB.wav by semccab
S: City Fire Escape Ambience Quiet Distant Voices.wav by mzui
S: Metal Fire Escape.wav by Razzvio
Perhaps needless to say, but I generated enough material to score an entire film - at some point, I will try and make an album following the same theme...Oh, and the beat really is 66.6 BPM; I programmed half of the percussion in triple time, and the rest in double time. I also used a 'swing' setting of 66, just to keep things consistent.

]]> (I subtly adapted the photograph for the Soundcloud track image).More details on the Disquiet Junto at: 
http://soundcloud.com/groups/disquiet-junto
--MethodI approached the photograph in several ways:Firstly, as a simple guide to the sounds - so I decided to use the sounds of pipes, wires, a fire escape, an alleyway and so on.Secondly, I saw the photograph as a map of the music - the pipes and window frames (or whatever they are) and fire escape all recede into the distance, for example.Thirdly, I viewed the photograph as providing the tone and atmosphere of the track.Essentially, I tried to get as much information from the photograph as possible in order to use it to its fullest as a piece of graphical notation.I decided the photograph evoked, for me, something of a rooftop chase scene from a film.So I downloaded what is probably best described as a shitload of samples from Freesound.I chopped up and re-edited all of the samples in Audacity, and created a percussion track with some of them on a Korg Electribe SX. I created a background 'alleyway ambience' with about 30 samples, using Ardour (DAW) on Debian Linux. I chopped up the output of the Electribe in Audacity, and, using Ardour again, I arranged and mixed the percussive audio with the 'alleyway ambience' I had created.My idea was to re-create an audio version of the classic film/movie rooftop chase scene, but only using the sounds that I associated with this photograph of this alleyway.All sounds in this track are from the following samples: - a few elements from each of the following packs were used: P: street ambience by bulbastre P: footsteps on pavement by bulbastre P: remains by klankbeeld P: Trashscape Project by SunnySideSound P: walking percussion by edwin_p_manchester P: Metal by RutgerMuller P: Metal by dheming - and all of the following individual samples were used: S: 148795__mentalsanityoff__footsteps-solid-wood-female-barefoot-running HUM Removed.wav by hubyduby S: FOLEY_Footsteps_Metal_001.wav by conleec S: RUNNING_Two_People.wav by Tdude9000 S: Running_Boots_on_Pavement.wav by Tdude9000 S: Running_Kid_Heavy_Footsteps.wav by Tdude9000 S: running sounds by zombiechaser3 S: Footsteps On Metal.mp3 by nickb1608 S: 03251 running on dirt path.wav by Robinhood76 S: Running Footsteps.wav by jspath1 S: 1 man running on pavement.wav by bulbastre S: Run basement 08.wav by LG S: Run basement 06.wav by LG S: Run basement 03.wav by LG S: Run basement 05.wav by LG S: Run basement 07.wav by LG S: Run basement 04.wav by LG S: footsteps.flac by Streety S: 20070922.running.wav by dobroide S: MoroccanMorning.mp3 by acclivity S: Run basement 01.wav by LG S: Run basement 02.wav by LG S: running hard surface.wav by bevangoldswain S: 20 hn_footstepsConcreteHH.wav by cmusounddesign S: light_crate_smash2.wav by Srehpog S: light_crate_smash1.wav by Srehpog S: boxes_falling_down_stairs_01.wav by joedeshon S: 49-2 boxes.wav by FreqMan S: box falls.wav by FreqMan S: Hunk's revolver by Ty Ford S: garage-broken-glass.aif by alienistcog S: garage-broken-glass2.aif by alienistcog S: light_crate_smash3.wav by Srehpog S: AE0092 Volvo 740 GLE handbrake turn 03.flac by audible-edge S]]> 1762641 no no Mon, 14 May 2012 18:53:42 +0200 2012-05-14T18:53:42+02:00 3:28 https://hearthis.at/kaboodle-sound/power-of-3-disquiet0018-3x3/
"This project is about how a simple matter of sequence can provide a sense of development and compositional momentum.

"First step: Construct three simple, self-contained sounds (or sonic elements) that are distinct from each other. For example, don't use three similar drones, or three tones that are the same note value, or three interchangeable percussives. Use one of each, or some other assortment of three distinct sonic elements: a snippet of a field recording, a bit of static, a short melodic segment, a spoken word or phrase.

"Second step: Make a three-minute track out of these sounds, based on the following rules. For each of the three minutes, one of the three sounds should be prominent, and the other two should be less prominent. By the end of the complete three minutes of your track, each of the three sounds, thus, will have been prominent for one full minute and will have served a background purpose for two full minutes.

"You can transform the individual sounds, certainly, but they should still be somewhat recognizable even in their transformed state."

--

I decided to stick rigidly to 'three' as a concept, so I went to Freesound and searched, simply, for samples related to the keyword 'three'.

I chose nine different methods for finding the samples, based on dice rolls to determine the page number and result number of the search results.

I ended up with 27 samples, and took three at random, based on a dice roll.

I didn't like them. (Mainly because two of them were very similar bells).

So, I went back to the 27 samples (27=3^3) and chose three samples as different from each other as I could find.

I chopped them up into small segments in Audacity and played them all on a Korg Electribe SX. No other sounds were added; everything in the track comes just from the three samples and a few effects applied (mostly compression and a little delay).

These were the samples used:

cello chords » cellos three chords.wav - http://www.freesound.org/people/jus/sounds/39557/

METAL LOOPS 4 » LOOP 2C.mp3 - http://www.freesound.org/people/REVEREND.BLACK/sounds/54154/

20070918_143246_IndiaZanskarThonde_GrandFatherRecitingSutras.wav - http://www.freesound.org/people/snotch/sounds/96757/

The cello sample was the third result on the first page of results.

The metal guitar sample was the third result on the 16th page of results. (Pitch-shifted portions of the guitar sample provide the 'beats' and percussive noises).

The grandfather sample was from a different search; I took a break in looking for samples, and picked up a book I had in front of me: Shakuntala Devi's 'Wonderland of Numbers.' I opened it at a random page - pages 90 and 91. It happened to be about the number Three! It says this:

"When Neha reached the home of Number Three, she found a triangular shaped building. A big bronze sculpture in the garden showed the three heads of Brahma, Vishnu and Shiva. A tall trident rose up from the ground in front of the sculpture and on a three-legged throne sat Number Three. His head was tied with a scarf of three colours and three long chains of coloured beads hung down his chest."

On the next page (92), it has this passage:

" 'The world is full of interesting triplets, have you noticed, Neha? Land, water, and sky, father, mother and child, sun, moon and earth.'

'Yes, I remember,' said Neha, thinking about the 'three' nature of things.

Something else occured to her and she said out loud, 'When I go to music class I have to sing a song in three different tempos - first slowly, then a little faster, then much faster.'"


I tried to use this passage of the book as a guide/plan for finding samples, and so I searched for 'land', 'water', 'sky', 'father', 'mother' and so on... The grandfather sample was the first result that sounded like a 'father' in the father search. Sadly, using the sets of samples (land/water/sky, father/mother/child, etc) didn't work out for me - the samples just didn't sit right together (or didn't contrast each other enough).

The BPM is 83.7 for a reason:

3 to the power of 3 is 27

27x3=81

81+2.7=83.7

I would have used 81 BPM, but it didn't fit with the guitar sample. 83.7 was nearly spot on.

The time signature is 15/16, and the total number of bars is 66 - that's 22 bars for each segment, but you can't have everything...

After settling on the BPM, I calculated how long I needed to make each track using the following formula (adapted from findings from a quick web search):

60(mb/t)=d
d (duration) = 3 minutes = 180 seconds
t (tempo) = 83.7 (BPM)
m (metre) = 3.75
b (bars) = 1 bar in length
d (duration) = ? seconds
60((3.75*1)/83.7)=2.688172043 seconds
180[seconds]/2.688172043 = 66.96 bars in total

So, my piece was a little short, but the fade-out from the delay carried it up to exactly 3 minutes.

The image is adapted from here:

http://commons.wikimedia.org/wiki/File:Three%27s_Company.jpg

I was originally going to use an image of the number 3, but when that came up in the search results, I couldn't resist its tacky charm.
]]>
"This project is about how a simple matter of sequence can provide a sense of development and compositional momentum.

"First step: Construct three simple, self-contained sounds (or sonic elements) that are distinct from each other. For example, don't use three similar drones, or three tones that are the same note value, or three interchangeable percussives. Use one of each, or some other assortment of three distinct sonic elements: a snippet of a field recording, a bit of static, a short melodic segment, a spoken word or phrase.

"Second step: Make a three-minute track out of these sounds, based on the following rules. For each of the three minutes, one of the three sounds should be prominent, and the other two should be less prominent. By the end of the complete three minutes of your track, each of the three sounds, thus, will have been prominent for one full minute and will have served a background purpose for two full minutes.

"You can transform the individual sounds, certainly, but they should still be somewhat recognizable even in their transformed state."

--

I decided to stick rigidly to 'three' as a concept, so I went to Freesound and searched, simply, for samples related to the keyword 'three'.

I chose nine different methods for finding the samples, based on dice rolls to determine the page number and result number of the search results.

I ended up with 27 samples, and took three at random, based on a dice roll.

I didn't like them. (Mainly because two of them were very similar bells).

So, I went back to the 27 samples (27=3^3) and chose three samples as different from each other as I could find.

I chopped them up into small segments in Audacity and played them all on a Korg Electribe SX. No other sounds were added; everything in the track comes just from the three samples and a few effects applied (mostly compression and a little delay).

These were the samples used:

cello chords » cellos three chords.wav - http://www.freesound.org/people/jus/sounds/39557/

METAL LOOPS 4 » LOOP 2C.mp3 - http://www.freesound.org/people/REVEREND.BLACK/sounds/54154/

20070918_143246_IndiaZanskarThonde_GrandFatherRecitingSutras.wav - http://www.freesound.org/people/snotch/sounds/96757/

The cello sample was the third result on the first page of results.

The metal guitar sample was the third result on the 16th page of results. (Pitch-shifted portions of the guitar sample provide the 'beats' and percussive noises).

The grandfather sample was from a different search; I took a break in looking for samples, and picked up a book I had in front of me: Shakuntala Devi's 'Wonderland of Numbers.' I opened it at a random page - pages 90 and 91. It happened to be about the number Three! It says this:

"When Neha reached the home of Number Three, she found a triangular shaped building. A big bronze sculpture in the garden showed the three heads of Brahma, Vishnu and Shiva. A tall trident rose up from the ground in front of the sculpture and on a three-legged throne sat Number Three. His head was tied with a scarf of three colours and three long chains of coloured beads hung down his chest."

On the next page (92), it has this passage:

" 'The world is full of interesting triplets, have you noticed, Neha? Land, water, and sky, father, mother and child, sun, moon and earth.'

'Yes, I remember,' said Neha, thinking about the 'three' nature of things.

Something else occured to her and she said out loud, 'When I go to music class I have to sing a song in three different tempos - first slowly, then a little faster, then much faster.'"


I tried to use this passage of the book as a guide/plan for finding samples, and so I searched for 'land', 'water', 'sky', 'father', 'mother' and so on... The grandfather sample was the first result that sounded like a 'father' in the father search. Sadly, using the sets of samples (land/water/sky, father/mother/child, etc) didn't work out for me - the samples just didn't sit right together (or didn't contrast each other enough).

The BPM is 83.7 for a reason:

3 to the power of 3 is 27

27x3=81

81+2.7=83.7

I would have used 81 BPM, but it didn't fit with the guitar sample. 83.7 was nearly spot on.

The time signature is 15/16, and the total number of bars is 66 - that's 22 bars for each segment, but you can't have everything...

After settling on the BPM, I calculated how long I needed to make each track using the following formula (adapted from findings from a quick web search):

60(mb/t)=d
d (duration) = 3 minutes = 180 seconds
t (tempo) = 83.7 (BPM)
m (metre) = 3.75
b (bars) = 1 bar in length
d (duration) = ? seconds
60((3.75*1)/83.7)=2.688172043 seconds
180[seconds]/2.688172043 = 66.96 bars in total

So, my piece was a little short, but the fade-out from the delay carried it up to exactly 3 minutes.

The image is adapted from here:

http://commons.wikimedia.org/wiki/File:Three%27s_Company.jpg

I was originally going to use an image of the number 3, but when that came up in the search results, I couldn't resist its tacky charm.
]]> 1762642 no no Sun, 06 May 2012 16:06:39 +0200 2012-05-06T16:06:39+02:00 3:00 https://hearthis.at/kaboodle-sound/grainshift-disquiet0017-transition/ --------

For this week's Disquiet Junto assignment, we had to make a field recording and select a 30-second segment from it. We then had to to select a pre-existing track (from a choice of two) and edit another 30-second segment from it.

Finally, we had to "create a new track in which your field recording can be heard to slowly transition into the preexisting track. You can add whatever you like to the new track, and you can transform the field recording and the preexisting track. However, the first five seconds of your field recording and the last 5 seconds of the pre-existing track should be left untouched, aside from fading in and out. The goal is for the transition to be as indiscernible, as seamless, as you can achieve in the time allotted for production."


Approach:
--------

I recorded me washing a towel in the shower (not a usual thing for me to do), and various other things through the day (Friday) - including the sound of the washing machine, me trying to sort a double Debian dual boot on my laptop, and me having a shower. I liked the sound of the towel being washed most, so I used a segment from that. (Me having a shower seemed somehow distasteful to put out there for public consumption).

I didn't get much time for this week's task because I was re-installing Debian Linux on two computers, and I decided to spend a few days completely improving and overhauling my systems. I only just got it finished in time (11:30pm Sunday night)...

I was initially going to do it all in Audacity, but I got bored, and then had a brainwave. I took the two samples and loaded them up in Mixxx (fantastic DJing software). I played the same sample (my field recording of the shower) through two decks and four virtual samplers, starting with one sample on its own (to get the untainted 5 seconds), and then adding the others.

As the other samples started to play, I fed them all through grain-shifting effects on two Mini KP Kaoss pads (for right and left decks) and a KP3 Kaoss pads (for everything - the two decks via the Mini KPs and the four samplers). While the samples were being effected, I increased the effect until the samples were mangled, then started to swap the samples one by one for the 30 second segment from "The Day Love Came In The Mail" by Lee Rosevere. Eventually, the four virtual samplers and the two decks were playing the Lee Rosevere sample, and I reduced the effects until they were gone, then gradually faded out and turned off the samples, ending with just one, uneffected sample playing for around 10 seconds untainted.

Everything was done live, but it took me several attempts to get the track down to less than four minutes. I liked my nine minute version, using delays, a lot more.


More Information:
----------------

I used a segment from "The Day Love Came In The Mail" by Lee Rosevere off the album Play 3 on the WM Recordings netlabel, thanks to Creative Commons license. More information at:
http://archive.org/details/WM074_900
http://www.wmrecordings.com/free-downloads/wm074-lee-rosevere-play-3/

The image is adapted from this one at Wikimedia Commons:
http://commons.wikimedia.org/wiki/File:Assorted_grains.jpg

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto ]]> --------

For this week's Disquiet Junto assignment, we had to make a field recording and select a 30-second segment from it. We then had to to select a pre-existing track (from a choice of two) and edit another 30-second segment from it.

Finally, we had to "create a new track in which your field recording can be heard to slowly transition into the preexisting track. You can add whatever you like to the new track, and you can transform the field recording and the preexisting track. However, the first five seconds of your field recording and the last 5 seconds of the pre-existing track should be left untouched, aside from fading in and out. The goal is for the transition to be as indiscernible, as seamless, as you can achieve in the time allotted for production."


Approach:
--------

I recorded me washing a towel in the shower (not a usual thing for me to do), and various other things through the day (Friday) - including the sound of the washing machine, me trying to sort a double Debian dual boot on my laptop, and me having a shower. I liked the sound of the towel being washed most, so I used a segment from that. (Me having a shower seemed somehow distasteful to put out there for public consumption).

I didn't get much time for this week's task because I was re-installing Debian Linux on two computers, and I decided to spend a few days completely improving and overhauling my systems. I only just got it finished in time (11:30pm Sunday night)...

I was initially going to do it all in Audacity, but I got bored, and then had a brainwave. I took the two samples and loaded them up in Mixxx (fantastic DJing software). I played the same sample (my field recording of the shower) through two decks and four virtual samplers, starting with one sample on its own (to get the untainted 5 seconds), and then adding the others.

As the other samples started to play, I fed them all through grain-shifting effects on two Mini KP Kaoss pads (for right and left decks) and a KP3 Kaoss pads (for everything - the two decks via the Mini KPs and the four samplers). While the samples were being effected, I increased the effect until the samples were mangled, then started to swap the samples one by one for the 30 second segment from "The Day Love Came In The Mail" by Lee Rosevere. Eventually, the four virtual samplers and the two decks were playing the Lee Rosevere sample, and I reduced the effects until they were gone, then gradually faded out and turned off the samples, ending with just one, uneffected sample playing for around 10 seconds untainted.

Everything was done live, but it took me several attempts to get the track down to less than four minutes. I liked my nine minute version, using delays, a lot more.


More Information:
----------------

I used a segment from "The Day Love Came In The Mail" by Lee Rosevere off the album Play 3 on the WM Recordings netlabel, thanks to Creative Commons license. More information at:
http://archive.org/details/WM074_900
http://www.wmrecordings.com/free-downloads/wm074-lee-rosevere-play-3/

The image is adapted from this one at Wikimedia Commons:
http://commons.wikimedia.org/wiki/File:Assorted_grains.jpg

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto ]]> 1762643 no no Mon, 30 Apr 2012 06:14:01 +0200 2012-04-30T06:14:01+02:00 3:54 https://hearthis.at/kaboodle-sound/loaded-disquiet0016-backforeground/
This week's mission was to create a track utilising two samples, keeping one in the foreground and the other in the background.

The two samples used were:

Sandpaper sample by HerbertBoland at http://www.freesound.org/people/HerbertBoland/sounds/28541/

Dice sample by Robinhood76 at http://www.freesound.org/people/Robinhood76/sounds/60857/

More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto

--

I nearly gave up on this week's assignment, intially due to irritation, as I just couldn't come up with anything I liked, and then due to an update killing only the audio programs on my computer, and then lastly due to the electricity going down in my house. Eventually, I managed to get something done...

ALL sounds in this track ONLY come from the above two samples; no other sources or samples were used. I had decided early on not to use any other instuments or samples, and to have the samples contrast each other in the mix.

Samples were chopped up in Audacity (before my update killed it), and then manipulated and played on a Korg Electribe SX. Nothing else was used, and all effects are from the Electribe.

The dice samples form all of the drum parts, and the sandpaper is faintly scraping away in the background (it can be heard most clearly right at the end of the track). Nearly all samples were pitched down - half of them pitched down in Audacity before hand, the rest on the Electribe.

I used the actual rhythm of the dice from the original sample to form some of the rhythm of the track, and then also used time-stretched versions, single hits, and time-sliced versions. I was trying to preserve and enhance the skittering, unstable rhythm of the dice, and the tension between that and the constant, unchanging sandpaper sample (which, appropriately, can be felt more than heard).


The image adapted from this one:
http://commons.wikimedia.org/wiki/File:Dice_02138.JPG]]>
This week's mission was to create a track utilising two samples, keeping one in the foreground and the other in the background.

The two samples used were:

Sandpaper sample by HerbertBoland at http://www.freesound.org/people/HerbertBoland/sounds/28541/

Dice sample by Robinhood76 at http://www.freesound.org/people/Robinhood76/sounds/60857/

More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto

--

I nearly gave up on this week's assignment, intially due to irritation, as I just couldn't come up with anything I liked, and then due to an update killing only the audio programs on my computer, and then lastly due to the electricity going down in my house. Eventually, I managed to get something done...

ALL sounds in this track ONLY come from the above two samples; no other sources or samples were used. I had decided early on not to use any other instuments or samples, and to have the samples contrast each other in the mix.

Samples were chopped up in Audacity (before my update killed it), and then manipulated and played on a Korg Electribe SX. Nothing else was used, and all effects are from the Electribe.

The dice samples form all of the drum parts, and the sandpaper is faintly scraping away in the background (it can be heard most clearly right at the end of the track). Nearly all samples were pitched down - half of them pitched down in Audacity before hand, the rest on the Electribe.

I used the actual rhythm of the dice from the original sample to form some of the rhythm of the track, and then also used time-stretched versions, single hits, and time-sliced versions. I was trying to preserve and enhance the skittering, unstable rhythm of the dice, and the tension between that and the constant, unchanging sandpaper sample (which, appropriately, can be felt more than heard).


The image adapted from this one:
http://commons.wikimedia.org/wiki/File:Dice_02138.JPG]]> 1762644 no no Sun, 22 Apr 2012 22:49:09 +0200 2012-04-22T22:49:09+02:00 3:11 https://hearthis.at/kaboodle-sound/three-disquiet0015-rgbinteract/
"You'll symbolize Red with a sound derived from the number 600, Green from the number 540, and Blue from the number 450. And certainly, you might choose to explore the ratios between these numbers, rather than the specific numbers themselves (e.g., 60/54/45 or 30/27/22.5, just as two examples)."

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto

--

I started by creating tones in Audacity - the quickest, most obvious route to simulating colours derived from numbers. I created a range of tones, all at 600hz (red), 540hz (green), 450hz (blue), 60hz, 54hz and 45hz. I initially tried to match colours to particular waveforms - red was sawtooth, blue a square wave, and green for a sine (that's how they 'felt right' to me).

But I didn't like the results once I started playing with the waveforms on a sampler. I had two abortive attempts at doing something I didn't hate, and got lucky on the third attempt.

I was determined, despite my mounting frustration, to stick to using ONLY tones of 600hz, 540hz, etc. and not to deviate from that. I wanted to get a similar effect to the way red, green and blue, when combined on a TV, monitor, projector, etc. will produce a range of colours simply by overlapping. I suppose I cheated from the beginning by using tones of 60hz, 54hz, and 45hz, but I needed some bass sounds for it to feel right.

I ended up using 63 different samples, starting with saw, square and sine waves at the above-mentioned frequencies. Using these 12 basic samples, I edited them in Audacity to produce more, at differing lengths ('red' samples were set at 0.6 and 6 seconds, 'green' samples at 0.54 and 5.4 seconds, and 'blue' samples at 0.45 and 4.5 seconds). I combined the samples, mixing Blue and Red, Red and Green, Red, Green and Blue for each of the different waveforms in various configurations. Some of them produced a 'beating' or 'pulsing' effect (like in brainwave entrainment), but it was too monotonous to use as a beat.

I was going to stop at 60 samples, but I made three synth drum samples (using an Audacity plugin). I ended up only using the drums as little noises, rather than beats.

The crackles and pops in the sound are the result of the waveforms mixing (probably should have turned down the gain more when combining them), but I liked the sort of 'organic' feel they lent the recording.

I played all 63 samples lives on a Roland SP555 sampler. The samples were all set to loop, a bit like a Mellotron (but not as good as that). The SP555 had a 'tape loop' effect running on all samples, and was connected to a Mini KP Kaoss pad, which was set to a slicer (or noise gate) effect. This was in turn connected to another Mini KP, which was running a Mid Grain Shifter effect. Then THIS Mini KP was connected to KP3 Kaoss pad, which was running a Mutli Tap Delay. All 4 devices were set to 106 BPM. (Because the mean average of 60, 54 and 45 is 53 - that was too low for the BPM, so I doubled it).

I recorded three lives performances on a Zoom h4N, and combined the performances in Ardour, to position them in the stereo space and line them up properly. No editing of the performances was done - they were combined 'as is'.

The image is taken directly from here, and was not really altered (just trimmed):
http://commons.wikimedia.org/wiki/File:Additive_RGB_Circles-48bpp.png]]>
"You'll symbolize Red with a sound derived from the number 600, Green from the number 540, and Blue from the number 450. And certainly, you might choose to explore the ratios between these numbers, rather than the specific numbers themselves (e.g., 60/54/45 or 30/27/22.5, just as two examples)."

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto

--

I started by creating tones in Audacity - the quickest, most obvious route to simulating colours derived from numbers. I created a range of tones, all at 600hz (red), 540hz (green), 450hz (blue), 60hz, 54hz and 45hz. I initially tried to match colours to particular waveforms - red was sawtooth, blue a square wave, and green for a sine (that's how they 'felt right' to me).

But I didn't like the results once I started playing with the waveforms on a sampler. I had two abortive attempts at doing something I didn't hate, and got lucky on the third attempt.

I was determined, despite my mounting frustration, to stick to using ONLY tones of 600hz, 540hz, etc. and not to deviate from that. I wanted to get a similar effect to the way red, green and blue, when combined on a TV, monitor, projector, etc. will produce a range of colours simply by overlapping. I suppose I cheated from the beginning by using tones of 60hz, 54hz, and 45hz, but I needed some bass sounds for it to feel right.

I ended up using 63 different samples, starting with saw, square and sine waves at the above-mentioned frequencies. Using these 12 basic samples, I edited them in Audacity to produce more, at differing lengths ('red' samples were set at 0.6 and 6 seconds, 'green' samples at 0.54 and 5.4 seconds, and 'blue' samples at 0.45 and 4.5 seconds). I combined the samples, mixing Blue and Red, Red and Green, Red, Green and Blue for each of the different waveforms in various configurations. Some of them produced a 'beating' or 'pulsing' effect (like in brainwave entrainment), but it was too monotonous to use as a beat.

I was going to stop at 60 samples, but I made three synth drum samples (using an Audacity plugin). I ended up only using the drums as little noises, rather than beats.

The crackles and pops in the sound are the result of the waveforms mixing (probably should have turned down the gain more when combining them), but I liked the sort of 'organic' feel they lent the recording.

I played all 63 samples lives on a Roland SP555 sampler. The samples were all set to loop, a bit like a Mellotron (but not as good as that). The SP555 had a 'tape loop' effect running on all samples, and was connected to a Mini KP Kaoss pad, which was set to a slicer (or noise gate) effect. This was in turn connected to another Mini KP, which was running a Mid Grain Shifter effect. Then THIS Mini KP was connected to KP3 Kaoss pad, which was running a Mutli Tap Delay. All 4 devices were set to 106 BPM. (Because the mean average of 60, 54 and 45 is 53 - that was too low for the BPM, so I doubled it).

I recorded three lives performances on a Zoom h4N, and combined the performances in Ardour, to position them in the stereo space and line them up properly. No editing of the performances was done - they were combined 'as is'.

The image is taken directly from here, and was not really altered (just trimmed):
http://commons.wikimedia.org/wiki/File:Additive_RGB_Circles-48bpp.png]]> 1762645 no no Sat, 14 Apr 2012 21:02:49 +0200 2012-04-14T21:02:49+02:00 4:57 https://hearthis.at/kaboodle-sound/oumupo-disquiet0014-oumupo/
All sounds, samples, beats and rhythms were cutup and programmed by hand. Full details below.

The first minute is a straightforward sonic re-telling of the comic strip mentioned below, and the rest of the track is a kind of journey into the mind of the character in the comic strip, before, during and after he opens the fridge.

If that sounds confusing, read on to make some sense of it...

The assignment for this week was as follows:

"You will re-tell a very short and simple story utilizing sound. It will take the form of a single audio file uploaded to your Soundcloud account. You will construct this track in any manner you choose: with field recordings, music, effects, dialog, or a mix thereof. The story you will be re-telling is this single-page comic strip by Matt Madden:

http://www.artbabe.com/exercises/images/exercises/01-template.gif

"(Matt Madden's single-page comic is the template for a book he created titled 99 Ways to Tell a Story: Exercises in Style. In the book, Madden told that same story 99 different ways, each in a different comic-book style.)

"In the process of re-telling the story through sound, you may interpret it in any way you choose. You can do it as straight narrative, or do an abstract rendition, or retell it from another point of view, or contribute a score as if it were a movie, or a record series of foley cues. The choice is yours."

--

I decided to create, as close as possible, a sonic version of the comic strip, and then to adapt and morph the sounds into something musical, as a way of exploring the sounds and the comic strip itself (along with some of its 99 variations).

I already had a few recent field recordings that could be used - contact mic recordings of door handles, a wooden bed, and a chair being scraped. I recorded a few more pieces with contact mics: my fridge door opening and closing, bottles in the fridge, and my laptop being turned on and off, as well as some typing with the keys. I also recorded my two daughters drawing, using the onboard mic on my Zoom H4n. I recorded the sound of their pencils and pens fairly closely.

However, these recordings were not enough, so I also used elements from all of the following samples on Freesound:

Shoe Slide and Scuffle.aif by ftpalad -- http://www.freesound.org/people/ftpalad/sounds/119931/
shuffling_in_tennis_shoes_on_carpet.wav by daboy291 -- http://www.freesound.org/people/daboy291/sounds/138063/
watch_alarm.aif by Corsica_S -- http://www.freesound.org/people/Corsica_S/sounds/18632/
Tschenuhr.mp3 by Bidone -- http://www.freesound.org/people/Bidone/sounds/66376/
Uhr.wav by Bidone -- http://www.freesound.org/people/Bidone/sounds/65796/
Geology Pinecone and Bars.wav by Razzvio -- http://www.freesound.org/people/Razzvio/sounds/78995/
HorrorStaircase.wav by treyc -- http://www.freesound.org/people/treyc/sounds/123915/
congélateur craquements.wav by darkunst -- http://www.freesound.org/people/darkunst/sounds/84350/
8_fridge_eggbox.mp3 by harri -- http://www.freesound.org/people/harri/sounds/8888/
11_fridge_margtub_3.mp3 by harri -- http://www.freesound.org/people/harri/sounds/8856/
3_fridge_search.mp3 by harri -- http://www.freesound.org/people/harri/sounds/8883/
fridge01.wav by bigD -- http://www.freesound.org/people/bigD/sounds/49540/
4_fridge_beer.mp3 by harri -- http://www.freesound.org/people/harri/sounds/8884/
fridge_back.wav by Cambra -- http://www.freesound.org/people/Cambra/sounds/102690/
1_fridge_open.mp3 by harri -- http://www.freesound.org/people/harri/sounds/8865/
opening_fridge.aiff by KlankOntwerp -- http://www.freesound.org/people/KlankOntwerp/sounds/106489/
FridgeHum.wav by timdrussell -- http://www.freesound.org/people/timdrussell/sounds/51836/
old fridge.wav by Marec -- http://www.freesound.org/people/Marec/sounds/22683/
opening_fridge_door.wav by tschapajew -- http://www.freesound.org/people/tschapajew/sounds/103544/
generator_room.wav by j1987 -- http://www.freesound.org/people/j1987/sounds/73025/
R09_0005B.wav by andysm -- http://www.freesound.org/people/andysm/sounds/76580/
fridge open and close with hum.WAV by uwesoundboiz -- http://www.freesound.org/people/uwesoundboiz/sounds/60393/
refrigerator01.wav by fonogeno -- http://www.freesound.org/people/fonogeno/sounds/17638/


No, really, I actually used something from ALL of the above sounds. I downloaded a few more that I ended up not using...

I then recorded myself speaking the text from the comic strip.

I also liked two of the other pages that are viewable on the website:
http://www.artbabe.com/exercises/images/exercise/85-difftext.gif
http://www.artbabe.com/exercises/images/exercises/20-thirtypanels.gif

So I also recorded the dialogue from the first one (difftext.gif), and was inspired by elements of the second one (thirtypanels.gif).

I cut up all the samples in Audacity, and passed the vocals to a Roland SP555 sampler, and the foley-type noises to a Korg Electribe SX1. I modified my voice using the effects on the SP555, and resampled the vocal snippets on the Electribe.

On the Electribe, I arranged all the sounds into a one minute direct interpretation of the comic strip, and then followed that with a kind of percussive meltdown of all the noises and sounds.

Once the track was assembled, I played it back in full, twice, through a Korg KP3 Kaoss pad, using a 'tape delay' effect, which I played live. I recorded a 'dry' track direct from the Electribe, and combined the 3 tracks in Ardour (digital audio workstation).

Ugh. Then I wrote all this up for reference and went to bed. Probably spent too much time on this - I reckon it took up a full day from beginning to end (about 20 hours). AND it wasn't what I intended to do - I wanted a much slower piece that evolved more over time. Might re-work it one day, in some fashion...

The image for this track I adapted in GIMP from Matt Madden's original image, as linked to above. The morphed thumbs in the middle remind me, happily, of a Foetus (JG Thirlwell) album cover.

More on Matt Madden and his book 99 Ways to Tell a Story at:

http://mattmadden.com/
http://exercisesinstyle.com/

More on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto]]>
All sounds, samples, beats and rhythms were cutup and programmed by hand. Full details below.

The first minute is a straightforward sonic re-telling of the comic strip mentioned below, and the rest of the track is a kind of journey into the mind of the character in the comic strip, before, during and after he opens the fridge.

If that sounds confusing, read on to make some sense of it...

The assignment for this week was as follows:

"You will re-tell a very short and simple story utilizing sound. It will take the form of a single audio file uploaded to your Soundcloud account. You will construct this track in any manner you choose: with field recordings, music, effects, dialog, or a mix thereof. The story you will be re-telling is this single-page comic strip by Matt Madden:

http://www.artbabe.com/exercises/images/exercises/01-template.gif

"(Matt Madden's single-page comic is the template for a book he created titled 99 Ways to Tell a Story: Exercises in Style. In the book, Madden told that same story 99 different ways, each in a different comic-book style.)

"In the process of re-telling the story through sound, you may interpret it in any way you choose. You can do it as straight narrative, or do an abstract rendition, or retell it from another point of view, or contribute a score as if it were a movie, or a record series of foley cues. The choice is yours."

--

I decided to create, as close as possible, a sonic version of the comic strip, and then to adapt and morph the sounds into something musical, as a way of exploring the sounds and the comic strip itself (along with some of its 99 variations).

I already had a few recent field recordings that could be used - contact mic recordings of door handles, a wooden bed, and a chair being scraped. I recorded a few more pieces with contact mics: my fridge door opening and closing, bottles in the fridge, and my laptop being turned on and off, as well as some typing with the keys. I also recorded my two daughters drawing, using the onboard mic on my Zoom H4n. I recorded the sound of their pencils and pens fairly closely.

However, these recordings were not enough, so I also used elements from all of the following samples on Freesound:

Shoe Slide and Scuffle.aif by ftpalad -- http://www.freesound.org/people/ftpalad/sounds/119931/
shuffling_in_tennis_shoes_on_carpet.wav by daboy291 -- http://www.freesound.org/people/daboy291/sounds/138063/
watch_alarm.aif by Corsica_S -- http://www.freesound.org/people/Corsica_S/sounds/18632/
Tschenuhr.mp3 by Bidone -- http://www.freesound.org/people/Bidone/sounds/66376/
Uhr.wav by Bidone -- http://www.freesound.org/people/Bidone/sounds/65796/
Geology Pinecone and Bars.wav by Razzvio -- http://www.freesound.org/people/Razzvio/sounds/78995/
HorrorStaircase.wav by treyc -- http://www.freesound.org/people/treyc/sounds/123915/
congélateur craquements.wav by darkunst -- http://www.freesound.org/people/darkunst/sounds/84350/
8_fridge_eggbox.mp3 by harri -- http://www.freesound.org/people/harri/sounds/8888/
11_fridge_margtub_3.mp3 by harri -- http://www.freesound.org/people/harri/sounds/8856/
3_fridge_search.mp3 by harri -- http://www.freesound.org/people/harri/sounds/8883/
fridge01.wav by bigD -- http://www.freesound.org/people/bigD/sounds/49540/
4_fridge_beer.mp3 by harri -- http://www.freesound.org/people/harri/sounds/8884/
fridge_back.wav by Cambra -- http://www.freesound.org/people/Cambra/sounds/102690/
1_fridge_open.mp3 by harri -- http://www.freesound.org/people/harri/sounds/8865/
opening_fridge.aiff by KlankOntwerp -- http://www.freesound.org/people/KlankOntwerp/sounds/106489/
FridgeHum.wav by timdrussell -- http://www.freesound.org/people/timdrussell/sounds/51836/
old fridge.wav by Marec -- http://www.freesound.org/people/Marec/sounds/22683/
opening_fridge_door.wav by tschapajew -- http://www.freesound.org/people/tschapajew/sounds/103544/
generator_room.wav by j1987 -- http://www.freesound.org/people/j1987/sounds/73025/
R09_0005B.wav by andysm -- http://www.freesound.org/people/andysm/sounds/76580/
fridge open and close with hum.WAV by uwesoundboiz -- http://www.freesound.org/people/uwesoundboiz/sounds/60393/
refrigerator01.wav by fonogeno -- http://www.freesound.org/people/fonogeno/sounds/17638/


No, really, I actually used something from ALL of the above sounds. I downloaded a few more that I ended up not using...

I then recorded myself speaking the text from the comic strip.

I also liked two of the other pages that are viewable on the website:
http://www.artbabe.com/exercises/images/exercise/85-difftext.gif
http://www.artbabe.com/exercises/images/exercises/20-thirtypanels.gif

So I also recorded the dialogue from the first one (difftext.gif), and was inspired by elements of the second one (thirtypanels.gif).

I cut up all the samples in Audacity, and passed the vocals to a Roland SP555 sampler, and the foley-type noises to a Korg Electribe SX1. I modified my voice using the effects on the SP555, and resampled the vocal snippets on the Electribe.

On the Electribe, I arranged all the sounds into a one minute direct interpretation of the comic strip, and then followed that with a kind of percussive meltdown of all the noises and sounds.

Once the track was assembled, I played it back in full, twice, through a Korg KP3 Kaoss pad, using a 'tape delay' effect, which I played live. I recorded a 'dry' track direct from the Electribe, and combined the 3 tracks in Ardour (digital audio workstation).

Ugh. Then I wrote all this up for reference and went to bed. Probably spent too much time on this - I reckon it took up a full day from beginning to end (about 20 hours). AND it wasn't what I intended to do - I wanted a much slower piece that evolved more over time. Might re-work it one day, in some fashion...

The image for this track I adapted in GIMP from Matt Madden's original image, as linked to above. The morphed thumbs in the middle remind me, happily, of a Foetus (JG Thirlwell) album cover.

More on Matt Madden and his book 99 Ways to Tell a Story at:

http://mattmadden.com/
http://exercisesinstyle.com/

More on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto]]> 1762646 no no Mon, 09 Apr 2012 03:40:24 +0200 2012-04-09T03:40:24+02:00 4:16 https://hearthis.at/kaboodle-sound/shoktasovich-disquiet0013-wildup/
This week, we had to make something new from 10 multi-stem live recordings, using only those recordings as the source material. The recording was a superb performance of Dimitri Shostakovich's Chamber Symphony - Op. 110a, by the Los Angeles chamber enesemble, 'wild Up'. I took this to mean we were still able to employ effects, so I did...

I cut up the bass, cello and one of the violin tracks using Audacity. I mixed all 10 live stems in Audacity, and also cut up pieces of that. I used the samples - a variety of loops and one-shot hits - in my Korg Electribe (again), and played and sequenced the samples in a variety of ways.

I used the sound of something being knocked or tapped (conductor's baton? instrument bow?) from the very beginning of the recording, and made it into a kind of percussion. I also used filters and sample chopping to make some bass parts work as a kind of percussion, too. No other instruments or sounds were used - everything in this remix is just effects, filters, modulation and timing.

The whirring sound in the background is Shostakovich spinning in his grave.

I didn't do what I set out to do; I thought, as the piece is fairly dark and sombre, that I would try and fashion an upbeat, happy track out of it. However, the recordings (being live, rather than studio) all contained a fair amount of bleed-through, and the original recordings ended up dictating the needs of the remix more than I anticipated. In the end, I tried to go with the twin ideas: "what would a classical composer do with a sampler?" and "how far away from the original can I get, with the samples and equipment I have?". Given more time, I might have tried to follow a classical structure or arranged things a little differently.

The image is adapted from this one.

Many, many thanks to wild Up for contributing their superb performance for our use in the Disquiet Junto.

I have licensed this recording under a traditional copyright, as wild Up's original is licensed that way. I strongly urge you to check out their original recording:
http://wildup.bandcamp.com/track/chamber-symphony-op-110a-i-largo

More on wild Up at:

http://wildup.la
http://wildup.tumblr.com/

Listen to the original recording at:

http://wildup.bandcamp.com

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto ]]>
This week, we had to make something new from 10 multi-stem live recordings, using only those recordings as the source material. The recording was a superb performance of Dimitri Shostakovich's Chamber Symphony - Op. 110a, by the Los Angeles chamber enesemble, 'wild Up'. I took this to mean we were still able to employ effects, so I did...

I cut up the bass, cello and one of the violin tracks using Audacity. I mixed all 10 live stems in Audacity, and also cut up pieces of that. I used the samples - a variety of loops and one-shot hits - in my Korg Electribe (again), and played and sequenced the samples in a variety of ways.

I used the sound of something being knocked or tapped (conductor's baton? instrument bow?) from the very beginning of the recording, and made it into a kind of percussion. I also used filters and sample chopping to make some bass parts work as a kind of percussion, too. No other instruments or sounds were used - everything in this remix is just effects, filters, modulation and timing.

The whirring sound in the background is Shostakovich spinning in his grave.

I didn't do what I set out to do; I thought, as the piece is fairly dark and sombre, that I would try and fashion an upbeat, happy track out of it. However, the recordings (being live, rather than studio) all contained a fair amount of bleed-through, and the original recordings ended up dictating the needs of the remix more than I anticipated. In the end, I tried to go with the twin ideas: "what would a classical composer do with a sampler?" and "how far away from the original can I get, with the samples and equipment I have?". Given more time, I might have tried to follow a classical structure or arranged things a little differently.

The image is adapted from this one.

Many, many thanks to wild Up for contributing their superb performance for our use in the Disquiet Junto.

I have licensed this recording under a traditional copyright, as wild Up's original is licensed that way. I strongly urge you to check out their original recording:
http://wildup.bandcamp.com/track/chamber-symphony-op-110a-i-largo

More on wild Up at:

http://wildup.la
http://wildup.tumblr.com/

Listen to the original recording at:

http://wildup.bandcamp.com

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto ]]> 1762647 no no Mon, 02 Apr 2012 03:29:19 +0200 2012-04-02T03:29:19+02:00 5:16 https://hearthis.at/kaboodle-sound/stomp-on-the-flower-disquiet0012-cutpaste/ Disquiet Junto. The mission was to create a new track from two 1928 recordings using ONLY a 'cut and paste' technique.

I took the two original samples and edited loops of my favourite bits of each track, using Audacity. I initially tried to re-arrange the loops in various ways, but didn't like the results. I then tried to export the loops to my Electribe SX in order to automatically time-slice them. This didn't work in any usable way, and left the samples sounding modified.

So, instead, I treated the waveforms as actual tape to cut up, much like old-school film editing and splicing. I was going to avoiding repeating, looping or copying any sections of audio, but the results proved too boring, so I used a few repeats.

I also avoided using fade-outs, fade-ins or any other kind of editing except for cutting, pasting and copying. However, I was working with the loops I initially created in Audacity, and I had already amplified the volume a little and applied microscopic fades to the beginning and end of the loops to remove clicks, so in that sense, I cheated myself a little.

Anyway, the whole thing was created exclusively in Audacity. Details of the samples used are below.

The image is a combination of these two images:
http://commons.wikimedia.org/wiki/File:Flickr_-_Whiternoise_-_Dead_flowers,_P%C3%A9re_Lachaise_Cemetery.jpg
http://commons.wikimedia.org/wiki/File:Neglected_boot.jpg

--

This is the original assignment: "The 12th weekly Junto project requires you to take two existing recordings and to make something new by combining them. You will accomplish this solely by using "cut and paste," and you will only use audio from the two provided source tracks. By "cut and paste" it is meant that you will use segments, however brief or lengthy, in the construction of your track. (You will not otherwise transform them: i.e., you won't slow, speed, or process them.) This project explores two matters. One is the historically important technique of cut and paste. The other is alternate conceptions of "rural" sensibilities: while both recordings date from 1928, one is from the American south, while the other is a Slovenian folk song."

The two source tracks originally made available at:

http://www.archive.org/details/Stomp
http://www.archive.org/details/Michael_Lapchaka-Rezeda_Czardas

More details on the Disquiet Junto at:

< href="http://soundcloud.com/groups/disquiet-junto" title="Disquiet Junto">Disquiet Junto]]> Disquiet Junto. The mission was to create a new track from two 1928 recordings using ONLY a 'cut and paste' technique.

I took the two original samples and edited loops of my favourite bits of each track, using Audacity. I initially tried to re-arrange the loops in various ways, but didn't like the results. I then tried to export the loops to my Electribe SX in order to automatically time-slice them. This didn't work in any usable way, and left the samples sounding modified.

So, instead, I treated the waveforms as actual tape to cut up, much like old-school film editing and splicing. I was going to avoiding repeating, looping or copying any sections of audio, but the results proved too boring, so I used a few repeats.

I also avoided using fade-outs, fade-ins or any other kind of editing except for cutting, pasting and copying. However, I was working with the loops I initially created in Audacity, and I had already amplified the volume a little and applied microscopic fades to the beginning and end of the loops to remove clicks, so in that sense, I cheated myself a little.

Anyway, the whole thing was created exclusively in Audacity. Details of the samples used are below.

The image is a combination of these two images:
http://commons.wikimedia.org/wiki/File:Flickr_-_Whiternoise_-_Dead_flowers,_P%C3%A9re_Lachaise_Cemetery.jpg
http://commons.wikimedia.org/wiki/File:Neglected_boot.jpg

--

This is the original assignment: "The 12th weekly Junto project requires you to take two existing recordings and to make something new by combining them. You will accomplish this solely by using "cut and paste," and you will only use audio from the two provided source tracks. By "cut and paste" it is meant that you will use segments, however brief or lengthy, in the construction of your track. (You will not otherwise transform them: i.e., you won't slow, speed, or process them.) This project explores two matters. One is the historically important technique of cut and paste. The other is alternate conceptions of "rural" sensibilities: while both recordings date from 1928, one is from the American south, while the other is a Slovenian folk song."

The two source tracks originally made available at:

http://www.archive.org/details/Stomp
http://www.archive.org/details/Michael_Lapchaka-Rezeda_Czardas

More details on the Disquiet Junto at:

< href="http://soundcloud.com/groups/disquiet-junto" title="Disquiet Junto">Disquiet Junto]]> Disquiet Junto. The mission was to create a new track from two 1928 recordings using ONLY a 'cut and paste' technique. I took the two original samples and edited loops of my favourite bits of each track, using Audacity. I initially tried to re-arrange the loops in various ways, but didn't like the results. I then tried to export the loops to my Electribe SX in order to automatically time-slice them. This didn't work in any usable way, and left the samples sounding modified. So, instead, I treated the waveforms as actual tape to cut up, much like old-school film editing and splicing. I was going to avoiding repeating, looping or copying any sections of audio, but the results proved too boring, so I used a few repeats. I also avoided using fade-outs, fade-ins or any other kind of editing except for cutting, pasting and copying. However, I was working with the loops I initially created in Audacity, and I had already amplified the volume a little and applied microscopic fades to the beginning and end of the loops to remove clicks, so in that sense, I cheated myself a little. Anyway, the whole thing was created exclusively in Audacity. Details of the samples used are below. The image is a combination of these two images: http://commons.wikimedia.org/wiki/File:Flickr_-_Whiternoise_-_Dead_flowers,_P%C3%A9re_Lachaise_Cemetery.jpg http://commons.wikimedia.org/wiki/File:Neglected_boot.jpg -- This is the original assignment: "The 12th weekly Junto project requires you to take two existing recordings and to make something new by combining them. You will accomplish this solely by using "cut and paste," and you will only use audio from the two provided source tracks. By "cut and paste" it is meant that you will use segments, however brief or lengthy, in the construction of your track. (You will not otherwise transform them: i.e., you won't slow, speed, or process them.) This project explores two matters. One is the historically important technique of cut and paste. The other is alternate conceptions of "rural" sensibilities: while both recordings date from 1928, one is from the American south, while the other is a Slovenian folk song." The two source tracks originally made available at: http://www.archive.org/details/Stomp http://www.archive.org/details/Michael_Lapchaka-Rezeda_Czardas More details on the Disquiet Junto at: < href="http://soundcloud.com/groups/disquiet-junto" title="Disquiet Junto">Disquiet Junto]]> 1762648 no no Sat, 24 Mar 2012 13:06:27 +0100 2012-03-24T13:06:27+01:00 3:26 https://hearthis.at/kaboodle-sound/boiled-sawn-and-wiped-clean-disquiet0011-motoring/
I decided to try to make something in the vein of Einstürzende Neubauten, so I tried - but failed - to make a decent field recording of my car, using contact mics. I wanted to record the sound of the engine while driving and especially changing gears. I couldn't get the contact mics to stay in place or avoid interference from rattling or moving bits.

So instead, I recorded the windscreen wipers by attaching the contact mics to the windscreen. I also recorded me tapping on the windscreen, the sound of the 'squishers' (water jets), and the resultant squeaks. Bits of all those sounds are in this recording. The rhythm is composed of an unprocessed recording of the wipers changing from slow to medium to fast speeds, and back again.

Enjoying the above process, I also recorded my gas boiler being ignited and used. Tapping the boiler lightly created the banging/drum sounds, as did the noise of the ignition.

While editing the recordings in Audacity, a tree surgeon turned up next door and started chainsawing up a tree - so I recorded him from my window, and threw in a few chainsaw sounds to the final mix as well.

All the sounds were chopped into 'hits' in Audacity, passed to an Electribe SX1 (which I can't stop using at the moment), and played live or programmed. No other instrument was used. All the sounds in this recording are from the above three field recordings. The dog howl sound is a pitch shifted sample of a windscreen wiper squeak.

I calculated the BPM of the windscreen wipers at each of the three speeds as 66.8, 131 and 182.9. I programmed and played patterns to fit these BPMs. The wipers do not stick to an exact beat, so there is some rhythmic drift.

Although it's nothing like Neubauten, I managed to keep a general 'horror' theme.

The image is from here: http://commons.wikimedia.org/wiki/File:Leatherface.jpg

---

Here is the original assignment for the Disquiet Junto:

"The eleventh Junto project requires you to make an original field recording, and to then make something of it. This project focuses on rhythm. The field recording should be of some rhythmic mechanical sound from everyday life: a dishwasher, a car's turn signal, a hard drive, a bicycle, whatever you choose. That recording should serve as the main rhythmic element of your track. You can edit the recording, certainly, but it should remain recognizable; you should only edit it to whittle it down to a core rhythmic section. To it you can add whatever sounds you like, but the rhythm should be central and prominent in the finished track. "

More details on the Disquiet Junto at:

Disquiet Junto.]]>
I decided to try to make something in the vein of Einstürzende Neubauten, so I tried - but failed - to make a decent field recording of my car, using contact mics. I wanted to record the sound of the engine while driving and especially changing gears. I couldn't get the contact mics to stay in place or avoid interference from rattling or moving bits.

So instead, I recorded the windscreen wipers by attaching the contact mics to the windscreen. I also recorded me tapping on the windscreen, the sound of the 'squishers' (water jets), and the resultant squeaks. Bits of all those sounds are in this recording. The rhythm is composed of an unprocessed recording of the wipers changing from slow to medium to fast speeds, and back again.

Enjoying the above process, I also recorded my gas boiler being ignited and used. Tapping the boiler lightly created the banging/drum sounds, as did the noise of the ignition.

While editing the recordings in Audacity, a tree surgeon turned up next door and started chainsawing up a tree - so I recorded him from my window, and threw in a few chainsaw sounds to the final mix as well.

All the sounds were chopped into 'hits' in Audacity, passed to an Electribe SX1 (which I can't stop using at the moment), and played live or programmed. No other instrument was used. All the sounds in this recording are from the above three field recordings. The dog howl sound is a pitch shifted sample of a windscreen wiper squeak.

I calculated the BPM of the windscreen wipers at each of the three speeds as 66.8, 131 and 182.9. I programmed and played patterns to fit these BPMs. The wipers do not stick to an exact beat, so there is some rhythmic drift.

Although it's nothing like Neubauten, I managed to keep a general 'horror' theme.

The image is from here: http://commons.wikimedia.org/wiki/File:Leatherface.jpg

---

Here is the original assignment for the Disquiet Junto:

"The eleventh Junto project requires you to make an original field recording, and to then make something of it. This project focuses on rhythm. The field recording should be of some rhythmic mechanical sound from everyday life: a dishwasher, a car's turn signal, a hard drive, a bicycle, whatever you choose. That recording should serve as the main rhythmic element of your track. You can edit the recording, certainly, but it should remain recognizable; you should only edit it to whittle it down to a core rhythmic section. To it you can add whatever sounds you like, but the rhythm should be central and prominent in the finished track. "

More details on the Disquiet Junto at:

Disquiet Junto.]]> 1762650 no no Mon, 19 Mar 2012 03:23:13 +0100 2012-03-19T03:23:13+01:00 4:27 https://hearthis.at/kaboodle-sound/wax-lyrical-disquiet0010-reflect/
I used the following tracks (from the Wax Cylinder remix project a few weeks ago):
http://soundcloud.com/dustmotes/time-for-change-disquiet0006
http://soundcloud.com/hightunnels/generations-disquiet0006
a few elements from this (from the 'Subtraction' project, removing elements from a recording of waves):
http://soundcloud.com/nonwrestler/jet-jaguar-tides-out

and quite a bit from this excellent interview with Marc Weidenbaum, moderator/curator/creator of the Disquiet Junto:
SoundCloud Speaks - 001 - Disquiet/Marc Weidenbaum by SoundCloud Community Team

I cut the above tracks up in Audacity, and fed them to my Korg Electribe ES1, which I used to manipulate and sequence the samples. My aim was to deconstruct the interview into a mixture of nonsense and a kind of bizarre comment on the remix itself (i.e. the one I have posted here).

No other instruments were added - everything is sampled from one of the above tracks and played through the Electribe.

I had originally planned to use the above tracks to make a hip-hop track to share with the Disquiet Junto, but I couldn't find (or produce!) any suitable vocals. I had made some small progess in Ardour when this week's assignment was set, so I decided to abandon it in favour of this. I ended up using some of the same samples but doing doing everything else from scratch.


The image is NOT porn or anything unsettling; it's the wax floating in a lava lamp, from here:
http://commons.wikimedia.org/wiki/File:Wax_bubble.jpg


The original instructions for this project were as follows:

"The tenth Junto provides an opportunity to reflect on what the group's participants have accomplished in the past nine weeks. The project is as follows: all participants will produce a remix of any track of their liking from any of the past projects (that is, any of the tracks from projects 0001 through 0009). One clarification: please make certain that the track you select is eligible for remixing. If you're not sure, contact either the musician (via "Send Message" within Soundcloud) or me (at marc@disquiet.com) for confirmation. There is one additional track option; you can remix the recent Soundcloud podcast that was about the Junto."


More details on the Disquiet Junto at:

Disquiet Junto]]>
I used the following tracks (from the Wax Cylinder remix project a few weeks ago):
http://soundcloud.com/dustmotes/time-for-change-disquiet0006
http://soundcloud.com/hightunnels/generations-disquiet0006
a few elements from this (from the 'Subtraction' project, removing elements from a recording of waves):
http://soundcloud.com/nonwrestler/jet-jaguar-tides-out

and quite a bit from this excellent interview with Marc Weidenbaum, moderator/curator/creator of the Disquiet Junto:
SoundCloud Speaks - 001 - Disquiet/Marc Weidenbaum by SoundCloud Community Team

I cut the above tracks up in Audacity, and fed them to my Korg Electribe ES1, which I used to manipulate and sequence the samples. My aim was to deconstruct the interview into a mixture of nonsense and a kind of bizarre comment on the remix itself (i.e. the one I have posted here).

No other instruments were added - everything is sampled from one of the above tracks and played through the Electribe.

I had originally planned to use the above tracks to make a hip-hop track to share with the Disquiet Junto, but I couldn't find (or produce!) any suitable vocals. I had made some small progess in Ardour when this week's assignment was set, so I decided to abandon it in favour of this. I ended up using some of the same samples but doing doing everything else from scratch.


The image is NOT porn or anything unsettling; it's the wax floating in a lava lamp, from here:
http://commons.wikimedia.org/wiki/File:Wax_bubble.jpg


The original instructions for this project were as follows:

"The tenth Junto provides an opportunity to reflect on what the group's participants have accomplished in the past nine weeks. The project is as follows: all participants will produce a remix of any track of their liking from any of the past projects (that is, any of the tracks from projects 0001 through 0009). One clarification: please make certain that the track you select is eligible for remixing. If you're not sure, contact either the musician (via "Send Message" within Soundcloud) or me (at marc@disquiet.com) for confirmation. There is one additional track option; you can remix the recent Soundcloud podcast that was about the Junto."


More details on the Disquiet Junto at:

Disquiet Junto]]> 1762651 no no Sun, 11 Mar 2012 01:30:42 +0100 2012-03-11T01:30:42+01:00 5:00 https://hearthis.at/kaboodle-sound/slidebird-disquiet0009-avian/
These were the samples I used:
Songthrush:
http://www.freesound.org/people/reinsamba/sounds/32480/
Slide Guitar:
http://www.freesound.org/people/UncleSigmund/sounds/40866/

I chose these samples from the 4 available because I figured that most people would have gone for the acoustic guitar chord progession, but also because I liked the rhythmic possibilities the slide guitar piece represented. (And also because I always choose the harder option in this kind of scenario...)

I cut up the samples and fed the fragments (mostly single-shot sounds) into a Korg Electribe SX. I used the compressor on a KP3 Kaoss Pad and the internal compressor in the Electribe (along with some distortion). No other effects or processes were used. All of the sounds are only from the two samples (no other instruments or sounds were used). I played around with the samples until I found a rhythm that I liked, then I went a bit nuts with it.

I had originally intended to have the piece evolve and morph from either the guitar to the bird or vice versa, but I ended up enjoying kicking the samples around like Aphex Twin trying to induce a nervous breakdown. I could have made a whole album out of the two samples, so I might go back and re-visit this project at some time and do it closer to my original idea.

I am currently working on a project involving nature sounds (including bird songs!), so I made sure that this piece for the Disquiet Junto was as far removed from my other work as possible.

On reflection, I think this could have worked better with the Nightingale instead of the Thrush, but I ran out of time, so couldn't re-do it.

Side note: my partner just finished reading Daphne du Maurier's 'The Birds' the day before this week's Disquiet mission was announced.

I took the image from here: http://commons.wikimedia.org/wiki/File:Philomelos81_24.jpg
and manipulated it in the GIMP.

More details on the Disquiet Junto at:

Disquiet Junto]]>
These were the samples I used:
Songthrush:
http://www.freesound.org/people/reinsamba/sounds/32480/
Slide Guitar:
http://www.freesound.org/people/UncleSigmund/sounds/40866/

I chose these samples from the 4 available because I figured that most people would have gone for the acoustic guitar chord progession, but also because I liked the rhythmic possibilities the slide guitar piece represented. (And also because I always choose the harder option in this kind of scenario...)

I cut up the samples and fed the fragments (mostly single-shot sounds) into a Korg Electribe SX. I used the compressor on a KP3 Kaoss Pad and the internal compressor in the Electribe (along with some distortion). No other effects or processes were used. All of the sounds are only from the two samples (no other instruments or sounds were used). I played around with the samples until I found a rhythm that I liked, then I went a bit nuts with it.

I had originally intended to have the piece evolve and morph from either the guitar to the bird or vice versa, but I ended up enjoying kicking the samples around like Aphex Twin trying to induce a nervous breakdown. I could have made a whole album out of the two samples, so I might go back and re-visit this project at some time and do it closer to my original idea.

I am currently working on a project involving nature sounds (including bird songs!), so I made sure that this piece for the Disquiet Junto was as far removed from my other work as possible.

On reflection, I think this could have worked better with the Nightingale instead of the Thrush, but I ran out of time, so couldn't re-do it.

Side note: my partner just finished reading Daphne du Maurier's 'The Birds' the day before this week's Disquiet mission was announced.

I took the image from here: http://commons.wikimedia.org/wiki/File:Philomelos81_24.jpg
and manipulated it in the GIMP.

More details on the Disquiet Junto at:

Disquiet Junto]]> 1762652 no no Mon, 05 Mar 2012 05:40:03 +0100 2012-03-05T05:40:03+01:00 3:58 https://hearthis.at/kaboodle-sound/sex-and-devils-disquiet0008-voice/
This was another mission for the Disquiet Junto group. The brief was: "You will select a single sentence (or extended, self-contained clause) from The Autobiography of Benjamin Franklin. It is Franklin's own Junto Society that provided the name for our association... Whether you use the provided MP3 or you elect to record a section yourself, you will use that recording as the sole audio source material in your work. You can do with it as you wish -- cut it up, slow it down, process it, otherwise transform it -- so long as at some point, the sentence/clause is comprehensible to the listener. You will not add any other sounds. "

I cut up the sentence I liked best from the the Librivox recording, and I made all the instruments and sounds on a Korg Electribe SX. All the bass parts are from the word "beast" (mostly just the "b" sound), and most of the drum parts are individual breaths. I cut seven breaths out of the sentence, and used them all as sort-of drum sounds at different points. I cut out a few individual words and stitched a couple of sentences together in Audacity, but everything else was done on the Electribe. Everything that doesn't sound like a voice is the result of the Electribe's effects (mostly Mod Delay, Grain Shifter, Distortion and Compression).

My idea with this piece was to strip almost all seriousness away from it, and explore all the qualities of the vocals, the words and the sounds in the recording of the sentence.

Apologies to Benjamin Franklin and the entire United States of America for any offense caused.


The underlying vocal sample is from this public-domain recording of The Autobiography of Benjamin Franklin, from LibriVox:

http://www.archive.org/details/franklin_autobio_gg_librivox

Text made possible thanks to:

http://www.gutenberg.org/files/20203/20203-h/20203-h.htm#XI

(The sentence I used was: "The multitudes of all sects and denominations that attended his sermons were enormous, and it was matter of speculation to me, who was one of the number, to observe the extraordinary influence of his oratory on his hearers, and how much they admir'd and respected him, notwithstanding his common abuse of them, by assuring them they were naturally half beasts and half devils.")

I took the image from here: http://en.wikipedia.org/wiki/File:Benjamin_Franklin_by_Joseph-Siffred_Duplessis.jpg
and manipulated it in the GIMP.

More details on the Disquiet Junto at:

Disquiet Junto]]>
This was another mission for the Disquiet Junto group. The brief was: "You will select a single sentence (or extended, self-contained clause) from The Autobiography of Benjamin Franklin. It is Franklin's own Junto Society that provided the name for our association... Whether you use the provided MP3 or you elect to record a section yourself, you will use that recording as the sole audio source material in your work. You can do with it as you wish -- cut it up, slow it down, process it, otherwise transform it -- so long as at some point, the sentence/clause is comprehensible to the listener. You will not add any other sounds. "

I cut up the sentence I liked best from the the Librivox recording, and I made all the instruments and sounds on a Korg Electribe SX. All the bass parts are from the word "beast" (mostly just the "b" sound), and most of the drum parts are individual breaths. I cut seven breaths out of the sentence, and used them all as sort-of drum sounds at different points. I cut out a few individual words and stitched a couple of sentences together in Audacity, but everything else was done on the Electribe. Everything that doesn't sound like a voice is the result of the Electribe's effects (mostly Mod Delay, Grain Shifter, Distortion and Compression).

My idea with this piece was to strip almost all seriousness away from it, and explore all the qualities of the vocals, the words and the sounds in the recording of the sentence.

Apologies to Benjamin Franklin and the entire United States of America for any offense caused.


The underlying vocal sample is from this public-domain recording of The Autobiography of Benjamin Franklin, from LibriVox:

http://www.archive.org/details/franklin_autobio_gg_librivox

Text made possible thanks to:

http://www.gutenberg.org/files/20203/20203-h/20203-h.htm#XI

(The sentence I used was: "The multitudes of all sects and denominations that attended his sermons were enormous, and it was matter of speculation to me, who was one of the number, to observe the extraordinary influence of his oratory on his hearers, and how much they admir'd and respected him, notwithstanding his common abuse of them, by assuring them they were naturally half beasts and half devils.")

I took the image from here: http://en.wikipedia.org/wiki/File:Benjamin_Franklin_by_Joseph-Siffred_Duplessis.jpg
and manipulated it in the GIMP.

More details on the Disquiet Junto at:

Disquiet Junto]]> 1762653 no no Mon, 27 Feb 2012 02:05:32 +0100 2012-02-27T02:05:32+01:00 3:49 https://hearthis.at/kaboodle-sound/lows-and-highs-disquiet0007-subtract/
http://www.freesound.org/people/Luftrum/sounds/48412

The remit for this project was to only remove elements from the sample, not to add to it or otherwise alter the sample, except for removing elements. I don't believe I crossed a line by using a slicer.

I took the above sample and fed it through a Mini KP Kaoss Pad 4 times: 1) through a low pass filter, 2) through a high pass filter, 3) though a lower low pass filter, and 4) through the lower low pass filter AND through a second Mini Kaoss pad, which was running a slicer effect at 42BPM. I then put the pieces back together in Audacity. My aim was to create a subtle beat using the slicer, and to remove mainly the middle parts of the audio, leaving the highs and lows (which I like best).

More details on the Disquiet Junto at:

Disquiet Junto

Image taken from here:
http://commons.wikimedia.org/wiki/File:Waves_Nauru.jpg]]>
http://www.freesound.org/people/Luftrum/sounds/48412

The remit for this project was to only remove elements from the sample, not to add to it or otherwise alter the sample, except for removing elements. I don't believe I crossed a line by using a slicer.

I took the above sample and fed it through a Mini KP Kaoss Pad 4 times: 1) through a low pass filter, 2) through a high pass filter, 3) though a lower low pass filter, and 4) through the lower low pass filter AND through a second Mini Kaoss pad, which was running a slicer effect at 42BPM. I then put the pieces back together in Audacity. My aim was to create a subtle beat using the slicer, and to remove mainly the middle parts of the audio, leaving the highs and lows (which I like best).

More details on the Disquiet Junto at:

Disquiet Junto

Image taken from here:
http://commons.wikimedia.org/wiki/File:Waves_Nauru.jpg]]> 1762654 no no Fri, 17 Feb 2012 02:59:43 +0100 2012-02-17T02:59:43+01:00 2:00 https://hearthis.at/kaboodle-sound/wax-concrete-disquiet0006-cylinder/
http://www.archive.org/details/colnyp-15132
http://www.archive.org/details/edba-3871
http://www.archive.org/details/ind-986

I used elements from all of the above songs, cut them up in Audacity (on a Debian Linux machine), played them through a Roland SP555, feeding the samples through the SP555's effects and passing them on to a KP3 Kaoss Pad. I originally ended up with over 30 minutes of audio, and then broke it down in Ardour and Audacity.

Image taken from: http://commons.wikimedia.org/wiki/File:Block_mortar_and_cast_concrete.JPG

More details on the Disquiet Junto at:

Disquiet Junto]]>
http://www.archive.org/details/colnyp-15132
http://www.archive.org/details/edba-3871
http://www.archive.org/details/ind-986

I used elements from all of the above songs, cut them up in Audacity (on a Debian Linux machine), played them through a Roland SP555, feeding the samples through the SP555's effects and passing them on to a KP3 Kaoss Pad. I originally ended up with over 30 minutes of audio, and then broke it down in Ardour and Audacity.

Image taken from: http://commons.wikimedia.org/wiki/File:Block_mortar_and_cast_concrete.JPG

More details on the Disquiet Junto at:

Disquiet Junto]]> 1762656 no no Mon, 13 Feb 2012 04:36:28 +0100 2012-02-13T04:36:28+01:00 3:30 https://hearthis.at/kaboodle-sound/morning-start-disquiet0005-layer/
Five minutes of unedited field recording of me in the kitchen before children and partner got up. Sounds of kettle, cutlery, drawers, doors, and the slicing of a lemon.

Recorded on a Zoom H4n. Audio was copied and cut up in Audacity on a Debian Linux machine. Individual sounds were put on a SD card and fed into a Korg Electribe SX, and then made into a rhythm. Original field recording and rhythm were then overlaid using Audacity, with the field recording being stronger in the mix. All sounds are ONLY from the original recording - no other instruments were used. The only effects used were those on the Electribe, and in this case were Grain Shifter, Mod Delay and a little Reverb.

Not exactly what I had planned to do, but I ended up doing it at the last minute, just like I used to with homework....]]>
Five minutes of unedited field recording of me in the kitchen before children and partner got up. Sounds of kettle, cutlery, drawers, doors, and the slicing of a lemon.

Recorded on a Zoom H4n. Audio was copied and cut up in Audacity on a Debian Linux machine. Individual sounds were put on a SD card and fed into a Korg Electribe SX, and then made into a rhythm. Original field recording and rhythm were then overlaid using Audacity, with the field recording being stronger in the mix. All sounds are ONLY from the original recording - no other instruments were used. The only effects used were those on the Electribe, and in this case were Grain Shifter, Mod Delay and a little Reverb.

Not exactly what I had planned to do, but I ended up doing it at the last minute, just like I used to with homework....]]> 1762657 no no Mon, 06 Feb 2012 04:52:40 +0100 2012-02-06T04:52:40+01:00 5:06 https://hearthis.at/kaboodle-sound/george-carlin-a-modern-man/
The samples are from Herbie Hancock's 'The Twilight Clone' (from his album Magic Windows), and Tom Waits' 'Step Right Up' (from his album Small Change).

All effects and weird bits were created by me, and I re-edited Carlin's vocals to cut out audience noise and keep closer to the beat.]]>
The samples are from Herbie Hancock's 'The Twilight Clone' (from his album Magic Windows), and Tom Waits' 'Step Right Up' (from his album Small Change).

All effects and weird bits were created by me, and I re-edited Carlin's vocals to cut out audience noise and keep closer to the beat.]]> 1762659 no no Sun, 14 Aug 2011 19:25:17 +0200 2011-08-14T19:25:17+02:00 3:11 https://hearthis.at/kaboodle-sound/shitty-rave-music-featuring-henry-rollins-and-dj-fuckhead/
The idea was to make SHITTY rave music, not great rave music.

All sounds were sampled from this video: http://www.youtube.com/watch?v=AyRDDOpKaLM

A simple dance loop and very basic kit were added for the beat. The weird mangled riff is a warped version of Henry Rollins' impression of 'shitty rave music'. Some of Rollins' vocal drum impression made up part of the beat.

The entire track was assembled on a Korg Electribe ESX.

A rock track using Rollins' ranting on modern music may well follow soon.]]>
The idea was to make SHITTY rave music, not great rave music.

All sounds were sampled from this video: http://www.youtube.com/watch?v=AyRDDOpKaLM

A simple dance loop and very basic kit were added for the beat. The weird mangled riff is a warped version of Henry Rollins' impression of 'shitty rave music'. Some of Rollins' vocal drum impression made up part of the beat.

The entire track was assembled on a Korg Electribe ESX.

A rock track using Rollins' ranting on modern music may well follow soon.]]> 1762661 no no Sat, 13 Aug 2011 20:31:42 +0200 2011-08-13T20:31:42+02:00 2:00 https://hearthis.at/kaboodle-sound/things-i-wouldnt-confess/ All the effects you hear were created live, and there were no overdubs, edits or other trickery involved. Even the mixing was live, and the whole thing recorded direct to stereo.]]> All the effects you hear were created live, and there were no overdubs, edits or other trickery involved. Even the mixing was live, and the whole thing recorded direct to stereo.]]> 1762662 no no Wed, 08 Jun 2011 22:14:47 +0200 2011-06-08T22:14:47+02:00 5:16