Fri, 10 May 2019 13:08:36 +0200 60 https://hearthis.at/sevenism/ en-EN infinitecolorslabel@gmail.com infinitecolorslabel@gmail.com https://hearthis.at/sevenism/ https://img.hearthis.at/0/0/5/_/uploads/801843/image_user/w1400_h1400_q70_ptrue_v2_----cropped_665f3f6b68d8f810e098dfb7cb4fefe4avatars-000098754841-mke5w1-t500x500.jpg no no https://hearthis.at/sevenism/g-h-o-s-t-s/
tracks:
arovane - tokyo ghost stories
Air - Ghost Song
Burial - Ghost Hardware
Forest Swords - Bones (Ghost Hunter Remix)
Goldie - Rider's Ghost (The Origin)
Sean McCann - Ghost Farm Inn
Jessica Bailiff - Your Ghost Is Not Enough
Gang Violins - Ghosts of Aleppo
James Blackshaw - Running to the Ghost
DJ Shadow - giving up the ghost
Radiohead - Give Up The Ghost
The Surf The Sundried - Ghost Tool
Kelpe - Yippee Space Ghost (Sid version)
µ-Ziq - Ghost Electron
UNKLE - Ghosts (String Reprise)]]>
tracks:
arovane - tokyo ghost stories
Air - Ghost Song
Burial - Ghost Hardware
Forest Swords - Bones (Ghost Hunter Remix)
Goldie - Rider's Ghost (The Origin)
Sean McCann - Ghost Farm Inn
Jessica Bailiff - Your Ghost Is Not Enough
Gang Violins - Ghosts of Aleppo
James Blackshaw - Running to the Ghost
DJ Shadow - giving up the ghost
Radiohead - Give Up The Ghost
The Surf The Sundried - Ghost Tool
Kelpe - Yippee Space Ghost (Sid version)
µ-Ziq - Ghost Electron
UNKLE - Ghosts (String Reprise)]]> 3082298 no no Fri, 10 May 2019 13:08:36 +0200 2019-05-10T13:08:36+02:00 55:36 https://hearthis.at/sevenism/human-music-disquiet0373/
(random freesound samples in protoplasm. i felt like assuming!)
.
https://llllllll.co/t/disquiet-junto-project-0373-copernican-music/
Disquiet Junto Project 0373: Copernican Music
The Assignment: Record a piece of music intended for an alien species.

This week’s project was made as a proposition by the artist Jonathon Keats:

Step 1: Compose a work of music for sentient beings elsewhere in the universe. Aside from sentience, assume nothing about your audience culturally or cognitively. Make a connection by modulating frequency and amplitude over time.]]>
(random freesound samples in protoplasm. i felt like assuming!)
.
https://llllllll.co/t/disquiet-junto-project-0373-copernican-music/
Disquiet Junto Project 0373: Copernican Music
The Assignment: Record a piece of music intended for an alien species.

This week’s project was made as a proposition by the artist Jonathon Keats:

Step 1: Compose a work of music for sentient beings elsewhere in the universe. Aside from sentience, assume nothing about your audience culturally or cognitively. Make a connection by modulating frequency and amplitude over time.]]> 2839811 no no Fri, 22 Feb 2019 15:59:17 +0100 2019-02-22T15:59:17+01:00 02:28 https://hearthis.at/sevenism/petals-fall-away-naviarhaiku268/
a difficult listen at first, you might want to skip to the 3 minute mark

zebralette/ambient reverb/ozone imager

.
naviarhaiku268 – transience . . .
The haiku we present this week was awarded “Best Haiku, Canada” in the 2017 Vancouver Cherry Blossom Festival Haiku Invitational. The beautiful picture that accompanies it is by Annie Spratt.

Debbie Strange is an internationally published short form poet, haiga artist, and photographer whose creative passions bring her closer to the world and to herself. She has a deep reverence for nature, and her work often reflects that affinity. Debbie maintains a publication and awards archive at http://debbiemstrange.blogspot.com/ which also includes hundreds of haiga, and reviews of her books. Please visit her on Twitter @Debbie_Strange.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 27th February 2019

haiku by Debbie Strange http://debbiemstrange.blogspot.com

picture by Annie Spratt https://unsplash.com/@anniespratt]]>
a difficult listen at first, you might want to skip to the 3 minute mark

zebralette/ambient reverb/ozone imager

.
naviarhaiku268 – transience . . .
The haiku we present this week was awarded “Best Haiku, Canada” in the 2017 Vancouver Cherry Blossom Festival Haiku Invitational. The beautiful picture that accompanies it is by Annie Spratt.

Debbie Strange is an internationally published short form poet, haiga artist, and photographer whose creative passions bring her closer to the world and to herself. She has a deep reverence for nature, and her work often reflects that affinity. Debbie maintains a publication and awards archive at http://debbiemstrange.blogspot.com/ which also includes hundreds of haiga, and reviews of her books. Please visit her on Twitter @Debbie_Strange.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 27th February 2019

haiku by Debbie Strange http://debbiemstrange.blogspot.com

picture by Annie Spratt https://unsplash.com/@anniespratt]]> 2836012 no no Thu, 21 Feb 2019 18:34:53 +0100 2019-02-21T18:34:53+01:00 05:59 https://hearthis.at/sevenism/pulsar-love-disquiet0372/
i played for a few minutes and turned up the depth and feedback on the drone setting throughout. weirdly when i looked at the recording it said i'd been playing for over 9 minutes. just did a little limiting and normalized it.
...
More on this 372nd weekly Disquiet Junto project — Honeymoon Phase / The Assignment: Record a piece of music with (only) your most recently obtained instrument or music/sound tool — at:

https://disquiet.com/0372/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0372-honeymoon-phase/

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

Image associated with this project adapted thanks to a Creative Commons license from a photo by Thorsten Sideb0ard:

https://www.flickr.com/photos/sideb0ard/10364491865/

https://creativecommons.org/licenses/by-nc-sa/2.0/]]>
i played for a few minutes and turned up the depth and feedback on the drone setting throughout. weirdly when i looked at the recording it said i'd been playing for over 9 minutes. just did a little limiting and normalized it.
...
More on this 372nd weekly Disquiet Junto project — Honeymoon Phase / The Assignment: Record a piece of music with (only) your most recently obtained instrument or music/sound tool — at:

https://disquiet.com/0372/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0372-honeymoon-phase/

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

Image associated with this project adapted thanks to a Creative Commons license from a photo by Thorsten Sideb0ard:

https://www.flickr.com/photos/sideb0ard/10364491865/

https://creativecommons.org/licenses/by-nc-sa/2.0/]]> 2820677 no no Fri, 15 Feb 2019 13:30:53 +0100 2019-02-15T13:30:53+01:00 09:07 https://hearthis.at/sevenism/wildflower-rise-naviarhaiku267/ koto and guzheng samples
.
.
.
naviarhaiku267 – spring breeze
dl mattila lives in the USA. She’s the author of Quietus, a collection of poems published on Finishing Line Press. Her work has been published in Downhome Magazine (NL), Shot Glass Journal, and The Rotary Dial (CA), among others.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 20th February 2019

haiku by dl mattila https://www.thehaikufoundation.org/poet-details/?IDclient=1951

picture by Aaron Burden https://unsplash.com/@aaronburden]]> koto and guzheng samples
.
.
.
naviarhaiku267 – spring breeze
dl mattila lives in the USA. She’s the author of Quietus, a collection of poems published on Finishing Line Press. Her work has been published in Downhome Magazine (NL), Shot Glass Journal, and The Rotary Dial (CA), among others.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 20th February 2019

haiku by dl mattila https://www.thehaikufoundation.org/poet-details/?IDclient=1951

picture by Aaron Burden https://unsplash.com/@aaronburden]]> 2820679 no no Thu, 14 Feb 2019 17:12:36 +0100 2019-02-14T17:12:36+01:00 06:22 https://hearthis.at/sevenism/invisible-concrete-disquiet0371/
made in piano genie then slowed down/distortion/ reverb applied over and over to make it brittle abrasive and yet aethereal

.
https://llllllll.co/t/disquiet-junto-project-0371-concrete-ambience/
Disquiet Junto Project 0371: Concrete Ambience
The Assignment: What could concrete wallpaper music sound like?

Step 1: Consider the concept of wallpaper music.

Step 2: Consider wallpaper designed to look like concrete.

Step 3: Consider what concrete wallpaper music might sound like.

Step 4: Record concrete wallpaper music.

disquiet0371]]>
made in piano genie then slowed down/distortion/ reverb applied over and over to make it brittle abrasive and yet aethereal

.
https://llllllll.co/t/disquiet-junto-project-0371-concrete-ambience/
Disquiet Junto Project 0371: Concrete Ambience
The Assignment: What could concrete wallpaper music sound like?

Step 1: Consider the concept of wallpaper music.

Step 2: Consider wallpaper designed to look like concrete.

Step 3: Consider what concrete wallpaper music might sound like.

Step 4: Record concrete wallpaper music.

disquiet0371]]> 2807426 no no Thu, 07 Feb 2019 23:28:51 +0100 2019-02-07T23:28:51+01:00 04:51 https://hearthis.at/sevenism/neon-nights-tue-naviarhaiku266/ sharp light in the dark
.

This poem by Simon Hanson was first published on The Mainichi, Japan’s National Daily, October 24, 2016. Selected by Isamu Hashimoto

Simon contacted me a couple of weeks ago and sent me over 20 haiku he thought may be suitable for musical exploration. Among them there are some of the best poems I’ve read in a long time, so if you like this one you can find more of his works in The Living Haiku Anthology and The Haiku Foundation websites.

“Simon has lived in a number of locations, stunning and gorgeous in various ways, from which he draws inspiration; including capital cities like Adelaide and Brisbane, tiny rural communities surrounded by rolling fields, the desert lands of central Australia where stars seem to outnumber the grains of sand and also lived in close proximity to the Pacific and Great Southern Oceans. He is interested in science, inclined to philosophical contemplations, sometimes indulges in mystical speculation, prone to bouts of wonder and is often swept off his feet by Beauty in its myriad forms. He has three collections of poetry, one in free form, another in collaborative rengay and most recently an eBook of haiku, Desert Stones, published by Snapshot Press. He is currently Secretary to The Australian Haiku Society.”



Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 13th February 2019

haiku by Simon Hanson http://www.thehaikufoundation.org/poet-details/?IDclient=1463

picture by Ciaran O’Brien https://unsplash.com/@icidius
(+ganbreeder.app)]]> sharp light in the dark
.

This poem by Simon Hanson was first published on The Mainichi, Japan’s National Daily, October 24, 2016. Selected by Isamu Hashimoto

Simon contacted me a couple of weeks ago and sent me over 20 haiku he thought may be suitable for musical exploration. Among them there are some of the best poems I’ve read in a long time, so if you like this one you can find more of his works in The Living Haiku Anthology and The Haiku Foundation websites.

“Simon has lived in a number of locations, stunning and gorgeous in various ways, from which he draws inspiration; including capital cities like Adelaide and Brisbane, tiny rural communities surrounded by rolling fields, the desert lands of central Australia where stars seem to outnumber the grains of sand and also lived in close proximity to the Pacific and Great Southern Oceans. He is interested in science, inclined to philosophical contemplations, sometimes indulges in mystical speculation, prone to bouts of wonder and is often swept off his feet by Beauty in its myriad forms. He has three collections of poetry, one in free form, another in collaborative rengay and most recently an eBook of haiku, Desert Stones, published by Snapshot Press. He is currently Secretary to The Australian Haiku Society.”



Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 13th February 2019

haiku by Simon Hanson http://www.thehaikufoundation.org/poet-details/?IDclient=1463

picture by Ciaran O’Brien https://unsplash.com/@icidius
(+ganbreeder.app)]]> 2802067 no no Thu, 07 Feb 2019 12:14:31 +0100 2019-02-07T12:14:31+01:00 04:32 https://hearthis.at/sevenism/joyneskisityphoxxdaniel-diazclaude-lebelgesevenism-contested-palmyra-disquiet0370/
https://soundcloud.com/user-859240368/disquiet0367
https://soundcloud.com/sityphoxx/engage-duo-disquiet0368
https://soundcloud.com/daniel-diaz/juntos-en-palmyra-disquiet0369
https://soundcloud.com/claudelebelge/a-much-contested-disquiet0369

i put everything thru protoplasm (slowed down) and then ddly and ozone imager
a little eq'ing and distortion in audacity


Disquiet Junto Project 0370: Through Lines
The Assignment: Follow a single strand in the accumulated material resulting from a multi-part, multi-thread collaborative endeavor.


https://llllllll.co/t/disquiet-junto-project-0370-through-lines/]]>
https://soundcloud.com/user-859240368/disquiet0367
https://soundcloud.com/sityphoxx/engage-duo-disquiet0368
https://soundcloud.com/daniel-diaz/juntos-en-palmyra-disquiet0369
https://soundcloud.com/claudelebelge/a-much-contested-disquiet0369

i put everything thru protoplasm (slowed down) and then ddly and ozone imager
a little eq'ing and distortion in audacity


Disquiet Junto Project 0370: Through Lines
The Assignment: Follow a single strand in the accumulated material resulting from a multi-part, multi-thread collaborative endeavor.


https://llllllll.co/t/disquiet-junto-project-0370-through-lines/]]> 2795127 no no Sun, 03 Feb 2019 23:06:57 +0100 2019-02-03T23:06:57+01:00 06:16 https://hearthis.at/sevenism/gravity-tides-naviarhaiku265/ improvising for the first time in art-pyrite
a little distortion and detuning in audacity

..
dark moon
the pull of a planet
beyond pluto
..

The haiku selected for this challenge was first published on Presence #58.

Most recently publisher, managing editor, haiku editor and features editor of A Hundred Gourds, Lorin has written haiku since 2004. Selections of her haiku are anthologized in, eg. Haiku in English, Where the River Goes , Haiku21 and Nest Feathers. Her a wattle seedpod (PostPressed 2008) won a first place in the HSA Merit Book Awards, the first Australian book to do so. Her e-chapbook, A Few Quick Brushstrokes,was a 2011 Snapshot Press winner.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 6th February 2019

haiku by Lorin Ford https://www.thehaikufoundation.org/poet-details/?IDclient=69

image generated on ganbreeder.app]]> improvising for the first time in art-pyrite
a little distortion and detuning in audacity

..
dark moon
the pull of a planet
beyond pluto
..

The haiku selected for this challenge was first published on Presence #58.

Most recently publisher, managing editor, haiku editor and features editor of A Hundred Gourds, Lorin has written haiku since 2004. Selections of her haiku are anthologized in, eg. Haiku in English, Where the River Goes , Haiku21 and Nest Feathers. Her a wattle seedpod (PostPressed 2008) won a first place in the HSA Merit Book Awards, the first Australian book to do so. Her e-chapbook, A Few Quick Brushstrokes,was a 2011 Snapshot Press winner.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 6th February 2019

haiku by Lorin Ford https://www.thehaikufoundation.org/poet-details/?IDclient=69

image generated on ganbreeder.app]]> 2794245 no no Sat, 02 Feb 2019 12:50:09 +0100 2019-02-02T12:50:09+01:00 07:33 https://hearthis.at/sevenism/greathorned-burn-sevenism-bellymind-disquiet0369/
low humming through lots of podfarm 2 guitar fx
.
.
https://llllllll.co/t/disquiet-junto-project-0369-final-solo/
Disquiet Junto Project 0369: Final Solo
The Assignment: Record the final third of a trio, adding to a pre-existing track, based itself on a prior pre-existing track.]]>
low humming through lots of podfarm 2 guitar fx
.
.
https://llllllll.co/t/disquiet-junto-project-0369-final-solo/
Disquiet Junto Project 0369: Final Solo
The Assignment: Record the final third of a trio, adding to a pre-existing track, based itself on a prior pre-existing track.]]> 2781923 no no Mon, 28 Jan 2019 12:21:20 +0100 2019-01-28T12:21:20+01:00 02:18 https://hearthis.at/sevenism/refract-aura/
just using this rain sample https://soundcloud.com/ahornberg/rain-source-for-the-one-sample-dare-challenge-65

in audacity: aggressive noise reduction, duplicate layers at different pitches for a chorus effect, lots of echo delay and reverb. another duplicate layer with wet reverb and paulstretch

mastered in audition]]>
just using this rain sample https://soundcloud.com/ahornberg/rain-source-for-the-one-sample-dare-challenge-65

in audacity: aggressive noise reduction, duplicate layers at different pitches for a chorus effect, lots of echo delay and reverb. another duplicate layer with wet reverb and paulstretch

mastered in audition]]> 2771316 no no Wed, 23 Jan 2019 20:00:58 +0100 2019-01-23T20:00:58+01:00 06:02 https://hearthis.at/sevenism/night-come-alive-naviarhaiku264/ reversed, chorus, distortion in audacity
/
night wind
the bush comes alive
with dreamtime stories
/
http://www.naviarrecords.com/2019/01/23/naviarhaiku264-night-wind/

We continue our colllaboration with the Haiku Foundation with a beautiful poem by Madhuri Pillai, an English (hons) graduate who studied journalism and has worked as a journalist. Madhuri discovered haiku in 2011, and since then her work has been published in major international haiku journals. Apart from her love of books and writing, she is a passionate advocate for animal and human rights. She lives a quiet life in Melbourne with her family.

About this poem, Madhuri says:

“In my twenties I lived in a little mining town called Nhulunbuy in Arnhem Land in Northern Territory of Australia, Nhulunbuy was leased by a Swiss Mining Company called Nabalco for 100 years for mining bauxite. I would drive for miles on dirt road, through the bush, thick with eucalyptus to the Aboriginal settlement called Yirrkala. Driving through the bush, through its silence and secret inhabitants was itself an experience. The aboriginals were always warm and hospitable. I am so glad you picked this haiku, for me it’s a tribute to their wisdom and tenacity.“

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 30th January 2019

haiku by Madhuri Pillai https://madhurip.wordpress.com

picture by Jeremy Bishop https://unsplash.com/@jeremybishop]]> reversed, chorus, distortion in audacity
/
night wind
the bush comes alive
with dreamtime stories
/
http://www.naviarrecords.com/2019/01/23/naviarhaiku264-night-wind/

We continue our colllaboration with the Haiku Foundation with a beautiful poem by Madhuri Pillai, an English (hons) graduate who studied journalism and has worked as a journalist. Madhuri discovered haiku in 2011, and since then her work has been published in major international haiku journals. Apart from her love of books and writing, she is a passionate advocate for animal and human rights. She lives a quiet life in Melbourne with her family.

About this poem, Madhuri says:

“In my twenties I lived in a little mining town called Nhulunbuy in Arnhem Land in Northern Territory of Australia, Nhulunbuy was leased by a Swiss Mining Company called Nabalco for 100 years for mining bauxite. I would drive for miles on dirt road, through the bush, thick with eucalyptus to the Aboriginal settlement called Yirrkala. Driving through the bush, through its silence and secret inhabitants was itself an experience. The aboriginals were always warm and hospitable. I am so glad you picked this haiku, for me it’s a tribute to their wisdom and tenacity.“

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 30th January 2019

haiku by Madhuri Pillai https://madhurip.wordpress.com

picture by Jeremy Bishop https://unsplash.com/@jeremybishop]]> 2771317 no no Wed, 23 Jan 2019 18:53:52 +0100 2019-01-23T18:53:52+01:00 07:00 https://hearthis.at/sevenism/carlin-mclellans-mate-mark-sevenism-texas-nexus-disquiet0368/
played along with a mountain dulcimer, duplicated and pitched down, bit of preverb, reverb. recorded on my phone.
.
..
Disquiet Junto Project 0368: Engage Duo
The Assignment: Record the second third of a trio, adding to a pre-existing track.

Step 1: This week’s Disquiet Junto project is the second in a sequence that explores and encourages asynchronous collaboration. This week you will be adding music to a pre-existing track, which you will source from the previous week’s Junto project (disquiet.com/0367). Note that you aren’t creating a duet — you’re creating the second third of what will eventually be a trio. Keep this in mind.

Step 2: The plan is for you to record a short and original piece of music, on any instrumentation of your choice, as a complement to the pre-existing track. First, however, you must select the piece of music to which you will be adding your own music. There are more than 40 tracks to choose from, almost all of them in this playlist:

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0367

And at least one more is available as part of a video in this discussion thread from last week:

https://llllllll.co/t/disquiet-junto-project-0367-trio-initiate/

To select a track, you can listen through all that and choose one, or you can use a random number generator. (Note: it’s perfectly fine if more than one person uses the same original track as the basis for their piece.)

Step 3: Record a short piece of music, roughly the length of the piece of music you selected in Step 2. Your track should complement the piece from Step 2, and leave room for an eventual third piece of music. When composing and recording your part, do not alter the original piece of music at all, except to pan the original fully to the left. In your finished audio track, your part should be panned fully to the right. To be clear: the track you upload won’t be your piece of music alone; it will be a combination of the track from Step 2 and yours.]]>
played along with a mountain dulcimer, duplicated and pitched down, bit of preverb, reverb. recorded on my phone.
.
..
Disquiet Junto Project 0368: Engage Duo
The Assignment: Record the second third of a trio, adding to a pre-existing track.

Step 1: This week’s Disquiet Junto project is the second in a sequence that explores and encourages asynchronous collaboration. This week you will be adding music to a pre-existing track, which you will source from the previous week’s Junto project (disquiet.com/0367). Note that you aren’t creating a duet — you’re creating the second third of what will eventually be a trio. Keep this in mind.

Step 2: The plan is for you to record a short and original piece of music, on any instrumentation of your choice, as a complement to the pre-existing track. First, however, you must select the piece of music to which you will be adding your own music. There are more than 40 tracks to choose from, almost all of them in this playlist:

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0367

And at least one more is available as part of a video in this discussion thread from last week:

https://llllllll.co/t/disquiet-junto-project-0367-trio-initiate/

To select a track, you can listen through all that and choose one, or you can use a random number generator. (Note: it’s perfectly fine if more than one person uses the same original track as the basis for their piece.)

Step 3: Record a short piece of music, roughly the length of the piece of music you selected in Step 2. Your track should complement the piece from Step 2, and leave room for an eventual third piece of music. When composing and recording your part, do not alter the original piece of music at all, except to pan the original fully to the left. In your finished audio track, your part should be panned fully to the right. To be clear: the track you upload won’t be your piece of music alone; it will be a combination of the track from Step 2 and yours.]]> 2770943 no no Mon, 21 Jan 2019 14:33:43 +0100 2019-01-21T14:33:43+01:00 03:28 https://hearthis.at/sevenism/dawn-colours-naviarhaiku263/ gradual high frequencies / frequency spread
.
naviarhaiku263 – summer nightfall

лятна вечер
небето бавно възвръща
цветовете си



Vessislava Savova was born in Sofia, Bulgaria. She has published four books so far, and her works have been included in many Bulgarian and international anthologies. Vessislava’s awarded and honourable mentioned writings have been published in international magazines in nine languages.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 23rd January 2019

haiku by Vessislava Savova http://vessislava.blogspot.com

picture by Ann Savchenko https://unsplash.com/@emulsio]]> gradual high frequencies / frequency spread
.
naviarhaiku263 – summer nightfall

лятна вечер
небето бавно възвръща
цветовете си



Vessislava Savova was born in Sofia, Bulgaria. She has published four books so far, and her works have been included in many Bulgarian and international anthologies. Vessislava’s awarded and honourable mentioned writings have been published in international magazines in nine languages.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 23rd January 2019

haiku by Vessislava Savova http://vessislava.blogspot.com

picture by Ann Savchenko https://unsplash.com/@emulsio]]> 2758347 no no Wed, 16 Jan 2019 12:52:35 +0100 2019-01-16T12:52:35+01:00 05:09 https://hearthis.at/sevenism/left-disquiet0367/ panned left
/
https://llllllll.co/t/disquiet-junto-project-0367-trio-initiate/18905
Disquiet Junto Project 0367: Trio Initiate
The Assignment: Record the first third of an eventual trio.

Step 1: This week’s Junto will be the first in a sequence that explores and encourages collaboration. You will be recording something with the understanding that it will remain unfinished for the time being.

Step 2: The plan is for you to record a short and original piece of music, on any instrumentation of your choice. Conceive it as something that leaves room for something else — other instruments, other people — to join in.

Step 3: Record a short piece of music, roughly two to three minutes in length, as described in Step 2. When done, if possible, pan the audio so that your piece is solely in the left side of the audio.]]> panned left
/
https://llllllll.co/t/disquiet-junto-project-0367-trio-initiate/18905
Disquiet Junto Project 0367: Trio Initiate
The Assignment: Record the first third of an eventual trio.

Step 1: This week’s Junto will be the first in a sequence that explores and encourages collaboration. You will be recording something with the understanding that it will remain unfinished for the time being.

Step 2: The plan is for you to record a short and original piece of music, on any instrumentation of your choice. Conceive it as something that leaves room for something else — other instruments, other people — to join in.

Step 3: Record a short piece of music, roughly two to three minutes in length, as described in Step 2. When done, if possible, pan the audio so that your piece is solely in the left side of the audio.]]> 2751221 no no Fri, 11 Jan 2019 19:30:50 +0100 2019-01-11T19:30:50+01:00 03:04 https://hearthis.at/sevenism/brighten-darken-pt-zero-naviarhaiku262/ underwater reverb chorus
(harmonic table java and audacity)
did parts 1 and 2 earlier but they're not as good (album deep cuts)
-
This week we start a new, exciting collaboration with the Haiku Foundation.

Once a month we’ll be selecting a haiku from their monthly project “per diem“, and the resulting compositions will be included in a post on their website, together with the haiku that inspired them.

The haiku of the week was written by Bruce Ross: poet, editor, professor and past president of the Haiku Society of America.



Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 16th January 2019

haiku by Bruce Ross https://en.wikipedia.org/wiki/Bruce_Ross

picture by Scott Webb https://unsplash.com/@scottwebb]]> underwater reverb chorus
(harmonic table java and audacity)
did parts 1 and 2 earlier but they're not as good (album deep cuts)
-
This week we start a new, exciting collaboration with the Haiku Foundation.

Once a month we’ll be selecting a haiku from their monthly project “per diem“, and the resulting compositions will be included in a post on their website, together with the haiku that inspired them.

The haiku of the week was written by Bruce Ross: poet, editor, professor and past president of the Haiku Society of America.



Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 16th January 2019

haiku by Bruce Ross https://en.wikipedia.org/wiki/Bruce_Ross

picture by Scott Webb https://unsplash.com/@scottwebb]]> 2751223 no no Thu, 10 Jan 2019 22:29:47 +0100 2019-01-10T22:29:47+01:00 02:43 https://hearthis.at/sevenism/iec-disquiet0366/ The Assignment: Record the sound of ice in a glass and make something of it.
.
the only sound source is a cube of ice swirled and clattered in a milk frother jug

got some tonal elements with reverb, tempo change, echo, pitch change. left in some of my working in the first 30 seconds, pulled my fave sound into iris 2 and hit some keys in there. bit of preverb and eqing back in audacity]]> The Assignment: Record the sound of ice in a glass and make something of it.
.
the only sound source is a cube of ice swirled and clattered in a milk frother jug

got some tonal elements with reverb, tempo change, echo, pitch change. left in some of my working in the first 30 seconds, pulled my fave sound into iris 2 and hit some keys in there. bit of preverb and eqing back in audacity]]> 2723526 no no Sat, 05 Jan 2019 13:11:41 +0100 2019-01-05T13:11:41+01:00 03:19 https://hearthis.at/sevenism/mountain-village-isolation-naviarhaiku261/
repeated a few times with subtle development - there's a helm synth fading in but remaining in the background
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.
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We conclude our exploration of the Bulgarian haiku scene with a poem by Iliyana Stoyanova, who selected all the poems we shared for the last 4 weeks.

“Iliyana Stoyanova lives in England. She has a PhD in Theology. She is the Living Legacies Editor at the Living Haiku Anthology, Communications Officer and BHS Awards Administrator at the British Haiku Society, Secretary of the United Haiku and Tanka Society, and also a member of Haiku Club-Plovdiv and The London Haiku Group. Her first book Ostrovityansko Haiku (Shimajin Haiku) was published in Bulgaria in 2010. Her haiku and other poems have been published in numerous journals and anthologies, and won several international awards. Iliyana enjoys photography, watercolour painting, travelling, and reading.”

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 9th January 2019

haiku by Iliyana Stoyanova https://www.thehaikufoundation.org/poet-details/?IDclient=1454

picture by Vladimir Nordmann https://unsplash.com/@nordmann_v]]>
repeated a few times with subtle development - there's a helm synth fading in but remaining in the background
.
.
.
We conclude our exploration of the Bulgarian haiku scene with a poem by Iliyana Stoyanova, who selected all the poems we shared for the last 4 weeks.

“Iliyana Stoyanova lives in England. She has a PhD in Theology. She is the Living Legacies Editor at the Living Haiku Anthology, Communications Officer and BHS Awards Administrator at the British Haiku Society, Secretary of the United Haiku and Tanka Society, and also a member of Haiku Club-Plovdiv and The London Haiku Group. Her first book Ostrovityansko Haiku (Shimajin Haiku) was published in Bulgaria in 2010. Her haiku and other poems have been published in numerous journals and anthologies, and won several international awards. Iliyana enjoys photography, watercolour painting, travelling, and reading.”

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 9th January 2019

haiku by Iliyana Stoyanova https://www.thehaikufoundation.org/poet-details/?IDclient=1454

picture by Vladimir Nordmann https://unsplash.com/@nordmann_v]]> 2720417 no no Fri, 04 Jan 2019 13:18:47 +0100 2019-01-04T13:18:47+01:00 09:05 https://hearthis.at/sevenism/winter-sun-naviarhaiku260/ .

The last haiku of the year is a poem by Gergana Yaninska, selected once again by Iliyana Stoyanova to represent some of the most interesting contemporary Bulgarian haiku poets.

“Gergana Yaninska (b.1960) is a midwife from Plovdiv, Bulgaria. She has been writing haiku for several years and her work has appeared in A Hundred Gourds, Cattails, Bones, Frogpond, Modern Haiku, Ershik, Mainichi Daily News, Blithe Spirit, the World Haiku Association Haiga Contest (with selections and awards by Kuniharu Shimizu), and other haiku publications. Selected to the European Top 100 Most Creative Haiku Authors in 2014.”

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 2nd January 2019

haiku by Gergana Yaninska https://www.thehaikufoundation.org/poet-details/?IDclient=1561

picture by Mikael Kristenson https://unsplash.com/@mikael_k]]> .

The last haiku of the year is a poem by Gergana Yaninska, selected once again by Iliyana Stoyanova to represent some of the most interesting contemporary Bulgarian haiku poets.

“Gergana Yaninska (b.1960) is a midwife from Plovdiv, Bulgaria. She has been writing haiku for several years and her work has appeared in A Hundred Gourds, Cattails, Bones, Frogpond, Modern Haiku, Ershik, Mainichi Daily News, Blithe Spirit, the World Haiku Association Haiga Contest (with selections and awards by Kuniharu Shimizu), and other haiku publications. Selected to the European Top 100 Most Creative Haiku Authors in 2014.”

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 2nd January 2019

haiku by Gergana Yaninska https://www.thehaikufoundation.org/poet-details/?IDclient=1561

picture by Mikael Kristenson https://unsplash.com/@mikael_k]]> 2720418 no no Tue, 01 Jan 2019 15:49:10 +0100 2019-01-01T15:49:10+01:00 05:55 https://hearthis.at/sevenism/retroverture18-disquiet0365/ i treat music as an audio diary and make it in snatched moments, intense bursts. its been a good year for my stuff: i played live for the first time and that was released on a live album, i was featured on bandcamp daily and in dazed digital, and had tracks on compilations.

i've done snippets of each of my albums here. the intro of every intro track. i like to put the most accessible/rewarding/emotive tracks at the start of albums. it's funny, if i condensed my albums down to the first couple of tracks of each there'd be like 10 albums of (what i think is) really good stuff; but that gives a false idea, i want the more difficult/noisy/failed experiments included, it's part and parcel of the process

i had 2 copies of bandcamp open and went thru playing about 10 seconds of each album, captured in live8 through ambience for reverb and recorded in audacity. i added echo, reverb, distortion in post to make it work more like a single piece
.
.
https://llllllll.co/t/disquiet-junto-project-0365-2018-tracker/
Disquiet Junto Project 0365: 2018 Tracker
The Assignment: The Assignment: Create a sonic diary of the past year with a dozen (or more) super-brief segments.]]> i treat music as an audio diary and make it in snatched moments, intense bursts. its been a good year for my stuff: i played live for the first time and that was released on a live album, i was featured on bandcamp daily and in dazed digital, and had tracks on compilations.

i've done snippets of each of my albums here. the intro of every intro track. i like to put the most accessible/rewarding/emotive tracks at the start of albums. it's funny, if i condensed my albums down to the first couple of tracks of each there'd be like 10 albums of (what i think is) really good stuff; but that gives a false idea, i want the more difficult/noisy/failed experiments included, it's part and parcel of the process

i had 2 copies of bandcamp open and went thru playing about 10 seconds of each album, captured in live8 through ambience for reverb and recorded in audacity. i added echo, reverb, distortion in post to make it work more like a single piece
.
.
https://llllllll.co/t/disquiet-junto-project-0365-2018-tracker/
Disquiet Junto Project 0365: 2018 Tracker
The Assignment: The Assignment: Create a sonic diary of the past year with a dozen (or more) super-brief segments.]]> 2702428 no no Sat, 29 Dec 2018 14:15:19 +0100 2018-12-29T14:15:19+01:00 10:30 https://hearthis.at/sevenism/a-cloud-a-crow-a-beam-naviarhaiku259/ samples: melodica, harmonica, guitar, flute, cello, horn
midi repeated with randomized elements

http://www.naviarrecords.com/2018/12/19/naviarhaiku259-cloudy-sky/]]> samples: melodica, harmonica, guitar, flute, cello, horn
midi repeated with randomized elements

http://www.naviarrecords.com/2018/12/19/naviarhaiku259-cloudy-sky/]]> 2696896 no no Wed, 26 Dec 2018 13:26:40 +0100 2018-12-26T13:26:40+01:00 19:00 https://hearthis.at/sevenism/each-raindrop-is-a-sphere-that-scatters-light-over-the-sky-disquiet0364/
got a dice in a cracker when i went for an anniversary/xmas dinner with my partner the other night. i rolled 4 5 / 6 4 / 6 6

i misremembered the instructions a bit.. and did 4 minute / 6 minute / 6 minute drones, repeated to 61 minutes. one drone was cello thru protoplasm, second was phonec, third was synthmaster+podfarm. all of them had lots of ambient reverb. some slight automated changes. but i kept it really repetitive.
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Disquiet Junto Project 0364: Casting Drones
https://llllllll.co/t/disquiet-junto-project-0364-casting-drones/
The Assignment: Use dice to determine your slowly shifting tones.

Many thanks to Todd Elliott (aka Toaster) for having proposed this project.

We’re going to use chance operations to make drone music (giving credit to John Cage, in particular for the compositional concept of time brackets). You’ll need some multitimbral sound sources that are capable of making sustained tones, or you can just write out the score and build up the drone via overdubbing.

Step 1: Create a single sustained tone that can be held for as long as necessary. This will serve as a “base” for you to add onto in subsequent steps.

Step 2: Roll two six-sided dice. The first die will be “time” and the second die will be the “notes.” Do this two additional times, so you have notated three pairs of time-plus-notes.]]>
got a dice in a cracker when i went for an anniversary/xmas dinner with my partner the other night. i rolled 4 5 / 6 4 / 6 6

i misremembered the instructions a bit.. and did 4 minute / 6 minute / 6 minute drones, repeated to 61 minutes. one drone was cello thru protoplasm, second was phonec, third was synthmaster+podfarm. all of them had lots of ambient reverb. some slight automated changes. but i kept it really repetitive.
.
Disquiet Junto Project 0364: Casting Drones
https://llllllll.co/t/disquiet-junto-project-0364-casting-drones/
The Assignment: Use dice to determine your slowly shifting tones.

Many thanks to Todd Elliott (aka Toaster) for having proposed this project.

We’re going to use chance operations to make drone music (giving credit to John Cage, in particular for the compositional concept of time brackets). You’ll need some multitimbral sound sources that are capable of making sustained tones, or you can just write out the score and build up the drone via overdubbing.

Step 1: Create a single sustained tone that can be held for as long as necessary. This will serve as a “base” for you to add onto in subsequent steps.

Step 2: Roll two six-sided dice. The first die will be “time” and the second die will be the “notes.” Do this two additional times, so you have notated three pairs of time-plus-notes.]]> 2695046 no no Sat, 22 Dec 2018 23:58:03 +0100 2018-12-22T23:58:03+01:00 1:01:00 https://hearthis.at/sevenism/flakes-of-hd-snow-naviarhaiku258/
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Darina Deneva was born in 1969. Graduated from Sofia University “St. Kliment Ohridski” with a degree in Russian and English Studies. Freelance translator. She is one of the co-authors of a collection of haiku poems, Matchbox Boats, published in 2014.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 19th December 2018

haiku by Darina Deneva http://www.diaskop-comics.com/article.aspx?id=1158

picture by Kacper Szczechla https://unsplash.com/@wyroq]]>
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Darina Deneva was born in 1969. Graduated from Sofia University “St. Kliment Ohridski” with a degree in Russian and English Studies. Freelance translator. She is one of the co-authors of a collection of haiku poems, Matchbox Boats, published in 2014.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 19th December 2018

haiku by Darina Deneva http://www.diaskop-comics.com/article.aspx?id=1158

picture by Kacper Szczechla https://unsplash.com/@wyroq]]> 2695047 no no Tue, 18 Dec 2018 09:53:43 +0100 2018-12-18T09:53:43+01:00 01:30 https://hearthis.at/sevenism/gymno18-disquiet0363/
found a midi file, had it gradually going down 24 semitones and longer attack on the piano. gradually more fx: dream acoustic chorus, freqecho, podfarm (amp presence, sine chorus, echo platter, rich chamber reverb), ddly.

another track used the same midi with the sound of a dresser door thru ambient reverb - faded in throughout

/
Disquiet Junto Project 0363: Gymnopédie Rats


The Assignment: Make over Erik Satie’s “Gymnopédie No. 1” in your chosen genre.

Many thanks to Peggy Nelson and Alex Hawthorn for having proposed this project, at the tail end of last week’s project.

Just one step this week: Make over Erik Satie’s “Gymnopédie No. 1” in your chosen genre: metal gymnopédie, britpop gymnopédie, R&B gymnopédie, high school choir gymnopédie, slowed-down-800% gymnopédie, …]]>
found a midi file, had it gradually going down 24 semitones and longer attack on the piano. gradually more fx: dream acoustic chorus, freqecho, podfarm (amp presence, sine chorus, echo platter, rich chamber reverb), ddly.

another track used the same midi with the sound of a dresser door thru ambient reverb - faded in throughout

/
Disquiet Junto Project 0363: Gymnopédie Rats


The Assignment: Make over Erik Satie’s “Gymnopédie No. 1” in your chosen genre.

Many thanks to Peggy Nelson and Alex Hawthorn for having proposed this project, at the tail end of last week’s project.

Just one step this week: Make over Erik Satie’s “Gymnopédie No. 1” in your chosen genre: metal gymnopédie, britpop gymnopédie, R&B gymnopédie, high school choir gymnopédie, slowed-down-800% gymnopédie, …]]> 2666768 no no Fri, 14 Dec 2018 22:27:24 +0100 2018-12-14T22:27:24+01:00 05:35 https://hearthis.at/sevenism/antibanner-bloom-stitch-disquiet0362/
i thought of the sound of an antibanner opening as a cello-french horn blooming with slow attack. represented this in iris2, low quality tempo change in audacity

opened this in 2 instances of vlc, had them playing at different points and at slightly different speeds. gradually they're stitched into the same time frame. further sewing done in audacity with reverb at +5 semitones.
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Disquiet Junto Project 0362: Operational Surrealism
The Assignment: Make a piece of music informed by a key text from the art movement.

Just one step this week: Make something as “beautiful as the chance meeting on a dissecting-table of a sewing-machine and an umbrella.”

Many thanks to Peggy Nelson for having proposed this project. Here’s some background: This week’s phrase originated in Les Chants de Maldoror, an experimental novel by the Comte de Lautréamont, a French poet from Uruguay who died in 1870 at age 24. In Les Chants, Lautréamont describes a young boy as “beautiful as the chance meeting on a dissecting-table of a sewing-machine and an umbrella,” but when André Breton, the self-styled head of the Surrealist movement, came across Lautréamont’s novel (prose-poem /unbridled rant / giant run-on sentence) in 1918, he seized upon the phrase as the perfect slogan, and drafted it into wider cultural service. Despite being dreamed up in the late 19th century, the phrase’s unnerving and perhaps prescient inclusion of both mechanical and medical metaphors was surely not lost on Breton, who had served in French psychiatric hospitals during the First World War. There have been any number of (re)statements and (mis)translations of the phrase since, but the basic idea remains: none of these things go together, and so, they do.

https://llllllll.co/t/disquiet-junto-project-0362-operational-surrealism/]]>
i thought of the sound of an antibanner opening as a cello-french horn blooming with slow attack. represented this in iris2, low quality tempo change in audacity

opened this in 2 instances of vlc, had them playing at different points and at slightly different speeds. gradually they're stitched into the same time frame. further sewing done in audacity with reverb at +5 semitones.
.
Disquiet Junto Project 0362: Operational Surrealism
The Assignment: Make a piece of music informed by a key text from the art movement.

Just one step this week: Make something as “beautiful as the chance meeting on a dissecting-table of a sewing-machine and an umbrella.”

Many thanks to Peggy Nelson for having proposed this project. Here’s some background: This week’s phrase originated in Les Chants de Maldoror, an experimental novel by the Comte de Lautréamont, a French poet from Uruguay who died in 1870 at age 24. In Les Chants, Lautréamont describes a young boy as “beautiful as the chance meeting on a dissecting-table of a sewing-machine and an umbrella,” but when André Breton, the self-styled head of the Surrealist movement, came across Lautréamont’s novel (prose-poem /unbridled rant / giant run-on sentence) in 1918, he seized upon the phrase as the perfect slogan, and drafted it into wider cultural service. Despite being dreamed up in the late 19th century, the phrase’s unnerving and perhaps prescient inclusion of both mechanical and medical metaphors was surely not lost on Breton, who had served in French psychiatric hospitals during the First World War. There have been any number of (re)statements and (mis)translations of the phrase since, but the basic idea remains: none of these things go together, and so, they do.

https://llllllll.co/t/disquiet-junto-project-0362-operational-surrealism/]]> 2628237 no no Sun, 09 Dec 2018 11:50:44 +0100 2018-12-09T11:50:44+01:00 02:39 https://hearthis.at/sevenism/floating-rain-naviarhaiku257/
two synths - helm and a live 10 vocoder synth. improvised and a bit of processing in audacity

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Together with Basho, Onitsura (1661–1738) helped redefine the haikai no renga (linked verse) and elevated it into a literary genre in its own right. Around this time, the opening stanza of this collaborative linked poem (hokku) started appearing as an independent poem, which Masaoka Shiki will rename haiku in the 19th century.

“A good poet” is someone who can make a verse interesting.
“A master” is someone whose verse does not sound interesting but has a flavor deep inside.
A still higher stage is when a poet has reached the utmost of the art and his poem presents neither color nor fragrance.
Only at that stage can one be credited as having achieved the quintessence of haikai.

(Uejima Onitsura)

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 12th December 2018

haiku by Uejima Onitsura https://terebess.hu/english/haiku/ryokan.html

picture by Aaron Burden https://unsplash.com/@aaronburden]]>
two synths - helm and a live 10 vocoder synth. improvised and a bit of processing in audacity

|
|
Together with Basho, Onitsura (1661–1738) helped redefine the haikai no renga (linked verse) and elevated it into a literary genre in its own right. Around this time, the opening stanza of this collaborative linked poem (hokku) started appearing as an independent poem, which Masaoka Shiki will rename haiku in the 19th century.

“A good poet” is someone who can make a verse interesting.
“A master” is someone whose verse does not sound interesting but has a flavor deep inside.
A still higher stage is when a poet has reached the utmost of the art and his poem presents neither color nor fragrance.
Only at that stage can one be credited as having achieved the quintessence of haikai.

(Uejima Onitsura)

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 12th December 2018

haiku by Uejima Onitsura https://terebess.hu/english/haiku/ryokan.html

picture by Aaron Burden https://unsplash.com/@aaronburden]]> 2628238 no no Wed, 05 Dec 2018 12:39:34 +0100 2018-12-05T12:39:34+01:00 05:05 https://hearthis.at/sevenism/scatters-lays-and-melts-naviarhaiku256/ played for a while, wanted it to be repetitive but with a gradual emotional complexity that draws you in.
.
.

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Robert Hayden (1913-1980) published his first book of poems, Heart-Shape in the Dust, in 1940.

Even though he was interested in African American history and often expressed his concerns about race in his writing, he didn’t want to be identified as a black poet. William Meredith wrote about him: “Hayden declared himself, at considerable cost in popularity, an American poet rather than a black poet, when for a time there was posited an unreconcilable difference between the two roles. There is scarcely a line of his which is not identifiable as an experience of black America, but he would not relinquish the title of American writer for any narrower identity.”

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 5th December 2018

haiku by Robert Hayden https://www.poetryfoundation.org/poets/robert-hayden

picture by Thomas Griesbeck https://unsplash.com/@jack_scorner]]> played for a while, wanted it to be repetitive but with a gradual emotional complexity that draws you in.
.
.

.
Robert Hayden (1913-1980) published his first book of poems, Heart-Shape in the Dust, in 1940.

Even though he was interested in African American history and often expressed his concerns about race in his writing, he didn’t want to be identified as a black poet. William Meredith wrote about him: “Hayden declared himself, at considerable cost in popularity, an American poet rather than a black poet, when for a time there was posited an unreconcilable difference between the two roles. There is scarcely a line of his which is not identifiable as an experience of black America, but he would not relinquish the title of American writer for any narrower identity.”

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 5th December 2018

haiku by Robert Hayden https://www.poetryfoundation.org/poets/robert-hayden

picture by Thomas Griesbeck https://unsplash.com/@jack_scorner]]> 2611812 no no Mon, 03 Dec 2018 19:27:26 +0100 2018-12-03T19:27:26+01:00 09:29 https://hearthis.at/sevenism/take-rainbow-an-interesting-idea-disquiet0361/ i just played this one online, and my feelings havent really changed. i don't really have any visual imagery so it just felt like i was blindly aimlessly going round and round. my brain doesnt do visual imagery so this sort of thing is pointless to me.

on one level this track follows me failing to get into a house, going up a tree and failing to unclasp a jeweled egg, not knowing where a songbird is, going down a ravine and getting nowhere for ages, and getting a sarcastic remark when i tried to take rainbow - i mean i dont know what internal logic youre following but if i can get to the end of a rainbow why am i ridiculed for trying to take it?

on another level i've represented the frustration blindness and darkness of this game.. and the sound of a spectrum tape loading

no input feedback in podfarm standalone
improvised playing thru synthmaster - freqecho - vocal doubler - podfarm (guitar amp + 3 lots of cavernous reverb)

[]
Disquiet Junto Project 0361: Zork Diaries
https://llllllll.co/t/disquiet-junto-project-0361-zork-diaries/17916/13
The Assignment: Score a classic interactive fiction.

Step 1: Zork is the title of one of the earliest interactive text adventure games. The complete text of a spoiler-laden full run of the game is at the following URL, housed at Georgia Tech, or the Georgia Institute of Technology:

http://bitly.com/junto-zork

Step 2: If you’re not familiar with Zork and/or with interactive text adventures, consider reading up. Otherwise, just think of the script as exactly that: the bare-bones narrative of a story.

Step 3: Compose a score]]> i just played this one online, and my feelings havent really changed. i don't really have any visual imagery so it just felt like i was blindly aimlessly going round and round. my brain doesnt do visual imagery so this sort of thing is pointless to me.

on one level this track follows me failing to get into a house, going up a tree and failing to unclasp a jeweled egg, not knowing where a songbird is, going down a ravine and getting nowhere for ages, and getting a sarcastic remark when i tried to take rainbow - i mean i dont know what internal logic youre following but if i can get to the end of a rainbow why am i ridiculed for trying to take it?

on another level i've represented the frustration blindness and darkness of this game.. and the sound of a spectrum tape loading

no input feedback in podfarm standalone
improvised playing thru synthmaster - freqecho - vocal doubler - podfarm (guitar amp + 3 lots of cavernous reverb)

[]
Disquiet Junto Project 0361: Zork Diaries
https://llllllll.co/t/disquiet-junto-project-0361-zork-diaries/17916/13
The Assignment: Score a classic interactive fiction.

Step 1: Zork is the title of one of the earliest interactive text adventure games. The complete text of a spoiler-laden full run of the game is at the following URL, housed at Georgia Tech, or the Georgia Institute of Technology:

http://bitly.com/junto-zork

Step 2: If you’re not familiar with Zork and/or with interactive text adventures, consider reading up. Otherwise, just think of the script as exactly that: the bare-bones narrative of a story.

Step 3: Compose a score]]> 2606789 no no Sat, 01 Dec 2018 13:48:48 +0100 2018-12-01T13:48:48+01:00 03:36 https://hearthis.at/sevenism/love-rippled-self-reflection-naviarhaiku255/ mistaken narcissistic love
~~
Langston Hughes was another important literary figure of the Harlem Renaissance, and one of the first poets to use the syncopated rhythms and repetitive phrases of blues and jazz music into his writing. This form of poetry, called jazz poetry, became popular in the early 1920′s thanks to the Harlem Renaissance, and a great example of it is The Weary Blues, by Langston Hughes.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 28th November 2018

haiku by Langston Hughes https://www.poetryfoundation.org/poets/langston-hughes]]> mistaken narcissistic love
~~
Langston Hughes was another important literary figure of the Harlem Renaissance, and one of the first poets to use the syncopated rhythms and repetitive phrases of blues and jazz music into his writing. This form of poetry, called jazz poetry, became popular in the early 1920′s thanks to the Harlem Renaissance, and a great example of it is The Weary Blues, by Langston Hughes.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 28th November 2018

haiku by Langston Hughes https://www.poetryfoundation.org/poets/langston-hughes]]> 2594155 no no Tue, 27 Nov 2018 12:24:48 +0100 2018-11-27T12:24:48+01:00 06:50 https://hearthis.at/sevenism/wxdxh-disquiet0360/ explored height width and depth here

found this about creating height in music https://theproaudiofiles.com/width-height-depth-in-a-mix/
psychological effect - high frequencies sound higher up than low frequencies
i used low cello and high flute samples improvised in iris 2 through ambient reverb, slow floating motion
created width with audition doppler shift - meant to sound like it goes round 360 degrees. had the flute and cello in opposite channels meeting each other in the middle
depth i explored with lots of reverb (distance) and varying loudness (closeness)

i'd be interested if people perceive any differences in the height of the sound

(|O|)
Disquiet Junto Project 0360: Fishbowl Progressions
The Assignment: Explore spatial sound as a compositional element.

This week’s project: Record a piece of music in which the relative position and movement of sounds are as important to compositional development as are melody, harmony, and rhythm.]]> explored height width and depth here

found this about creating height in music https://theproaudiofiles.com/width-height-depth-in-a-mix/
psychological effect - high frequencies sound higher up than low frequencies
i used low cello and high flute samples improvised in iris 2 through ambient reverb, slow floating motion
created width with audition doppler shift - meant to sound like it goes round 360 degrees. had the flute and cello in opposite channels meeting each other in the middle
depth i explored with lots of reverb (distance) and varying loudness (closeness)

i'd be interested if people perceive any differences in the height of the sound

(|O|)
Disquiet Junto Project 0360: Fishbowl Progressions
The Assignment: Explore spatial sound as a compositional element.

This week’s project: Record a piece of music in which the relative position and movement of sounds are as important to compositional development as are melody, harmony, and rhythm.]]> 2594156 no no Mon, 26 Nov 2018 13:17:30 +0100 2018-11-26T13:17:30+01:00 04:39 https://hearthis.at/sevenism/soulwind-naviarhaiku254/
~~
Despite being mostly known for his poetry, Lewis Grandison Alexander (1900-1945) was also an active actor, director of plays, and costume designer. He was an important member of the Harlem Renaissance: an intellectual, social, and artistic movement that aimed to celebrate African-American arts, which took place in New York in the 1920s.

Lewis Grandison Alexander started writing poetry at 17, specializing in Japanese forms. About haiku poetry, he once wrote: “Its real value is not in its physical directness but in its psychological indirectness—not in what is said but what is suggested—written in the spaces between the lines.”

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 21st November 2018

haiku by Lewis Grandison Alexander http://www.beltwaypoetry.com/alexanderl/

picture by Neil Thomas https://unsplash.com/@neilmarkthomas]]>
~~
Despite being mostly known for his poetry, Lewis Grandison Alexander (1900-1945) was also an active actor, director of plays, and costume designer. He was an important member of the Harlem Renaissance: an intellectual, social, and artistic movement that aimed to celebrate African-American arts, which took place in New York in the 1920s.

Lewis Grandison Alexander started writing poetry at 17, specializing in Japanese forms. About haiku poetry, he once wrote: “Its real value is not in its physical directness but in its psychological indirectness—not in what is said but what is suggested—written in the spaces between the lines.”

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 21st November 2018

haiku by Lewis Grandison Alexander http://www.beltwaypoetry.com/alexanderl/

picture by Neil Thomas https://unsplash.com/@neilmarkthomas]]> 2594157 no no Wed, 21 Nov 2018 15:53:14 +0100 2018-11-21T15:53:14+01:00 03:57 https://hearthis.at/sevenism/sev-ohm-research-aikaisemmin-laklmainasm3eimdnsbsmix-disquiet0359/
the image really reminded me of the autechre youtube dump visuals.. but i didnt want it to sound like that because it just sounds like 444 tracks of raw data to me. but the visuals made me think of colured reverb tails and stereo mutations

i took ohms track used low quality tempo change for some atonal artifacts
duplicated that, added reverb colour by pitching up 5st and wet reverb
duplicated and rvb color'd another couple of times. delay and echo on some of the tracks, eq'd and volumes adjusted acousmatically (accidentally thought some of the sounds emanated from the washing machine..whoops!)
[O]
https://llllllll.co/t/disquiet-junto-project-0359-broken-clock/17627/
Disquiet Junto Project 0359: Broken Clock
The Assignment: Use an image not as a graphic score, but as a graphic depiction of a remix.

Step 1: We’ve done lots of “graphic notation” projects in the Disquiet Junto over the years, projects in which an image is interpreted as if it had been intended as a musical score. This week we’re using an image to suggest a means of remixing/reworking a pre-existing piece of music.

Step 2: Look at the image associated with this project. It shows the top of a clock visible beneath a dense scrim of colorful striations. Compare this image to the original image, which accompanied Disquiet Junto project 0357, from two weeks ago. That image is available at disquiet.com/0357. Think about how this week’s image can be interpreted as aesthetic instructions for a remix. It might be informative to know that the 0359 image resulted from a glitch that occurred when I was rendering the “cover” image for project 0357.]]>
the image really reminded me of the autechre youtube dump visuals.. but i didnt want it to sound like that because it just sounds like 444 tracks of raw data to me. but the visuals made me think of colured reverb tails and stereo mutations

i took ohms track used low quality tempo change for some atonal artifacts
duplicated that, added reverb colour by pitching up 5st and wet reverb
duplicated and rvb color'd another couple of times. delay and echo on some of the tracks, eq'd and volumes adjusted acousmatically (accidentally thought some of the sounds emanated from the washing machine..whoops!)
[O]
https://llllllll.co/t/disquiet-junto-project-0359-broken-clock/17627/
Disquiet Junto Project 0359: Broken Clock
The Assignment: Use an image not as a graphic score, but as a graphic depiction of a remix.

Step 1: We’ve done lots of “graphic notation” projects in the Disquiet Junto over the years, projects in which an image is interpreted as if it had been intended as a musical score. This week we’re using an image to suggest a means of remixing/reworking a pre-existing piece of music.

Step 2: Look at the image associated with this project. It shows the top of a clock visible beneath a dense scrim of colorful striations. Compare this image to the original image, which accompanied Disquiet Junto project 0357, from two weeks ago. That image is available at disquiet.com/0357. Think about how this week’s image can be interpreted as aesthetic instructions for a remix. It might be informative to know that the 0359 image resulted from a glitch that occurred when I was rendering the “cover” image for project 0357.]]> 2560289 no no Sat, 17 Nov 2018 12:49:22 +0100 2018-11-17T12:49:22+01:00 07:02 https://hearthis.at/sevenism/marco-lucchi-sevenism-november-viscous-thunder/
remix of https://soundcloud.com/marcolucchi/sets/november-song-one-month-to

subtle changes until the last few minutes. i didnt want to ruin an already beautiful piece]]>
remix of https://soundcloud.com/marcolucchi/sets/november-song-one-month-to

subtle changes until the last few minutes. i didnt want to ruin an already beautiful piece]]> 2542725 no no Thu, 15 Nov 2018 11:55:05 +0100 2018-11-15T11:55:05+01:00 10:26 https://hearthis.at/sevenism/br-shifting-spirits-mix-disquiet0358/
i had some simple flute basoon and tuba samples loaded and those thru a tremolo for a pulse. in audacity i had some echo 5 semitones higher. the emotional tone is a bit more variable listening back

::
Disquiet Junto Project 0358: Rhythm + Blue(s)
The Assignment: An exercise in genre.

Thanks to Micah Stupak-Hahn for having proposed this project.

Step 1: Consider the term “rhythm and blues.” Not the genre, just the term.

Step 2: Imagine what you might think “rhythm and blues” meant in terms of music had you never previously heard “rhythm and blues” music.

Step 3: Record a short piece of music that expresses the idea of “rhythm and blues” that occurred to you in Step 2 above.

: “]]>
i had some simple flute basoon and tuba samples loaded and those thru a tremolo for a pulse. in audacity i had some echo 5 semitones higher. the emotional tone is a bit more variable listening back

::
Disquiet Junto Project 0358: Rhythm + Blue(s)
The Assignment: An exercise in genre.

Thanks to Micah Stupak-Hahn for having proposed this project.

Step 1: Consider the term “rhythm and blues.” Not the genre, just the term.

Step 2: Imagine what you might think “rhythm and blues” meant in terms of music had you never previously heard “rhythm and blues” music.

Step 3: Record a short piece of music that expresses the idea of “rhythm and blues” that occurred to you in Step 2 above.

: “]]> 2531858 no no Sat, 10 Nov 2018 14:00:15 +0100 2018-11-10T14:00:15+01:00 04:23 https://hearthis.at/sevenism/plum-notes-naviarhaiku253/
i was thinking what would sound like a cross between a plum and a piano. kind of sounds like a bass drum/double bass at times

"
I hope you’ll find this poem by Etheridge Knight as inspiring as the one posted last week.

On the back of his 1968 debut collection, Poems from Prison, Knight stated “I died in Korea from a shrapnel wound, and narcotics resurrected me. I died in 1960 from a prison sentence and poetry brought me back to life.”

For those interested in finding out more about Knight there’s Understanding Etheridge Knight, a book by Michael S. Collins

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 14th November 2018

haiku by Etheridge Knight https://terebess.hu/eglish/haiku/knight.html

picture by Robert Dickow https://unsplash.com/@robertdickow
"]]>
i was thinking what would sound like a cross between a plum and a piano. kind of sounds like a bass drum/double bass at times

"
I hope you’ll find this poem by Etheridge Knight as inspiring as the one posted last week.

On the back of his 1968 debut collection, Poems from Prison, Knight stated “I died in Korea from a shrapnel wound, and narcotics resurrected me. I died in 1960 from a prison sentence and poetry brought me back to life.”

For those interested in finding out more about Knight there’s Understanding Etheridge Knight, a book by Michael S. Collins

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 14th November 2018

haiku by Etheridge Knight https://terebess.hu/eglish/haiku/knight.html

picture by Robert Dickow https://unsplash.com/@robertdickow
"]]> 2523383 no no Thu, 08 Nov 2018 15:41:45 +0100 2018-11-08T15:41:45+01:00 04:48 https://hearthis.at/sevenism/the-clock-disquiet0357/
the segments arent that distinct in places

this follows 6am-6pm on thursday 1st november
-waking up
-making and drinking espressos
-cut my finger really badly picking up a heater by a slat: lots of dripping blood and mild panic
-carefully cutting veg for a slow cook
-reading about a grieving daughter who, fittingly for this project, went to see christian marclay's installation The Clock obsessively as way of marking and halting time (https://www.lrb.co.uk/v40/n21/jane-campbell/the-year-of-my-fathers-dying)
-therapy session with a client
-made some music to work through residual emotion
-drank more coffee
-read about clients expectations of therapy, how this can be falsely informed culturally; intuiting authentic expectations yet putting aside personal theories
-put some fish medicine in the tank for a dying zebra danio
-relented and moved a pile of unread journals & mags to a shelf
-my partner came home
------------

https://llllllll.co/t/disquiet-junto-project-0357-clock-work/
Disquiet Junto Project 0357: Clock Work
The Assignment: Base a piece of music on your previous 12 hours.

Step 1: Think about your previous 12 hours as of the moment you begin this project.

Step 2: Note one single thing that best summarizes each of those 12 hours. That is: one thing for each of those 12 hours. Each “thing” should be one strong association with that hour, such as what you did, what you felt, what you thought, where you were, and so forth. This step’s process will result in a list of 12 things in sequence.

Step 3: Record a short piece of music consisting of 12 segments that reflect each of the 12 items that surfaced as a result of Step 2. You might make transitions between the segments, or have them immediately follow one to the next.]]>
the segments arent that distinct in places

this follows 6am-6pm on thursday 1st november
-waking up
-making and drinking espressos
-cut my finger really badly picking up a heater by a slat: lots of dripping blood and mild panic
-carefully cutting veg for a slow cook
-reading about a grieving daughter who, fittingly for this project, went to see christian marclay's installation The Clock obsessively as way of marking and halting time (https://www.lrb.co.uk/v40/n21/jane-campbell/the-year-of-my-fathers-dying)
-therapy session with a client
-made some music to work through residual emotion
-drank more coffee
-read about clients expectations of therapy, how this can be falsely informed culturally; intuiting authentic expectations yet putting aside personal theories
-put some fish medicine in the tank for a dying zebra danio
-relented and moved a pile of unread journals & mags to a shelf
-my partner came home
------------

https://llllllll.co/t/disquiet-junto-project-0357-clock-work/
Disquiet Junto Project 0357: Clock Work
The Assignment: Base a piece of music on your previous 12 hours.

Step 1: Think about your previous 12 hours as of the moment you begin this project.

Step 2: Note one single thing that best summarizes each of those 12 hours. That is: one thing for each of those 12 hours. Each “thing” should be one strong association with that hour, such as what you did, what you felt, what you thought, where you were, and so forth. This step’s process will result in a list of 12 things in sequence.

Step 3: Record a short piece of music consisting of 12 segments that reflect each of the 12 items that surfaced as a result of Step 2. You might make transitions between the segments, or have them immediately follow one to the next.]]> 2502920 no no Sun, 04 Nov 2018 17:55:49 +0100 2018-11-04T17:55:49+01:00 04:48 https://hearthis.at/sevenism/walls-unscaled-naviarhaiku252/
oppressive, closing in, switching off
.
Etheridge Knight was an American author, and one of the most prominent poets of the Black Arts Movement in the 20th century. While serving the U.S. Army in Korea he was wounded and as a result, the drug addiction that had begun during his service got worse. He wrote his most acclaimed book, Poems from Prison, during the eight years he spent in the Indiana State Prison for robbery.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 7th November 2018

haiku by Etheridge Knight https://terebess.hu/eglish/haiku/knight.html

picture by SHTTEFAN https://unsplash.com/@shttefan]]>
oppressive, closing in, switching off
.
Etheridge Knight was an American author, and one of the most prominent poets of the Black Arts Movement in the 20th century. While serving the U.S. Army in Korea he was wounded and as a result, the drug addiction that had begun during his service got worse. He wrote his most acclaimed book, Poems from Prison, during the eight years he spent in the Indiana State Prison for robbery.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 7th November 2018

haiku by Etheridge Knight https://terebess.hu/eglish/haiku/knight.html

picture by SHTTEFAN https://unsplash.com/@shttefan]]> 2486059 no no Wed, 31 Oct 2018 12:00:13 +0100 2018-10-31T12:00:13+01:00 03:43 https://hearthis.at/sevenism/lost-my-way-naviarhaiku251/ preverb, reverb, echo and soft distortion. had the piece reversed for the first half to add to sense of lost unknown aloneness.
.
One of the most celebrated African-American novelists of the twentieth century, Richard Wright discovered haiku during the last eighteen months of his life (he died of heart attack in 1960, aged 52). In such a short time he wrote 4000 poems, and his posthumous book “Haiku: This Other World“ is a collection with 817 of his own favorite haiku.

His daughter Julia once said that haiku for Wright were “self-developed antidotes against illness, and that breaking down words into syllables matched the shortness of his breath.”

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 31st October 2018

haiku by Richard Wright https://terebess.hu/english/haiku/wright.html]]> preverb, reverb, echo and soft distortion. had the piece reversed for the first half to add to sense of lost unknown aloneness.
.
One of the most celebrated African-American novelists of the twentieth century, Richard Wright discovered haiku during the last eighteen months of his life (he died of heart attack in 1960, aged 52). In such a short time he wrote 4000 poems, and his posthumous book “Haiku: This Other World“ is a collection with 817 of his own favorite haiku.

His daughter Julia once said that haiku for Wright were “self-developed antidotes against illness, and that breaking down words into syllables matched the shortness of his breath.”

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 31st October 2018

haiku by Richard Wright https://terebess.hu/english/haiku/wright.html]]> 2485899 no no Wed, 31 Oct 2018 09:43:08 +0100 2018-10-31T09:43:08+01:00 07:00 https://hearthis.at/sevenism/ground-swell-disquiet0356/
in podfarm i had no input feedback from these chains:
fuzz pi - auto swell - low rez - stereo expo chorus - bubble echo - tube echo - echo platter - tape echo - dark hall reverb /
tape echo - bass overdrive - bender - sine chorus - pingpong delay - reverse delay - echo platter - tape echo - brite room reverb

iris 2 i had cello, cor anglais, and bass clarinet samples. and i played around with the satan in music notes (B & F)

audacity i had lots of reverb to get that swell after the note, paulstretch to blend the notes into discord (altho actually it made it more flowing) and more reverb.

i'm so used to this sort of music that there's not really any sense of disquiet for me; i tried to have a more pleasant section in the middle for contrast.

- - - / -

Disquiet Junto Project 0356: Ground Swell
https://llllllll.co/t/disquiet-junto-project-0356-ground-swell/17139/10
The Assignment: Derive something spooky from a specific place.

Major thanks to Chris McAvoy for having proposed this project.

Step 1: The goal is to create a piece of music that uses layers to create a sense of unease, eeriness, or disquiet.

Step 2: Think of a place that summons up the sensations described in Step 1.

Step 3: Derive sounds from the place that came to mind in Step 2. If you have access to the place, consider strategies to accomplish this (from field recordings, graphic notations, etc.). If you do not have access to the place, use your memories and impressions as a resource.]]>
in podfarm i had no input feedback from these chains:
fuzz pi - auto swell - low rez - stereo expo chorus - bubble echo - tube echo - echo platter - tape echo - dark hall reverb /
tape echo - bass overdrive - bender - sine chorus - pingpong delay - reverse delay - echo platter - tape echo - brite room reverb

iris 2 i had cello, cor anglais, and bass clarinet samples. and i played around with the satan in music notes (B & F)

audacity i had lots of reverb to get that swell after the note, paulstretch to blend the notes into discord (altho actually it made it more flowing) and more reverb.

i'm so used to this sort of music that there's not really any sense of disquiet for me; i tried to have a more pleasant section in the middle for contrast.

- - - / -

Disquiet Junto Project 0356: Ground Swell
https://llllllll.co/t/disquiet-junto-project-0356-ground-swell/17139/10
The Assignment: Derive something spooky from a specific place.

Major thanks to Chris McAvoy for having proposed this project.

Step 1: The goal is to create a piece of music that uses layers to create a sense of unease, eeriness, or disquiet.

Step 2: Think of a place that summons up the sensations described in Step 1.

Step 3: Derive sounds from the place that came to mind in Step 2. If you have access to the place, consider strategies to accomplish this (from field recordings, graphic notations, etc.). If you do not have access to the place, use your memories and impressions as a resource.]]> 2478218 no no Fri, 26 Oct 2018 10:35:58 +0200 2018-10-26T10:35:58+02:00 05:42 https://hearthis.at/sevenism/silent-waves-naviarhaiku250/ noise reduction, reverb, sliding time shift
duplicate shifted 5 semitones down, wet preverb, faded in

space, pensiveness, mist
.
"
Undoubtedly one of my favourite haiku poets of the nineteenth century, Santoka spent 16 years of his life as a mendicant Zen priest, probably one of the last of his kind in Japan.

We spoke about Santoka and his poetry many times, and the most detailed article about him I’ve come across is by Simply Haiku: https://simplyhaiku.com/SHv3n3/features/stanford_forrester-santoka.html, which I strongly recommend to those interested in his life and poetry.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 24th October 2018

haiku by Taneda Santōka https://simplyhaiku.com/SHv3n3/features/stanford_forrester-santoka.html

picture by Ian Keefe https://unsplash.com/@iankeefe
"]]> noise reduction, reverb, sliding time shift
duplicate shifted 5 semitones down, wet preverb, faded in

space, pensiveness, mist
.
"
Undoubtedly one of my favourite haiku poets of the nineteenth century, Santoka spent 16 years of his life as a mendicant Zen priest, probably one of the last of his kind in Japan.

We spoke about Santoka and his poetry many times, and the most detailed article about him I’ve come across is by Simply Haiku: https://simplyhaiku.com/SHv3n3/features/stanford_forrester-santoka.html, which I strongly recommend to those interested in his life and poetry.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 24th October 2018

haiku by Taneda Santōka https://simplyhaiku.com/SHv3n3/features/stanford_forrester-santoka.html

picture by Ian Keefe https://unsplash.com/@iankeefe
"]]> 2473795 no no Tue, 23 Oct 2018 11:09:49 +0200 2018-10-23T11:09:49+02:00 05:09 https://hearthis.at/sevenism/vivisected-disquiet0355/
i was reading kamila shamsie's novel home fire which is brilliant and fearless.
when the project email came thru i'd just read this section and it freaked me out a bit, a horrifying synchronicity:

"..he worked in the studio on sound effects of beheadings, crucifixions, whipping. This was both a test and a punishment. In the studio, he had control of himself. Abstracting himself to that place where nothing but getting the sound right mattered. The fascination of discovering the different pitch and timbre of a nail through flesh, a blade through flesh. Some men were men in their dying screams, some were animals. He, Mohammad bin Bagram, now numbered himself among the animals." (pp 169-70)

also some of my work as a therapist is evident to me in the music.. at least it's authentic!

i had two random arp patches running thru synthmaster, the sound really seemed to fit: arp gate cuts, cutoffs adjusted, delay feedback howl. i thought about not posting this track.

///
Disquiet Junto Project 0355: Sonic Vivisection
The Assignment: Operate with incisions on a live sound in real time.

Step 1: Consider the concept of vivisection, or “the cutting of or operation on a living animal usually for physiological or pathological investigation,” per the Merriam-Webster Dictionary.

Step 2: Consider how that term might be applied to sound — for example, enacting cuts into a live sound source in real time.]]>
i was reading kamila shamsie's novel home fire which is brilliant and fearless.
when the project email came thru i'd just read this section and it freaked me out a bit, a horrifying synchronicity:

"..he worked in the studio on sound effects of beheadings, crucifixions, whipping. This was both a test and a punishment. In the studio, he had control of himself. Abstracting himself to that place where nothing but getting the sound right mattered. The fascination of discovering the different pitch and timbre of a nail through flesh, a blade through flesh. Some men were men in their dying screams, some were animals. He, Mohammad bin Bagram, now numbered himself among the animals." (pp 169-70)

also some of my work as a therapist is evident to me in the music.. at least it's authentic!

i had two random arp patches running thru synthmaster, the sound really seemed to fit: arp gate cuts, cutoffs adjusted, delay feedback howl. i thought about not posting this track.

///
Disquiet Junto Project 0355: Sonic Vivisection
The Assignment: Operate with incisions on a live sound in real time.

Step 1: Consider the concept of vivisection, or “the cutting of or operation on a living animal usually for physiological or pathological investigation,” per the Merriam-Webster Dictionary.

Step 2: Consider how that term might be applied to sound — for example, enacting cuts into a live sound source in real time.]]> 2460119 no no Fri, 19 Oct 2018 21:24:45 +0200 2018-10-19T21:24:45+02:00 03:19 https://hearthis.at/sevenism/steadfast-and-swaying-naviarhaiku249/ rigid, unchanging, monstrous

2 instances of synthmaster improvised and adjusted throughout
.
.
The most prolific of all the master haiku poets, Issa is perhaps the most beloved: despite a difficult life, his poems were often lively and humorous. He travelled extensively in his later life, and recounted his experiences in the poetry collections Kyowakujo and Waga Harushu.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 17th October 2018

haiku by Kobayashi Issa https://www.poetryfoundation.org/poets/kobayashi-issa

picture by Drew Geraets https://unsplash.com/@drewgeraets]]> rigid, unchanging, monstrous

2 instances of synthmaster improvised and adjusted throughout
.
.
The most prolific of all the master haiku poets, Issa is perhaps the most beloved: despite a difficult life, his poems were often lively and humorous. He travelled extensively in his later life, and recounted his experiences in the poetry collections Kyowakujo and Waga Harushu.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 17th October 2018

haiku by Kobayashi Issa https://www.poetryfoundation.org/poets/kobayashi-issa

picture by Drew Geraets https://unsplash.com/@drewgeraets]]> 2460120 no no Wed, 17 Oct 2018 12:39:07 +0200 2018-10-17T12:39:07+02:00 07:02 https://hearthis.at/sevenism/coming-of-age-process-disquiet0354/
after the apocalypse i think there'll be more of a naturalistic sense of this, the necessity of survival, the trauma of where did we go wrong: a rejection of civilzation, but also a desire not to go back to the 'tribal'; a need to progress.

i used nine of the samples in three instances of protoplasm, i also applied ambience 0.1, vinyl warp and ddly. had them all playing at the same time, 2 notes forward 1 back. then a reflection: back down the octaves at the end. bit more reverb and eq'd in audacity.

initially i tried to create my own instrument by feeding the samples into nsynth https://colab.research.google.com/notebooks/magenta/nsynth/nsynth.ipynb but fittingly (for a post-civilization project) that didn't seem to be working

/////////////
https://llllllll.co/t/disquiet-junto-project-0354-rituals-canticles/
disquiet Junto Project 0354: Rituals & Canticles
The Assignment: Make music using instruments from a future that doesn’t fully remember our present.

Background: Nathan Moody (noisejockey.net) didn’t create a concept album when he recorded his recent album, The Right Side of Mystery, but he had a framework for deciding how to make his instruments, and even how he composed. He imagined a future American tribe living in the ruins of our current civilization, scrounging for materials to make instruments for their rituals, from everyday events to significant milestones of years and lives. The music itself would be incorrectly remembered combinations of past musical traditions and styles, melded together.

Step 1: Consider that scenario of the future.

Step 2: Check out instruments that Moody made to act out his imagined future:
Step 3: Download the sonic source material that Moody recorded with those instruments, and that he has made available to participants in this Disquiet Junto project:

http://bit.ly/junto-moody-revised

Step 4: Roll one six-sided die, which will determine which of these tribe events/rituals you’ll compose music for:

1 = Marriage
2 = Death
3 = Lullaby
4 = Solstice or Harvest
5 = Coming of Age
6 = Coronation

Step 5: Re-read the background description up above, and compose a piece of music for the event assigned to you in Step 4 using the sounds from Step 3. Bonus interim round: create your own instrument modeled after Moody’s.

image by nathan moody]]>
after the apocalypse i think there'll be more of a naturalistic sense of this, the necessity of survival, the trauma of where did we go wrong: a rejection of civilzation, but also a desire not to go back to the 'tribal'; a need to progress.

i used nine of the samples in three instances of protoplasm, i also applied ambience 0.1, vinyl warp and ddly. had them all playing at the same time, 2 notes forward 1 back. then a reflection: back down the octaves at the end. bit more reverb and eq'd in audacity.

initially i tried to create my own instrument by feeding the samples into nsynth https://colab.research.google.com/notebooks/magenta/nsynth/nsynth.ipynb but fittingly (for a post-civilization project) that didn't seem to be working

/////////////
https://llllllll.co/t/disquiet-junto-project-0354-rituals-canticles/
disquiet Junto Project 0354: Rituals & Canticles
The Assignment: Make music using instruments from a future that doesn’t fully remember our present.

Background: Nathan Moody (noisejockey.net) didn’t create a concept album when he recorded his recent album, The Right Side of Mystery, but he had a framework for deciding how to make his instruments, and even how he composed. He imagined a future American tribe living in the ruins of our current civilization, scrounging for materials to make instruments for their rituals, from everyday events to significant milestones of years and lives. The music itself would be incorrectly remembered combinations of past musical traditions and styles, melded together.

Step 1: Consider that scenario of the future.

Step 2: Check out instruments that Moody made to act out his imagined future:
Step 3: Download the sonic source material that Moody recorded with those instruments, and that he has made available to participants in this Disquiet Junto project:

http://bit.ly/junto-moody-revised

Step 4: Roll one six-sided die, which will determine which of these tribe events/rituals you’ll compose music for:

1 = Marriage
2 = Death
3 = Lullaby
4 = Solstice or Harvest
5 = Coming of Age
6 = Coronation

Step 5: Re-read the background description up above, and compose a piece of music for the event assigned to you in Step 4 using the sounds from Step 3. Bonus interim round: create your own instrument modeled after Moody’s.

image by nathan moody]]> 2460121 no no Sun, 14 Oct 2018 09:55:33 +0200 2018-10-14T09:55:33+02:00 04:09 https://hearthis.at/sevenism/weft-disquiet0353/ warped in ableton by changing the tempo and pitch. warped further with izotope vinyl
the weft is from podfarm phaser imagining it going over and under quite slowly.

..
Disquiet Junto Project 0353: Warp & Weft
The Assignment: Read loom-woven fabric as a musical composition.

Step 1: Download the following image and look at it closely:

https://www.dropbox.com/s/brauliz2ryvdram/warp%20weave%20full.jpg?dl=0

Step 2: If you’re not familiarize with the terms “warp” and “weft,” understand them as relating to the act of weaving. Per the Wikipedia entry, “The lengthwise or longitudinal warp yarns are held stationary in tension on a frame or loom while the transverse weft (sometimes woof) is drawn through and inserted over-and-under the warp.”

Step 3: Study the image with this concept of “warp and weft” in mind. Consider how the image can be interpreted as a musical composition.

Step 4: Compose a piece of music that, reflecting your thoughts from steps 1 through 3, reads the image as a music score.

https://llllllll.co/t/disquiet-junto-project-0353-warp-weft/]]> warped in ableton by changing the tempo and pitch. warped further with izotope vinyl
the weft is from podfarm phaser imagining it going over and under quite slowly.

..
Disquiet Junto Project 0353: Warp & Weft
The Assignment: Read loom-woven fabric as a musical composition.

Step 1: Download the following image and look at it closely:

https://www.dropbox.com/s/brauliz2ryvdram/warp%20weave%20full.jpg?dl=0

Step 2: If you’re not familiarize with the terms “warp” and “weft,” understand them as relating to the act of weaving. Per the Wikipedia entry, “The lengthwise or longitudinal warp yarns are held stationary in tension on a frame or loom while the transverse weft (sometimes woof) is drawn through and inserted over-and-under the warp.”

Step 3: Study the image with this concept of “warp and weft” in mind. Consider how the image can be interpreted as a musical composition.

Step 4: Compose a piece of music that, reflecting your thoughts from steps 1 through 3, reads the image as a music score.

https://llllllll.co/t/disquiet-junto-project-0353-warp-weft/]]> 2436576 no no Sat, 06 Oct 2018 17:23:25 +0200 2018-10-06T17:23:25+02:00 03:29 https://hearthis.at/sevenism/reflected-smoke-naviarhaiku248/
had a mountain dulcimer track running through the mangle. wanted to get that raga drone sound but there's no indian modes. had chorus delay echo reverb fx in there. in audacity i had a sliding time shift applied.

.
This week’s haiku is a poem by Hashimoto Takako, one of the most important voices in haiku poetry during the World War II years in Japan, together with Mitsuhashi Takajo and Ishibashi Hideno among others. She was also the author of our 246th challenge.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 10th October 2018

haiku by Hashimoto Takako https://worldkigo2005.blogspot.com/2010/06/hashimoto-takako.html

picture by Vanessa Ives https://unsplash.com/@vanessaives]]>
had a mountain dulcimer track running through the mangle. wanted to get that raga drone sound but there's no indian modes. had chorus delay echo reverb fx in there. in audacity i had a sliding time shift applied.

.
This week’s haiku is a poem by Hashimoto Takako, one of the most important voices in haiku poetry during the World War II years in Japan, together with Mitsuhashi Takajo and Ishibashi Hideno among others. She was also the author of our 246th challenge.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 10th October 2018

haiku by Hashimoto Takako https://worldkigo2005.blogspot.com/2010/06/hashimoto-takako.html

picture by Vanessa Ives https://unsplash.com/@vanessaives]]> 2433622 no no Fri, 05 Oct 2018 09:27:45 +0200 2018-10-05T09:27:45+02:00 04:58 https://hearthis.at/sevenism/snow-at-oceans-edge-naviarhaiku247/ hi freq snow, low ocean, glitch waves, discordant effort.

.
Now regarded as one of the most influential Japanese haiku writers of the twentieth century, Yamaguchi Seishi was an influential representative of the Hototogisu School (founded by Kyoshi, his teacher). A collection of 300 of his works entitled The Essence of Modem Haiku was published by Mangajin Inc in 1933.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 3rd October 2018

haiku by Yamaguchi Seishi https://happyhaiku.blogspot.com/2004/08/yamaguchi-seishi.html

picture by Federico Bottos https://unsplash.com/@landscapeplaces]]> hi freq snow, low ocean, glitch waves, discordant effort.

.
Now regarded as one of the most influential Japanese haiku writers of the twentieth century, Yamaguchi Seishi was an influential representative of the Hototogisu School (founded by Kyoshi, his teacher). A collection of 300 of his works entitled The Essence of Modem Haiku was published by Mangajin Inc in 1933.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 3rd October 2018

haiku by Yamaguchi Seishi https://happyhaiku.blogspot.com/2004/08/yamaguchi-seishi.html

picture by Federico Bottos https://unsplash.com/@landscapeplaces]]> 2428743 no no Wed, 03 Oct 2018 12:21:07 +0200 2018-10-03T12:21:07+02:00 05:41 https://hearthis.at/sevenism/keep-telling-yourself-its-ok-disquiet0352/
i had a random arpeggio going through phonec and ddly. the delay confuses the sound possibly.

had another arp running panned 20% left random module pitched up (fifths)
and another 20% right pitched down. both fading in. not as much separation as i thought.

.
Disquiet Junto Project 0352: Layering Permutations
The Assignment: Play something melodic atop two variations.

Step 1: The idea is to have a simple melody of some sort, and to then have two variations on that melody play simultaneous with it. The key word here is “melody.”

Step 2: Come up with a melody, and then come up with means to create variations on it. Think of the variations as permutations of the melody. Try to have the variations not veer too far from the original. As you develop the variations, think about relative balance between the three layers.

Step 3: Record a short piece of music in which the three layers are stacked atop each other. You might perform the layers separately and then combine them, or you might have a means for them to play simultaneously. You might have the balance between the tracks remain static throughout, or you may change relative volume at times.


https://llllllll.co/t/disquiet-junto-project-0352-layering-permutations/


Image associated with this project is by John Getchel, used thanks to Flickr and a Creative Commons license:

https://flic.kr/p/bXohqx

https://creativecommons.org/licenses/by-nc/2.0/]]>
i had a random arpeggio going through phonec and ddly. the delay confuses the sound possibly.

had another arp running panned 20% left random module pitched up (fifths)
and another 20% right pitched down. both fading in. not as much separation as i thought.

.
Disquiet Junto Project 0352: Layering Permutations
The Assignment: Play something melodic atop two variations.

Step 1: The idea is to have a simple melody of some sort, and to then have two variations on that melody play simultaneous with it. The key word here is “melody.”

Step 2: Come up with a melody, and then come up with means to create variations on it. Think of the variations as permutations of the melody. Try to have the variations not veer too far from the original. As you develop the variations, think about relative balance between the three layers.

Step 3: Record a short piece of music in which the three layers are stacked atop each other. You might perform the layers separately and then combine them, or you might have a means for them to play simultaneously. You might have the balance between the tracks remain static throughout, or you may change relative volume at times.


https://llllllll.co/t/disquiet-junto-project-0352-layering-permutations/


Image associated with this project is by John Getchel, used thanks to Flickr and a Creative Commons license:

https://flic.kr/p/bXohqx

https://creativecommons.org/licenses/by-nc/2.0/]]> 2420095 no no Fri, 28 Sep 2018 21:15:38 +0200 2018-09-28T21:15:38+02:00 02:54 https://hearthis.at/sevenism/ever-upwards-naviarhaiku246/ utilized the stuttery glitch from audacity change tempo, accentuated with sliding pitch/tempo change, dulled a bit with reverb

wanted to portray an infinite ladder into the sky

.
Hashimoto Takako (1899-1963) was a poet of the Shōwa period and editor of the haiku magazine Shichiyō. Even though Takako studied under Seishi Yamaguchi for some time, she was the first woman among the major modern haiku poets to receive her training in haiku mainly from another woman, Hisajo, author of the poem we published last week.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 26th September 2018

haiku by Hashimoto Takako https://worldkigo2005.blogspot.com/2010/06/hashimoto-takako.html

picture by Jez Timms https://unsplash.com/@jeztimms]]> utilized the stuttery glitch from audacity change tempo, accentuated with sliding pitch/tempo change, dulled a bit with reverb

wanted to portray an infinite ladder into the sky

.
Hashimoto Takako (1899-1963) was a poet of the Shōwa period and editor of the haiku magazine Shichiyō. Even though Takako studied under Seishi Yamaguchi for some time, she was the first woman among the major modern haiku poets to receive her training in haiku mainly from another woman, Hisajo, author of the poem we published last week.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 26th September 2018

haiku by Hashimoto Takako https://worldkigo2005.blogspot.com/2010/06/hashimoto-takako.html

picture by Jez Timms https://unsplash.com/@jeztimms]]> 2413342 no no Tue, 25 Sep 2018 12:15:58 +0200 2018-09-25T12:15:58+02:00 04:03 https://hearthis.at/sevenism/analoc-sevenism-dorchester-court-disquiet0351/
the lazy choice to smooth something out is by increasing the time resolution in paulstretch. i didnt just do this.

i duplicated the track a couple of times. in audition i applied chorus and convolution reverb
in live 8 i used 6 string ambience and valhalla freq echo (lots of feedback)
back in audacity i had the first 2 tracks fading in and out and the 3rd track fading in throughout. eq'd the low end a bit.
.
.
.
https://llllllll.co/t/disquiet-junto-project-0351-selected-insomniac-works-volume-ii/16303
Disquiet Junto Project 0351: Selected Insomniac Works Volume II
The Assignment: Rework some very quiet music by making it even more sedate.

Step 1: Last week, about 60 members of the Disquiet Junto recorded ambient music for the middle of the night. The specific request was to “Make very quiet music for very late at night for very fragile psyches.” This week, we’ll each select a track from last week and proceed to dial it down even further.

Step 2: Listen through the tracks from last week’s project, and choose the one whose ambience you want to employ in your track:

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0350

In addition, there may be some other tracks from the project in the Lines discussions, here:

https://llllllll.co/t/disquiet-junto-project-0350-selected-insomniac-works/

Step 3: Having chosen a track in Step 2 above, confirm that your chosen track is downloadable. If it isn’t, either get in touch with the musician who made it, or choose another track.

Step 4: Listen closely to the track you selected in Step 3. Consider what edges it has that might be smoothed out, what drama it has that might be subsumed. Consider how you might do such things while retaining something that is inherently listenable, should someone choose to turn up the volume and focus on it.]]>
the lazy choice to smooth something out is by increasing the time resolution in paulstretch. i didnt just do this.

i duplicated the track a couple of times. in audition i applied chorus and convolution reverb
in live 8 i used 6 string ambience and valhalla freq echo (lots of feedback)
back in audacity i had the first 2 tracks fading in and out and the 3rd track fading in throughout. eq'd the low end a bit.
.
.
.
https://llllllll.co/t/disquiet-junto-project-0351-selected-insomniac-works-volume-ii/16303
Disquiet Junto Project 0351: Selected Insomniac Works Volume II
The Assignment: Rework some very quiet music by making it even more sedate.

Step 1: Last week, about 60 members of the Disquiet Junto recorded ambient music for the middle of the night. The specific request was to “Make very quiet music for very late at night for very fragile psyches.” This week, we’ll each select a track from last week and proceed to dial it down even further.

Step 2: Listen through the tracks from last week’s project, and choose the one whose ambience you want to employ in your track:

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0350

In addition, there may be some other tracks from the project in the Lines discussions, here:

https://llllllll.co/t/disquiet-junto-project-0350-selected-insomniac-works/

Step 3: Having chosen a track in Step 2 above, confirm that your chosen track is downloadable. If it isn’t, either get in touch with the musician who made it, or choose another track.

Step 4: Listen closely to the track you selected in Step 3. Consider what edges it has that might be smoothed out, what drama it has that might be subsumed. Consider how you might do such things while retaining something that is inherently listenable, should someone choose to turn up the volume and focus on it.]]> 2405095 no no Fri, 21 Sep 2018 11:23:33 +0200 2018-09-21T11:23:33+02:00 25:20 https://hearthis.at/sevenism/midnight-solo-falling-leaf-disquiet0350/
got a new window in the room with my old technics piano, i wanted to see how it sounded, it seems a lot quieter in there - you can hear a couple of cars go past tho. just recorded on my phone

noise reduction, reverb, soft distortion. made sure i left some hiss in

.
Disquiet Junto Project 0350: Selected Insomniac Works
https://llllllll.co/t/disquiet-junto-project-0350-selected-insomniac-works/
The Assignment: Make very quiet music for very late at night for very fragile psyches.

Step 1: It’s the middle of the night, long past dusk and long before dawn. You can’t sleep.

Step 2: Think about what kind of music you’d want to hear right now — super quiet, super subtle, unlikely to wake you, potentially to ease you back to the comfort of your pillow, or at least to calm your mind.]]>
got a new window in the room with my old technics piano, i wanted to see how it sounded, it seems a lot quieter in there - you can hear a couple of cars go past tho. just recorded on my phone

noise reduction, reverb, soft distortion. made sure i left some hiss in

.
Disquiet Junto Project 0350: Selected Insomniac Works
https://llllllll.co/t/disquiet-junto-project-0350-selected-insomniac-works/
The Assignment: Make very quiet music for very late at night for very fragile psyches.

Step 1: It’s the middle of the night, long past dusk and long before dawn. You can’t sleep.

Step 2: Think about what kind of music you’d want to hear right now — super quiet, super subtle, unlikely to wake you, potentially to ease you back to the comfort of your pillow, or at least to calm your mind.]]> 2385402 no no Fri, 14 Sep 2018 13:52:26 +0200 2018-09-14T13:52:26+02:00 03:37 https://hearthis.at/sevenism/fever-centripetal/
i had various sections of the sample selected (and 4 iterations of the sample) in iris2 with distortion / chorus / delay / reverb. improvised for a couple of minutes
more reverb added in audacity
changed the tempo rather than paulstretch, gave it that nice woozy detuned feel.]]>
i had various sections of the sample selected (and 4 iterations of the sample) in iris2 with distortion / chorus / delay / reverb. improvised for a couple of minutes
more reverb added in audacity
changed the tempo rather than paulstretch, gave it that nice woozy detuned feel.]]> 2378682 no no Tue, 11 Sep 2018 12:15:36 +0200 2018-09-11T12:15:36+02:00 02:57 https://hearthis.at/sevenism/among-thousand-voices-naviarhaiku244/ .


Mitsuhashi Takajo was a haiku poet of the Shōwa period, who started writing poems because of her admiration for Akiko Yosano. She published her first haiku collection, entitled Himawari (Sunflower), in 1934.

She’s considered as one of the “4 Ts” of Japanese female haiku poets, together with Nakamura Teijo, Hoshino Tatsuko, and Hashimoto Takako.



Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 12th September 2018

haiku by Mitsuhashi Takajo https://livinghaikuanthology.com/index-of-poets/livinglegacies/4594-takajo-mitsuhashi.html

picture by @gebhartyler https://unsplash.com/@gebhartyler]]> .


Mitsuhashi Takajo was a haiku poet of the Shōwa period, who started writing poems because of her admiration for Akiko Yosano. She published her first haiku collection, entitled Himawari (Sunflower), in 1934.

She’s considered as one of the “4 Ts” of Japanese female haiku poets, together with Nakamura Teijo, Hoshino Tatsuko, and Hashimoto Takako.



Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 12th September 2018

haiku by Mitsuhashi Takajo https://livinghaikuanthology.com/index-of-poets/livinglegacies/4594-takajo-mitsuhashi.html

picture by @gebhartyler https://unsplash.com/@gebhartyler]]> 2370291 no no Tue, 11 Sep 2018 11:39:27 +0200 2018-09-11T11:39:27+02:00 04:30 https://hearthis.at/sevenism/distance-disquiet0349/ just thought about inadvertent errors in software i use.
iris2 has some nice distortion if you redeuce the biuffer size and numner of buffers
live8 has this weird feedback delay whe n recording auidoi , ive prob got it set up wrong bu t ilike it
just improvised with a pioano sample incorporating the sound of the glitches into the feel of the piece

(felt appropriate to keep in tpyos in this descritpion too)
treid to databend the image by opening as text and writing sevenisn in there but didnt get anythingh intersting!


.
Disquiet Junto Project 0349: Got Glitch?
The Assignment: Help define “glitch” by glitching something, and explaining what you did.

Major thanks to Sevenisn, Mark Lentczner, and other folks in the Junto Slack for pitching in on this project’s development.

Step 1: Consider what “glitch” means in music/sound.

Step 2: Make a piece of music employing a glitch that arose from your thinking in Step 1.]]> just thought about inadvertent errors in software i use.
iris2 has some nice distortion if you redeuce the biuffer size and numner of buffers
live8 has this weird feedback delay whe n recording auidoi , ive prob got it set up wrong bu t ilike it
just improvised with a pioano sample incorporating the sound of the glitches into the feel of the piece

(felt appropriate to keep in tpyos in this descritpion too)
treid to databend the image by opening as text and writing sevenisn in there but didnt get anythingh intersting!


.
Disquiet Junto Project 0349: Got Glitch?
The Assignment: Help define “glitch” by glitching something, and explaining what you did.

Major thanks to Sevenisn, Mark Lentczner, and other folks in the Junto Slack for pitching in on this project’s development.

Step 1: Consider what “glitch” means in music/sound.

Step 2: Make a piece of music employing a glitch that arose from your thinking in Step 1.]]> 2357379 no no Fri, 07 Sep 2018 15:26:29 +0200 2018-09-07T15:26:29+02:00 06:06 https://hearthis.at/sevenism/crystal-moor-naviarhaiku243/ thru valhalla freq echo > ddly > ambience > sunruys > eq
.

"Widely regarded as one of the most important female haiku poets, Fukuda Chiyo-ni was a Japanese poet of the Edo period. She started writing haiku early in her childhood and was strongly influenced by Basho’s poetry (probably because her teachers were his students).

The fundamentals in Basho’s poetry include: sabi (detached loneliness), wabi (poverty of spirit), hosomi (slenderness, sparseness), shiori (tenderness), sokkyo (spontaneity), makoto (sincerity), fuga (elegance), karumi (simplicity), kyakkan byosha (objectivity), and shiZen to hitotsu ni naru (oneness with nature). Fukuda Chiyo-ni was particularly interested in the latter, since most of her poetry deals with the realm of nature.

I found this haiku in the free ebook Those Women Writing Haiku by Jane Reichhold

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku
"]]> thru valhalla freq echo > ddly > ambience > sunruys > eq
.

"Widely regarded as one of the most important female haiku poets, Fukuda Chiyo-ni was a Japanese poet of the Edo period. She started writing haiku early in her childhood and was strongly influenced by Basho’s poetry (probably because her teachers were his students).

The fundamentals in Basho’s poetry include: sabi (detached loneliness), wabi (poverty of spirit), hosomi (slenderness, sparseness), shiori (tenderness), sokkyo (spontaneity), makoto (sincerity), fuga (elegance), karumi (simplicity), kyakkan byosha (objectivity), and shiZen to hitotsu ni naru (oneness with nature). Fukuda Chiyo-ni was particularly interested in the latter, since most of her poetry deals with the realm of nature.

I found this haiku in the free ebook Those Women Writing Haiku by Jane Reichhold

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku
"]]> ddly > ambience > sunruys > eq . "Widely regarded as one of the most important female haiku poets, Fukuda Chiyo-ni was a Japanese poet of the Edo period. She started writing haiku early in her childhood and was strongly influenced by Basho’s poetry (probably because her teachers were his students). The fundamentals in Basho’s poetry include: sabi (detached loneliness), wabi (poverty of spirit), hosomi (slenderness, sparseness), shiori (tenderness), sokkyo (spontaneity), makoto (sincerity), fuga (elegance), karumi (simplicity), kyakkan byosha (objectivity), and shiZen to hitotsu ni naru (oneness with nature). Fukuda Chiyo-ni was particularly interested in the latter, since most of her poetry deals with the realm of nature. I found this haiku in the free ebook Those Women Writing Haiku by Jane Reichhold Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku "]]> 2336561 no no Fri, 31 Aug 2018 19:56:19 +0200 2018-08-31T19:56:19+02:00 04:38 https://hearthis.at/sevenism/temporal-unfold-disquiet0348/ then repeatedly duplicated and tempo reduced by half until the 6 minute track was reduced to 0.005 seconds.
everything plays at the start and it gradually settles down.

.
https://llllllll.co/t/disquiet-junto-project-0348-hot-mise-en-abyme/
Disquiet Junto Project 0348: Hot Mise en Abyme
The Assignment: Make a piece of music inspired by the art-historical term for fractal/recursion.

Step 1: There is a term in art, “mise en abyme.” It refers to instances when a work of art includes a copy of itself, maybe more than one copy. Consider how this term might apply to sound. (Do read up on “mise en abyme,” if it’s not familiar.)]]> then repeatedly duplicated and tempo reduced by half until the 6 minute track was reduced to 0.005 seconds.
everything plays at the start and it gradually settles down.

.
https://llllllll.co/t/disquiet-junto-project-0348-hot-mise-en-abyme/
Disquiet Junto Project 0348: Hot Mise en Abyme
The Assignment: Make a piece of music inspired by the art-historical term for fractal/recursion.

Step 1: There is a term in art, “mise en abyme.” It refers to instances when a work of art includes a copy of itself, maybe more than one copy. Consider how this term might apply to sound. (Do read up on “mise en abyme,” if it’s not familiar.)]]> 2333820 no no Fri, 31 Aug 2018 15:22:05 +0200 2018-08-31T15:22:05+02:00 06:21 https://hearthis.at/sevenism/pine-needles-shoshin-naviarhaiku242/ /

The pine shadow falls on the tent wall
& I see the shrine
as if for the first time
/

This beautiful poem was written by Diane di Prima, one of the founding members (and one of the few female writers to have been acknowledged as an integral member) of the Beat Movement. In the 50’s and 60’s, while living in Manhattan, she founded Poet’s Press and co-founded the New York Poet’s Theatre. She’s written over 40 books, which you can find at https://www.goodreads.com/author/show/3138026.Diane_di_Prima.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 29th August 2018

haiku by Diane di Prima https://www.poetryfoundation.org/poets/diane-di-prima

picture by Nicolás Rueda https://unsplash.com/@nicotitto]]> /

The pine shadow falls on the tent wall
& I see the shrine
as if for the first time
/

This beautiful poem was written by Diane di Prima, one of the founding members (and one of the few female writers to have been acknowledged as an integral member) of the Beat Movement. In the 50’s and 60’s, while living in Manhattan, she founded Poet’s Press and co-founded the New York Poet’s Theatre. She’s written over 40 books, which you can find at https://www.goodreads.com/author/show/3138026.Diane_di_Prima.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 29th August 2018

haiku by Diane di Prima https://www.poetryfoundation.org/poets/diane-di-prima

picture by Nicolás Rueda https://unsplash.com/@nicotitto]]> 2309725 no no Mon, 27 Aug 2018 12:21:45 +0200 2018-08-27T12:21:45+02:00 02:39 https://hearthis.at/sevenism/pil-tabu-sevenism-negative-drums-disquiet0347/
used arpeggiator, tx16wx sampler, vinyl, podfarm for pil's bit
used arpeggiator iris2, ddly for tabu's hits.

sequenced, automated in live, recorded distorted in audacity



--------------------------
https://llllllll.co/t/disquiet-junto-project-0347-remix-remodel/
Disquiet Junto Project 0347: Remix Remodel
The Assignment: Update a track by one Junto participant by adding beats from another Junto participant’s imaginary drum machine.

Major thanks to Matt Nish-Lapidus and Jason Wehmhoener for having helped put together this project.

Step 1: Two weeks ago in the Disquiet Junto, people made beats for their own imaginary drum machines. Last week in the Junto, people used other people’s beats from the prior project to make their own tracks. This week, the third week of this multi-part project, you’ll remix a track from the second week using beats from the first week.]]>
used arpeggiator, tx16wx sampler, vinyl, podfarm for pil's bit
used arpeggiator iris2, ddly for tabu's hits.

sequenced, automated in live, recorded distorted in audacity



--------------------------
https://llllllll.co/t/disquiet-junto-project-0347-remix-remodel/
Disquiet Junto Project 0347: Remix Remodel
The Assignment: Update a track by one Junto participant by adding beats from another Junto participant’s imaginary drum machine.

Major thanks to Matt Nish-Lapidus and Jason Wehmhoener for having helped put together this project.

Step 1: Two weeks ago in the Disquiet Junto, people made beats for their own imaginary drum machines. Last week in the Junto, people used other people’s beats from the prior project to make their own tracks. This week, the third week of this multi-part project, you’ll remix a track from the second week using beats from the first week.]]> 2288520 no no Fri, 24 Aug 2018 15:14:28 +0200 2018-08-24T15:14:28+02:00 03:58 https://hearthis.at/sevenism/dandelion-explosion-naviarhaiku241/ ;
Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 22nd August 2018

haiku by Jack Kerouac https://terebess.hu/english/haiku/kerouac.html

picture by Linford Miles https://unsplash.com/@linfordmiles]]> ;
Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 22nd August 2018

haiku by Jack Kerouac https://terebess.hu/english/haiku/kerouac.html

picture by Linford Miles https://unsplash.com/@linfordmiles]]> 2284767 no no Tue, 21 Aug 2018 11:14:13 +0200 2018-08-21T11:14:13+02:00 03:17 https://hearthis.at/sevenism/sarmism-sevenism-ryddm-noiise-disquiet0346/
i liked @sarmism 's sounds and also our usernames are similar!

had the first 4 hits running thru iris 2 with arpeggiator, random, vinyl, reverb, ozone imager - various automation espec the reverb getting wetter
decimated a duplicate of that track in audacity (reducing bit depth) and had the reverb of that fading in
..
https://llllllll.co/t/disquiet-junto-project-0346-drum-machinations/
Disquiet Junto Project 0346: Drum Machinations
The Assignment: Make a beat with new drum machine sounds provided by other Junto musicians.

Major thanks to Matt Nish-Lapidus and Jason Wehmhoener for having helped put together this project.

Step 1: Last week in the Disquiet Junto, musicians made beats for their own imaginary drum machines. The beats appear at the start of each of the participating tracks in the week’s SoundCloud playlist, here:

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0345

In addition, there may be some other tracks with beats in the Lines discussion, here:

https://llllllll.co/t/disquiet-junto-project-0345-sample-time/

Step 2: Check out the tracks in Step 1. Choose one track whose opening drum machine sounds hold the most appeal for you. Then confirm the track is downloadable. If it isn’t, either get in touch with the musician who made it, or choose another track.

Step 3: Make an original piece of music employing the sounds from Step 2.]]>
i liked @sarmism 's sounds and also our usernames are similar!

had the first 4 hits running thru iris 2 with arpeggiator, random, vinyl, reverb, ozone imager - various automation espec the reverb getting wetter
decimated a duplicate of that track in audacity (reducing bit depth) and had the reverb of that fading in
..
https://llllllll.co/t/disquiet-junto-project-0346-drum-machinations/
Disquiet Junto Project 0346: Drum Machinations
The Assignment: Make a beat with new drum machine sounds provided by other Junto musicians.

Major thanks to Matt Nish-Lapidus and Jason Wehmhoener for having helped put together this project.

Step 1: Last week in the Disquiet Junto, musicians made beats for their own imaginary drum machines. The beats appear at the start of each of the participating tracks in the week’s SoundCloud playlist, here:

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0345

In addition, there may be some other tracks with beats in the Lines discussion, here:

https://llllllll.co/t/disquiet-junto-project-0345-sample-time/

Step 2: Check out the tracks in Step 1. Choose one track whose opening drum machine sounds hold the most appeal for you. Then confirm the track is downloadable. If it isn’t, either get in touch with the musician who made it, or choose another track.

Step 3: Make an original piece of music employing the sounds from Step 2.]]> 2284768 no no Tue, 21 Aug 2018 10:53:13 +0200 2018-08-21T10:53:13+02:00 06:07 https://hearthis.at/sevenism/holobiont-disquiet0345/
had these running through iris 2 at high and low freqs with ddly and ozone imager. a duplicate track with increasing arpeggiator rate and electronica filtering

been thinking about superorganisms and wanted to give this a sense of something like an ant colony
"
Disquiet Junto Project 0345: Sample Time
The Assignment: Make your own drum machine sounds, do something with them, and share them.

Major thanks to Matt Nish-Lapidus and Jason Wehmhoener for helping put together this project.

Step 1: Today is August 9th, meaning yesterday was August 8th, or as it has come to be widely named: 808 Day, celebrating the Roland TR-808. In slightly belated celebration of that day and that device, we’ll be devising our own drum machines.

Step 2: Think about making your own drum machine. What basic set of sounds would it come with? (If you would benefit from additional structure, consider one for each of these categories: Accent, Bass Drum, Snare Drum, Low Tom/Conga, Mid Tom/Conga, Hi Tom/Conga, Clave/Rim, Maracas/Clap, Cowbell, Cymbal, Open Hat, Closed Hat.)

Step 3: Based on your thinking from Step 2, create those dozen or so sounds that are the basis for your imaginary drum machine.

Step 4: Record a piece of music using your new drum machine. At the start of the track, before the music begins, put the full sequence of sounds you created in Step 3, one after another, with a little silent space before and after each. (For next week’s project, people will be making music with your imaginary drum machine.)

“]]>
had these running through iris 2 at high and low freqs with ddly and ozone imager. a duplicate track with increasing arpeggiator rate and electronica filtering

been thinking about superorganisms and wanted to give this a sense of something like an ant colony
"
Disquiet Junto Project 0345: Sample Time
The Assignment: Make your own drum machine sounds, do something with them, and share them.

Major thanks to Matt Nish-Lapidus and Jason Wehmhoener for helping put together this project.

Step 1: Today is August 9th, meaning yesterday was August 8th, or as it has come to be widely named: 808 Day, celebrating the Roland TR-808. In slightly belated celebration of that day and that device, we’ll be devising our own drum machines.

Step 2: Think about making your own drum machine. What basic set of sounds would it come with? (If you would benefit from additional structure, consider one for each of these categories: Accent, Bass Drum, Snare Drum, Low Tom/Conga, Mid Tom/Conga, Hi Tom/Conga, Clave/Rim, Maracas/Clap, Cowbell, Cymbal, Open Hat, Closed Hat.)

Step 3: Based on your thinking from Step 2, create those dozen or so sounds that are the basis for your imaginary drum machine.

Step 4: Record a piece of music using your new drum machine. At the start of the track, before the music begins, put the full sequence of sounds you created in Step 3, one after another, with a little silent space before and after each. (For next week’s project, people will be making music with your imaginary drum machine.)

“]]> 2255258 no no Mon, 13 Aug 2018 14:29:35 +0200 2018-08-13T14:29:35+02:00 04:52 https://hearthis.at/sevenism/dust-dirt-sunlight-naviarhaiku240/
phonec>waveshaper>vinyl>podfarm2>ozone imager

.

This week we continue exploring the Beat Movement’s haiku with a poem by Allen Ginsberg. Ginsberg was a prolific writer who throughout his career supported gay rights and anti-war movements. He became popular in 1956 with the publication of his poem “Howl,”: an outcry of rage and despair against a destructive, abusive society.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 15th August 2018

haiku by Allen Ginsberg https://www.poetryfoundation.org/poets/allen-ginsberg

picture by MILKOVÍ https://unsplash.com/@milkovi]]>
phonec>waveshaper>vinyl>podfarm2>ozone imager

.

This week we continue exploring the Beat Movement’s haiku with a poem by Allen Ginsberg. Ginsberg was a prolific writer who throughout his career supported gay rights and anti-war movements. He became popular in 1956 with the publication of his poem “Howl,”: an outcry of rage and despair against a destructive, abusive society.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 15th August 2018

haiku by Allen Ginsberg https://www.poetryfoundation.org/poets/allen-ginsberg

picture by MILKOVÍ https://unsplash.com/@milkovi]]> waveshaper>vinyl>podfarm2>ozone imager . This week we continue exploring the Beat Movement’s haiku with a poem by Allen Ginsberg. Ginsberg was a prolific writer who throughout his career supported gay rights and anti-war movements. He became popular in 1956 with the publication of his poem “Howl,”: an outcry of rage and despair against a destructive, abusive society. Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku Deadline: 15th August 2018 haiku by Allen Ginsberg https://www.poetryfoundation.org/poets/allen-ginsberg picture by MILKOVÍ https://unsplash.com/@milkovi]]> 2246650 no no Sat, 11 Aug 2018 15:03:50 +0200 2018-08-11T15:03:50+02:00 04:05 https://hearthis.at/sevenism/take-spiral-1-4/
made with iris 2 and a denoised pigeon coo.
parts 1 2 and 4 were just improvised with random settings in iris 2 until i found something i liked.
part 3 was a resampled bit of part 2 that i liked - then played with in iris 2 again.
part 4 takes the bass from part 2 and i ran through ableton, i think with rob papen distort but i can't quite remember (forgot to upload this the other week)]]>
made with iris 2 and a denoised pigeon coo.
parts 1 2 and 4 were just improvised with random settings in iris 2 until i found something i liked.
part 3 was a resampled bit of part 2 that i liked - then played with in iris 2 again.
part 4 takes the bass from part 2 and i ran through ableton, i think with rob papen distort but i can't quite remember (forgot to upload this the other week)]]> 2235249 no no Tue, 07 Aug 2018 18:28:23 +0200 2018-08-07T18:28:23+02:00 13:19 https://hearthis.at/sevenism/degged-afeefa-disquiet0344/
i made a palindrome from a synth pad by reversing the halfway point
fed this into protoplasm with reverse echo

played notes d e g pasted and reversed the midi. same with a f e . repeated d e g g e d. low frequencies increased throughout and stereo widened too.

recorded repeated and reversed in audacity
../\..
Disquiet Junto Project 0344: Careful Symmetries
The Assignment: Explore palindromes in musical form.
https://llllllll.co/t/disquiet-junto-project-0344-careful-symmetries/

Step 1: Consider how palindromes might be expressed in sound.

Step 2: Compose a piece of music employing multiple palindromes.]]>
i made a palindrome from a synth pad by reversing the halfway point
fed this into protoplasm with reverse echo

played notes d e g pasted and reversed the midi. same with a f e . repeated d e g g e d. low frequencies increased throughout and stereo widened too.

recorded repeated and reversed in audacity
../\..
Disquiet Junto Project 0344: Careful Symmetries
The Assignment: Explore palindromes in musical form.
https://llllllll.co/t/disquiet-junto-project-0344-careful-symmetries/

Step 1: Consider how palindromes might be expressed in sound.

Step 2: Compose a piece of music employing multiple palindromes.]]> 2222845 no no Sat, 04 Aug 2018 18:18:43 +0200 2018-08-04T18:18:43+02:00 05:22 https://hearthis.at/sevenism/two-lights-two-worlds-naviarhaiku238/
the first half was improvised on 12 string through chorus and reverb.
then i took a portion and resynthsized in iris 2 with lots more fx to give that sense of separation yet interconnection.
. .
Takahama Kyoshi was a Japanese poet active during the Shōwa period of Japan. He was the editor of the haiku magazine Hototogisu (previously edited by Shiki), where he promoted a more traditional style of haiku, as opposed to other popular schools which did not follow the pattern of seventeen syllables at that time. Kyoshi also highlighted the symbolic function of the kigo (the season word), even though the more modern trends were already tending towards season-less haiku.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 1st August 2018

haiku by Kyoshi Takahama http://www.merchantsofair.com/a-small-neat-journal/kyoshi-takahama-a-japanese-literary-icon

picture by Aral Tasher https://unsplash.com/@araltasher]]>
the first half was improvised on 12 string through chorus and reverb.
then i took a portion and resynthsized in iris 2 with lots more fx to give that sense of separation yet interconnection.
. .
Takahama Kyoshi was a Japanese poet active during the Shōwa period of Japan. He was the editor of the haiku magazine Hototogisu (previously edited by Shiki), where he promoted a more traditional style of haiku, as opposed to other popular schools which did not follow the pattern of seventeen syllables at that time. Kyoshi also highlighted the symbolic function of the kigo (the season word), even though the more modern trends were already tending towards season-less haiku.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 1st August 2018

haiku by Kyoshi Takahama http://www.merchantsofair.com/a-small-neat-journal/kyoshi-takahama-a-japanese-literary-icon

picture by Aral Tasher https://unsplash.com/@araltasher]]> 2211596 no no Mon, 30 Jul 2018 18:11:09 +0200 2018-07-30T18:11:09+02:00 04:46 https://hearthis.at/sevenism/be-sharp-paronomasic-mix-disquiet0343/
I recorded this in the scale of B sharp.. which is in C (and In C was last weeks project..tada!)

samples of pads (ceezar, compad, flotter, heima, prodig, syncla, trice) through both iris 2 and protoplasm.. guitar fx in podfarm2 and izotope vinyl in there too

//
Disquiet Junto Project 0343: Big Pun
The Assignment: What does a musical pun sound like?

Major (and minor) thanks to Ian Joyce for proposing this project.

Step 1: Record a piece of music that is a musical pun.

Step 2: Explain your joke for those of us who didn’t get it.]]>
I recorded this in the scale of B sharp.. which is in C (and In C was last weeks project..tada!)

samples of pads (ceezar, compad, flotter, heima, prodig, syncla, trice) through both iris 2 and protoplasm.. guitar fx in podfarm2 and izotope vinyl in there too

//
Disquiet Junto Project 0343: Big Pun
The Assignment: What does a musical pun sound like?

Major (and minor) thanks to Ian Joyce for proposing this project.

Step 1: Record a piece of music that is a musical pun.

Step 2: Explain your joke for those of us who didn’t get it.]]> 2211597 no no Mon, 30 Jul 2018 13:18:54 +0200 2018-07-30T13:18:54+02:00 02:53 https://hearthis.at/sevenism/dragonfly-view-mountains-naviarhaiku237/ flit hover / moving mountains
/
Despite a difficult life, Kobayashi Issa’s poetry tends to celebrate the serene joys and simple spiritual moments of life. He was a prolific writer of both poetry and prose: he wrote over 20,000 haiku, hundreds of tanka, and several haibun.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 25th July 2018



Poem by Kobayashi Issa https://www.poetryfoundation.org/poets/kobayashi-issa

Picture by Joshua Stannard https://unsplash.com/@jbstannard]]> flit hover / moving mountains
/
Despite a difficult life, Kobayashi Issa’s poetry tends to celebrate the serene joys and simple spiritual moments of life. He was a prolific writer of both poetry and prose: he wrote over 20,000 haiku, hundreds of tanka, and several haibun.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 25th July 2018



Poem by Kobayashi Issa https://www.poetryfoundation.org/poets/kobayashi-issa

Picture by Joshua Stannard https://unsplash.com/@jbstannard]]> 2194132 no no Mon, 23 Jul 2018 18:20:01 +0200 2018-07-23T18:20:01+02:00 03:02 https://hearthis.at/sevenism/in-water-disquiet0342/ The Assignment: Record a piece of music in tribute to Terry Riley’s In C using only samples of water sounds.
https://llllllll.co/t/disquiet-junto-project-0342-in-sea/
~

i typed water drop into freesound and listened to some of the samples (looking for more tonal elements) then i remembered/noticed that freesound plays the previews concurrently and that fit into the idea of In C so i just started recording - starting off playing the quieter ones and bringing in the louder pourings. i'd scroll down and when one of the 15 samples finished i'd start playing it again.
i pulled the most tonal sample into iris 2 (toilet dripping: *'d below) and made a stringed instrument from it (frequency selection, lfos, chorus, reverb, delay, echo) played something and had this repeating too.

i've kept it relatively sparse in case anyone felt like adding to it (in the spirit of collaboration!)

i used these cc samples:
https://freesound.org/people/InspectorJ/sounds/343762/
https://freesound.org/people/jorickhoofd/sounds/160119/
https://freesound.org/people/kwahmah_02/sounds/260618/
https://freesound.org/people/dobroide/sounds/23094/ *
https://freesound.org/people/Thoribass/sounds/251397/
https://freesound.org/people/Edo333/sounds/396059/

the other samples are public domain]]> The Assignment: Record a piece of music in tribute to Terry Riley’s In C using only samples of water sounds.
https://llllllll.co/t/disquiet-junto-project-0342-in-sea/
~

i typed water drop into freesound and listened to some of the samples (looking for more tonal elements) then i remembered/noticed that freesound plays the previews concurrently and that fit into the idea of In C so i just started recording - starting off playing the quieter ones and bringing in the louder pourings. i'd scroll down and when one of the 15 samples finished i'd start playing it again.
i pulled the most tonal sample into iris 2 (toilet dripping: *'d below) and made a stringed instrument from it (frequency selection, lfos, chorus, reverb, delay, echo) played something and had this repeating too.

i've kept it relatively sparse in case anyone felt like adding to it (in the spirit of collaboration!)

i used these cc samples:
https://freesound.org/people/InspectorJ/sounds/343762/
https://freesound.org/people/jorickhoofd/sounds/160119/
https://freesound.org/people/kwahmah_02/sounds/260618/
https://freesound.org/people/dobroide/sounds/23094/ *
https://freesound.org/people/Thoribass/sounds/251397/
https://freesound.org/people/Edo333/sounds/396059/

the other samples are public domain]]> 2186317 no no Fri, 20 Jul 2018 10:21:52 +0200 2018-07-20T10:21:52+02:00 03:23 https://hearthis.at/sevenism/bird-sanctuary-disquiet0341/
i've twisted the assignment a little. i wanted to replicate this experience . generated a dial tone in audacity and added fx

in podfarm i had a mic picking up room sounds amped through synth string, random s&h and other echo/chorus modules to get a rainforesty/bird sound
.
https://llllllll.co/t/disquiet-junto-project-0341-sample-forensics/14939
Disquiet Junto Project 0341: Sample Forensics
The Assignment: Place a fragmentary sample into a natural-seeming setting.

Step 1: Choose a sample, a very short piece, roughly two to five seconds in length. It’s best if the sample has no fixed meter, no explicit rhythm, that it feels frayed at its beginning and its end — perhaps a snatch of melody, or a fragment of a field recording.

Step 2: Consider how you might create a piece of music into which the sample from Step 1 can be set, so that it is as if that setting is the point of origin for the sample. This is an act of forensics and of forgery.

Step 3: Record a piece of music based on the planning in Step 2. At the start of your piece, repeat the original sample three times separated by two brief silences, so the listener knows what to listen for in the completed piece. (It is fine to repeat the sample in your original piece, but not to run it continuously as a loop.)]]>
i've twisted the assignment a little. i wanted to replicate this experience . generated a dial tone in audacity and added fx

in podfarm i had a mic picking up room sounds amped through synth string, random s&h and other echo/chorus modules to get a rainforesty/bird sound
.
https://llllllll.co/t/disquiet-junto-project-0341-sample-forensics/14939
Disquiet Junto Project 0341: Sample Forensics
The Assignment: Place a fragmentary sample into a natural-seeming setting.

Step 1: Choose a sample, a very short piece, roughly two to five seconds in length. It’s best if the sample has no fixed meter, no explicit rhythm, that it feels frayed at its beginning and its end — perhaps a snatch of melody, or a fragment of a field recording.

Step 2: Consider how you might create a piece of music into which the sample from Step 1 can be set, so that it is as if that setting is the point of origin for the sample. This is an act of forensics and of forgery.

Step 3: Record a piece of music based on the planning in Step 2. At the start of your piece, repeat the original sample three times separated by two brief silences, so the listener knows what to listen for in the completed piece. (It is fine to repeat the sample in your original piece, but not to run it continuously as a loop.)]]> 2167217 no no Tue, 17 Jul 2018 13:23:44 +0200 2018-07-17T13:23:44+02:00 03:24 https://hearthis.at/sevenism/morning-sun-disquiet0340/
Had a random patch in kosmische app running and played along. Recorded with easy voice recorder pro

Then edited with wave pad which is a right pain to use on a phone, but nice to do in the garden. Added chorus, fading, compression, noise reduction and eq'ing]]>
Had a random patch in kosmische app running and played along. Recorded with easy voice recorder pro

Then edited with wave pad which is a right pain to use on a phone, but nice to do in the garden. Added chorus, fading, compression, noise reduction and eq'ing]]> 2144775 no no Sat, 07 Jul 2018 11:17:23 +0200 2018-07-07T11:17:23+02:00 03:26 https://hearthis.at/sevenism/solar-pulse-radiance-naviarhaiku235/
rays/pulses/haloes of sunlight

-
Author Sean Murphy, in his “One Bird, One Stone: 108 Contemporary Zen Stories”, tells us an interesting story about Zen Buddhist master and poet Soen Nakagawa, during his time spent in the U.S.:

“Soen loved to walk around New York City. He’d stare at the lighted skyscrapers, at their tops, he claimed he saw Buddha figures in the lights. “Look at the Buddha,” he’d point, “Shining Buddha!” He’d fill the sleeves of his robes with nuts and berries from Central Park or herbs growing in the sidewalk cracks, and add them to his bowl at the next meal. He loved the musical Fiddler on the Roof, and when asked a question about why some particular point of ceremony needed to be performed in a certain way, he might burst into song, responding “Tradition…!”

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 11th July 2018

Poem by Soen Nakagawa https://terebess.hu/english/haiku/nakagawa.html

Picture by Mark Kucharski https://unsplash.com/@markkucharski]]>
rays/pulses/haloes of sunlight

-
Author Sean Murphy, in his “One Bird, One Stone: 108 Contemporary Zen Stories”, tells us an interesting story about Zen Buddhist master and poet Soen Nakagawa, during his time spent in the U.S.:

“Soen loved to walk around New York City. He’d stare at the lighted skyscrapers, at their tops, he claimed he saw Buddha figures in the lights. “Look at the Buddha,” he’d point, “Shining Buddha!” He’d fill the sleeves of his robes with nuts and berries from Central Park or herbs growing in the sidewalk cracks, and add them to his bowl at the next meal. He loved the musical Fiddler on the Roof, and when asked a question about why some particular point of ceremony needed to be performed in a certain way, he might burst into song, responding “Tradition…!”

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 11th July 2018

Poem by Soen Nakagawa https://terebess.hu/english/haiku/nakagawa.html

Picture by Mark Kucharski https://unsplash.com/@markkucharski]]> 2143913 no no Thu, 05 Jul 2018 14:05:55 +0200 2018-07-05T14:05:55+02:00 06:15 https://hearthis.at/sevenism/cicada-pines-naviarhaiku234/
the tempo goes from 999bpm to 20bpm while the arp rate goes from 1/1 down to 1/128

simple midi but because of the tempo interaction sounds quite chaotic in a natural way
.
Patrick Lafcadio Hearn (1850–1904) was a writer, translator, and journalist. In the four books written during his time as a professor of English literature at the Imperial University of Tokyo —Exotics and Retrospective (1898), In Ghostly Japan (1899), Shadowings (1900), and A Japanese Miscellany (1901)—he described the customs, religion, and literature of Japan.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 4th July 2018

Poem by Baijaku http://www.modernhaiku.org/essays/hearnandhaiku.html

Picture by Derek Arguello https://unsplash.com/@arguellod22]]>
the tempo goes from 999bpm to 20bpm while the arp rate goes from 1/1 down to 1/128

simple midi but because of the tempo interaction sounds quite chaotic in a natural way
.
Patrick Lafcadio Hearn (1850–1904) was a writer, translator, and journalist. In the four books written during his time as a professor of English literature at the Imperial University of Tokyo —Exotics and Retrospective (1898), In Ghostly Japan (1899), Shadowings (1900), and A Japanese Miscellany (1901)—he described the customs, religion, and literature of Japan.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 4th July 2018

Poem by Baijaku http://www.modernhaiku.org/essays/hearnandhaiku.html

Picture by Derek Arguello https://unsplash.com/@arguellod22]]> 2135246 no no Sat, 30 Jun 2018 14:04:35 +0200 2018-06-30T14:04:35+02:00 12:27 https://hearthis.at/sevenism/man-in-machine-pts-12-disquiet0339/
got samples from freesound:
water mill https://freesound.org/people/borralbi/sounds/342819/
metal workshop https://freesound.org/people/ivolipa/sounds/337445/
electric chisel https://freesound.org/people/Deester/sounds/350882/
printer https://freesound.org/people/PsychoPancake/sounds/325215/

fed into iris 2, ddly, podfarm2.
created simple midi file: sections with short/held notes.
midi thru random, chord, arpeggio modules
lots of automation on everything
tempo decreases and arp rate increasese throughout

part 2 i did a kind of coda/overture where i improvised to bring out a humanized element but also so the machine sounds were more obvious.
.
.
Disquiet Junto Project 0339: Rude Mechanicals
The Assignment: Record a piece of music in this imaginary genre.

Step 1: Imagine there is a genre called “rude mechanicals.”

Step 2: Imagine what might characterize the “rude mechanicals” genre.

Step 3: Create an original piece of music in the genre called “rude mechanicals.”]]>
got samples from freesound:
water mill https://freesound.org/people/borralbi/sounds/342819/
metal workshop https://freesound.org/people/ivolipa/sounds/337445/
electric chisel https://freesound.org/people/Deester/sounds/350882/
printer https://freesound.org/people/PsychoPancake/sounds/325215/

fed into iris 2, ddly, podfarm2.
created simple midi file: sections with short/held notes.
midi thru random, chord, arpeggio modules
lots of automation on everything
tempo decreases and arp rate increasese throughout

part 2 i did a kind of coda/overture where i improvised to bring out a humanized element but also so the machine sounds were more obvious.
.
.
Disquiet Junto Project 0339: Rude Mechanicals
The Assignment: Record a piece of music in this imaginary genre.

Step 1: Imagine there is a genre called “rude mechanicals.”

Step 2: Imagine what might characterize the “rude mechanicals” genre.

Step 3: Create an original piece of music in the genre called “rude mechanicals.”]]> 2135247 no no Fri, 29 Jun 2018 12:44:32 +0200 2018-06-29T12:44:32+02:00 06:44 https://hearthis.at/sevenism/lucid-mirage-naviarhaiku233/
..
The author of the week is Hannah Williams, a young poet, writer and blogger based in London. If you like this haiku, make sure you visit her website ihannahwilliams.com, which features her poetry, short stories and book reviews.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 27th June 2018

Poem by Hannah Williams https://ihannahwilliams.com

Picture by Martin Barák https://unsplash.com/@fotobarak]]>
..
The author of the week is Hannah Williams, a young poet, writer and blogger based in London. If you like this haiku, make sure you visit her website ihannahwilliams.com, which features her poetry, short stories and book reviews.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 27th June 2018

Poem by Hannah Williams https://ihannahwilliams.com

Picture by Martin Barák https://unsplash.com/@fotobarak]]> 2123271 no no Sat, 23 Jun 2018 16:44:24 +0200 2018-06-23T16:44:24+02:00 03:23 https://hearthis.at/sevenism/microchasm/
used the reverb tail of a halogen oven ding
did a simple midi file with randomization and arpeggio frequency increasing thorughout the track
vinyl wear and warp increasing too
podfarm fx: echo platter, sin chorus, stereo delay, reverb]]>
used the reverb tail of a halogen oven ding
did a simple midi file with randomization and arpeggio frequency increasing thorughout the track
vinyl wear and warp increasing too
podfarm fx: echo platter, sin chorus, stereo delay, reverb]]> 2123272 no no Sat, 23 Jun 2018 15:08:33 +0200 2018-06-23T15:08:33+02:00 04:32 https://hearthis.at/sevenism/caged-disquiet0338/
what struck me in the gig was ikjoyce's fantastic keyboard work, audio obscura's blending of field recordings and subespai's use of presence and immediacy.

i wanted to combine these qualities into the piece (alongside my attempt to make something good with minimal effort!)
i pulled all the samples into iris2 demo and improvised, playing with the time / frequency selections in real time. a bit of reverb and paulstretch in post to iron out glitches..
,,,,

https://llllllll.co/t/disquiet-junto-project-0338-imaginary-quartet/
Disquiet Junto Project 0338: Imaginary Quartet
In collaboration with Naviar Haiku, make a four-person band from the provided four live solo recordings.


Step 1: First, major thanks to Neil Stringfellow (aka Audio Obscura) for proposing this collaboration between the Disquiet Junto and the Naviar Haiku series, and for the support of Naviar’s Marco Sebastiano Alessi. We’ll be making music based on segments of recordings by four musicians from the May 25, 2018, Naviar Haiku Fest. Get the four recordings here from the Zip file:

http://bit.ly/juntonaviar

Step 2: Having downloaded the four tracks (by Ikjoyce, Audio Obscura, Subsepai, and sevenism), listen to them. Each is a single minute from longer solo performances. Imagine how they might work together.

Step 3: Create a new track employing material from all four (and no other external sound sources, though processing is OK) that suggests the existence of a quartet performing live.]]>
what struck me in the gig was ikjoyce's fantastic keyboard work, audio obscura's blending of field recordings and subespai's use of presence and immediacy.

i wanted to combine these qualities into the piece (alongside my attempt to make something good with minimal effort!)
i pulled all the samples into iris2 demo and improvised, playing with the time / frequency selections in real time. a bit of reverb and paulstretch in post to iron out glitches..
,,,,

https://llllllll.co/t/disquiet-junto-project-0338-imaginary-quartet/
Disquiet Junto Project 0338: Imaginary Quartet
In collaboration with Naviar Haiku, make a four-person band from the provided four live solo recordings.


Step 1: First, major thanks to Neil Stringfellow (aka Audio Obscura) for proposing this collaboration between the Disquiet Junto and the Naviar Haiku series, and for the support of Naviar’s Marco Sebastiano Alessi. We’ll be making music based on segments of recordings by four musicians from the May 25, 2018, Naviar Haiku Fest. Get the four recordings here from the Zip file:

http://bit.ly/juntonaviar

Step 2: Having downloaded the four tracks (by Ikjoyce, Audio Obscura, Subsepai, and sevenism), listen to them. Each is a single minute from longer solo performances. Imagine how they might work together.

Step 3: Create a new track employing material from all four (and no other external sound sources, though processing is OK) that suggests the existence of a quartet performing live.]]> 2120603 no no Thu, 21 Jun 2018 22:29:30 +0200 2018-06-21T22:29:30+02:00 04:06 https://hearthis.at/sevenism/dragonfly-periphery-naviarhaiku232/
arpeggiated classical samples, same midi as this weeks disquiet track
-|-

Masaoka Shiki is mostly known for having revitalized haiku in the time when, after centuries of isolation, Japan opened to the West and was flooded with new ideas from abroad. You can find out more about Shiki and the artistic revolution that happened during his time in the essay “Masaoka Shiki and the Origins of Shasei“ by Charles Trumbull

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 20th June 2018

Poem by Masaoka Shiki https://terebess.hu/english/haiku/shiki.html

Picture by Gabriele Diwald https://unsplash.com/@gabrielediwald]]>
arpeggiated classical samples, same midi as this weeks disquiet track
-|-

Masaoka Shiki is mostly known for having revitalized haiku in the time when, after centuries of isolation, Japan opened to the West and was flooded with new ideas from abroad. You can find out more about Shiki and the artistic revolution that happened during his time in the essay “Masaoka Shiki and the Origins of Shasei“ by Charles Trumbull

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 20th June 2018

Poem by Masaoka Shiki https://terebess.hu/english/haiku/shiki.html

Picture by Gabriele Diwald https://unsplash.com/@gabrielediwald]]> 2107320 no no Sat, 16 Jun 2018 20:28:47 +0200 2018-06-16T20:28:47+02:00 02:58 https://hearthis.at/sevenism/pressure-release-disquiet0337/ simple repeating 3 note midi but increasing randomization of the notes and scale changes so that it doesnt repeat
blurred into itself with paulstretch
.

https://llllllll.co/t/disquiet-junto-project-0337-through-composted/
Disquiet Junto Project 0337: Through-Composted
Create a piece of music that is through-composed, but built entirely from samples.

Step 1: This project involves the concept of through-composed music. If the term isn’t familiar, please read up. As a starting point, here is the definition from Collins Dictionary: “having a compositional structure that is not based on repeating sections of music; specif., of a song with stanzas having regular meter and rhyme but different music for each stanza.”

Step 2: Employ the concept of through-composed music in the creation of a short piece — and do so only using sampled material.]]> simple repeating 3 note midi but increasing randomization of the notes and scale changes so that it doesnt repeat
blurred into itself with paulstretch
.

https://llllllll.co/t/disquiet-junto-project-0337-through-composted/
Disquiet Junto Project 0337: Through-Composted
Create a piece of music that is through-composed, but built entirely from samples.

Step 1: This project involves the concept of through-composed music. If the term isn’t familiar, please read up. As a starting point, here is the definition from Collins Dictionary: “having a compositional structure that is not based on repeating sections of music; specif., of a song with stanzas having regular meter and rhyme but different music for each stanza.”

Step 2: Employ the concept of through-composed music in the creation of a short piece — and do so only using sampled material.]]> 2107321 no no Sat, 16 Jun 2018 20:18:55 +0200 2018-06-16T20:18:55+02:00 05:33 https://hearthis.at/sevenism/shadow-follow-dub-disquiet0336/
i had live open though and un-finished my previous track by deleting the pad and just leaving the beat. then i had more filtering going on throughout (loop slippery, electronica 2)

it still sounds pretty finished to me coz of the tonal reverb elements

questions for feedback:
is there any way of getting rid of that distortion at the start?
how would you fix the judder at the 3 minute mark?
what would you add to this given that the beat is quite dynamic/full?
.

Disquiet Junto Project 0336: Open Mic
Share a piece of music you’re working on in the interest of getting feedback.

Step 1: Choose a track/composition you’re working on that isn’t quite finished. Share the recording on the Lines forum at https://llllllll.co/t/disquiet-junto-project-0336-open-mic/14242

Step 2: When posting the track, mention that you’re looking for feedback, and if applicable specify some aspects of the recording you might want feedback on.]]>
i had live open though and un-finished my previous track by deleting the pad and just leaving the beat. then i had more filtering going on throughout (loop slippery, electronica 2)

it still sounds pretty finished to me coz of the tonal reverb elements

questions for feedback:
is there any way of getting rid of that distortion at the start?
how would you fix the judder at the 3 minute mark?
what would you add to this given that the beat is quite dynamic/full?
.

Disquiet Junto Project 0336: Open Mic
Share a piece of music you’re working on in the interest of getting feedback.

Step 1: Choose a track/composition you’re working on that isn’t quite finished. Share the recording on the Lines forum at https://llllllll.co/t/disquiet-junto-project-0336-open-mic/14242

Step 2: When posting the track, mention that you’re looking for feedback, and if applicable specify some aspects of the recording you might want feedback on.]]> 2073314 no no Fri, 08 Jun 2018 13:56:04 +0200 2018-06-08T13:56:04+02:00 05:13 https://hearthis.at/sevenism/shadow-moves-naviarhaiku231-/ randomized/humanized midi, cello samples thru iris2 and podfarm
shadows catching up with the rhythm
.
“Near the end of December 1924, Santoka, drunk and apparently intent on committing suicide, stood in the middle of some railroad tracks facing an oncoming train. The train screeched to a halt just in time, and Santoka was pulled out of the way. He was taken to a nearby Zen temple call Ho-on-ji. The head priest there, Gian Mochizuki Osho, did not reprimand or question Santoka; he didn’t even ask his name. The monk fed Santoka and told him he could stay at the temple as long as he wished.” (John Stevens, who translated Santoka’s collection Mountain Tasting)

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 13th June 2018

Poem by Santoka Taneda http://www.chzc.org/Nonin.htm

Picture by Adam Cybulski https://unsplash.com/@shymekcinco]]> randomized/humanized midi, cello samples thru iris2 and podfarm
shadows catching up with the rhythm
.
“Near the end of December 1924, Santoka, drunk and apparently intent on committing suicide, stood in the middle of some railroad tracks facing an oncoming train. The train screeched to a halt just in time, and Santoka was pulled out of the way. He was taken to a nearby Zen temple call Ho-on-ji. The head priest there, Gian Mochizuki Osho, did not reprimand or question Santoka; he didn’t even ask his name. The monk fed Santoka and told him he could stay at the temple as long as he wished.” (John Stevens, who translated Santoka’s collection Mountain Tasting)

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 13th June 2018

Poem by Santoka Taneda http://www.chzc.org/Nonin.htm

Picture by Adam Cybulski https://unsplash.com/@shymekcinco]]> 2073316 no no Fri, 08 Jun 2018 10:55:18 +0200 2018-06-08T10:55:18+02:00 04:51 https://hearthis.at/sevenism/your-current-wait-time-is-minutes-disquiet0335/
i wanted it to retain that sense of easy listening, the classic elements of strings and gentle beats, but i also wanted a complexity there so that the closer you listen the more that's going on..

i had 2 beats going on using percumat 2, lots of variation and feedback.
a high frequency arpeggio with gradual rate changes and increasing randomization of notes (iris 2)
another iris 2 track for the strings with reverse delay and reverb
the iris2 tracks are controlled by a pretty random midi line going through a c minor harmonic scale module in live 8, there's some automation on the volumes too.

https://llllllll.co/t/disquiet-junto-project-0335-alone-time/
Disquiet Junto Project 0335: Alone Time
Record conference-call hold music — a private limbo of your own making.

Major thanks to Matt Pinto for having proposed this Junto project prompt.

Step 1: Hold music is a ubiquitous fact of modern life. Ask yourself what hold music you’d like to hear while waiting for someone to pick up the other end of the line, or while waiting for a conference call to begin.

Step 2: Record a short piece of hold music that satisfies the scenario you pondered in Step 1. Your finished track should be suitable for looping, since you never know how long you’re going to be on hold.]]>
i wanted it to retain that sense of easy listening, the classic elements of strings and gentle beats, but i also wanted a complexity there so that the closer you listen the more that's going on..

i had 2 beats going on using percumat 2, lots of variation and feedback.
a high frequency arpeggio with gradual rate changes and increasing randomization of notes (iris 2)
another iris 2 track for the strings with reverse delay and reverb
the iris2 tracks are controlled by a pretty random midi line going through a c minor harmonic scale module in live 8, there's some automation on the volumes too.

https://llllllll.co/t/disquiet-junto-project-0335-alone-time/
Disquiet Junto Project 0335: Alone Time
Record conference-call hold music — a private limbo of your own making.

Major thanks to Matt Pinto for having proposed this Junto project prompt.

Step 1: Hold music is a ubiquitous fact of modern life. Ask yourself what hold music you’d like to hear while waiting for someone to pick up the other end of the line, or while waiting for a conference call to begin.

Step 2: Record a short piece of hold music that satisfies the scenario you pondered in Step 1. Your finished track should be suitable for looping, since you never know how long you’re going to be on hold.]]> 2049273 no no Fri, 01 Jun 2018 15:31:33 +0200 2018-06-01T15:31:33+02:00 09:50 https://hearthis.at/sevenism/-sky-opening-naviarhaiku229/ .
cello / uke samples
.
"
For the last week of May, I think a summer poem is most appropriate. Written by one of the greatest haiku poets, Kobayashi Issa was also extremely prolific: during his lifetime he wrote ten times more poems than Bashō, who wrote “only” 2000 haiku.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 30th May 2018

Poem by Kobayashi Issa http://haikuguy.com/issa

Picture by Dibert Theron https://unsplash.com/@kudu
"]]> .
cello / uke samples
.
"
For the last week of May, I think a summer poem is most appropriate. Written by one of the greatest haiku poets, Kobayashi Issa was also extremely prolific: during his lifetime he wrote ten times more poems than Bashō, who wrote “only” 2000 haiku.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 30th May 2018

Poem by Kobayashi Issa http://haikuguy.com/issa

Picture by Dibert Theron https://unsplash.com/@kudu
"]]> 2045092 no no Wed, 30 May 2018 13:06:51 +0200 2018-05-30T13:06:51+02:00 05:20 https://hearthis.at/sevenism/fledge-disquiet0334/ .

https://llllllll.co/t/disquiet-junto-project-0334-mass-branca/
Disquiet Junto Project 0334: Mass Branca
Record a massive multi-layered tribute to the legendary guitarist-composer.

Major thanks to James Britt for contributing this Junto project prompt.

Step 1: This project is a tribute to the late avant-garde composer and guitarist Glenn Branca, who died earlier this month. Among Branca’s many musical systems was to have a vast number of musicians, say 100 guitarists for example, perform together. We’re going to explore that mass of sound to produce a mass in Branca’s memory. It will be a Mass Mass.

Step 2: Pick a single sound source, an instrument perhaps, but really anything that makes a specific sound. One thing to aim for is a sound source that is rich in overtones.

Step 3: Use multiple layers (with “multiple” being defined as you see fit — 100 layers would be awesome, but so too would 10, 30, 50, etc.) of this sound source to record a piece of music.

Background: While knowledge of Glenn Branca’s work isn’t necessary to participate, it is recommended to read up and listen a bit.]]> .

https://llllllll.co/t/disquiet-junto-project-0334-mass-branca/
Disquiet Junto Project 0334: Mass Branca
Record a massive multi-layered tribute to the legendary guitarist-composer.

Major thanks to James Britt for contributing this Junto project prompt.

Step 1: This project is a tribute to the late avant-garde composer and guitarist Glenn Branca, who died earlier this month. Among Branca’s many musical systems was to have a vast number of musicians, say 100 guitarists for example, perform together. We’re going to explore that mass of sound to produce a mass in Branca’s memory. It will be a Mass Mass.

Step 2: Pick a single sound source, an instrument perhaps, but really anything that makes a specific sound. One thing to aim for is a sound source that is rich in overtones.

Step 3: Use multiple layers (with “multiple” being defined as you see fit — 100 layers would be awesome, but so too would 10, 30, 50, etc.) of this sound source to record a piece of music.

Background: While knowledge of Glenn Branca’s work isn’t necessary to participate, it is recommended to read up and listen a bit.]]> 2034323 no no Sun, 27 May 2018 18:17:14 +0200 2018-05-27T18:17:14+02:00 03:11 https://hearthis.at/sevenism/on-torta/
https://www.ambientonline.org/forum/ambient/ao-challenges/87682-one-sample-dare-challenge-59

denoised the sample in audacity
found a nice bird tweet about halfway through, pitched down and paulstretched
in live 8 i did a simple midi line then had this randomized with chord and scale modules too. played through protoplasm at different octaves and had some chorus/delay/reverb fx in podfarm2
mastered in audition]]>
https://www.ambientonline.org/forum/ambient/ao-challenges/87682-one-sample-dare-challenge-59

denoised the sample in audacity
found a nice bird tweet about halfway through, pitched down and paulstretched
in live 8 i did a simple midi line then had this randomized with chord and scale modules too. played through protoplasm at different octaves and had some chorus/delay/reverb fx in podfarm2
mastered in audition]]> 2017712 no no Wed, 23 May 2018 12:59:19 +0200 2018-05-23T12:59:19+02:00 04:26 https://hearthis.at/sevenism/slow-rise/
improvised with some classical instrument samples. then aggressive noise reduction for some watery artefacts, mastered to make them cohere
/
http://www.naviarrecords.com/2018/05/16/naviarhaiku228-a-snail/

Japanese novelist Natsume Soseki is the author of this week’s poem. Mostly known for his novels Kokoro, Botchan, I Am a Cat and his unfinished work Light and Darkness, Soseki was also an accomplished haiku poet.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 23rd May 2018

Poem by Natsume Sôseki https://www.japantimes.co.jp/culture/2016/11/26/books/hidden-heart-natsume-soseki

Picture by Jokūbas Banaitis https://unsplash.com/@gulltoppr]]>
improvised with some classical instrument samples. then aggressive noise reduction for some watery artefacts, mastered to make them cohere
/
http://www.naviarrecords.com/2018/05/16/naviarhaiku228-a-snail/

Japanese novelist Natsume Soseki is the author of this week’s poem. Mostly known for his novels Kokoro, Botchan, I Am a Cat and his unfinished work Light and Darkness, Soseki was also an accomplished haiku poet.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 23rd May 2018

Poem by Natsume Sôseki https://www.japantimes.co.jp/culture/2016/11/26/books/hidden-heart-natsume-soseki

Picture by Jokūbas Banaitis https://unsplash.com/@gulltoppr]]> 2011934 no no Mon, 21 May 2018 13:21:57 +0200 2018-05-21T13:21:57+02:00 05:35 https://hearthis.at/sevenism/cat-amongst-birds-disquiet0333/
this track hopefully represents her. (live 8 arpeggio, iris2, podfarm feedback echoes)
.
https://llllllll.co/t/disquiet-junto-project-0333-half-evil/
Disquiet Junto Project 0333: Half Evil
Where numerology casts a shadow on musicology.

Step 1: This week’s project is the 333rd consecutive Junto project. That’s half of 666. Ponder the dark side.

Step 2: Record a piece of music that could be described as “half evil.”]]>
this track hopefully represents her. (live 8 arpeggio, iris2, podfarm feedback echoes)
.
https://llllllll.co/t/disquiet-junto-project-0333-half-evil/
Disquiet Junto Project 0333: Half Evil
Where numerology casts a shadow on musicology.

Step 1: This week’s project is the 333rd consecutive Junto project. That’s half of 666. Ponder the dark side.

Step 2: Record a piece of music that could be described as “half evil.”]]> 2011935 no no Mon, 21 May 2018 13:11:19 +0200 2018-05-21T13:11:19+02:00 02:01 https://hearthis.at/sevenism/14-11-03-91-50-24-disquiet0332/
i used the android app kosmische because the notes are represented by numbers up to 122. i pressed random to get a patch: wasn't that lucky unfortunately. hid the mild unpleasantness with gradually increasing reverb and played around with cutoff and resonance.

➊➍ ➊➊ ⓿➌ / ➒➊ ➎⓿ ➋➍
Disquiet Junto Project 0332: Lucky Numbers
Make music based on the lottery.

Step 1: Every day, newspapers around the world publish the local lottery numbers. We’ll be making music based on these numbers. Think about how a string of numbers might inform — might seed — a short musical composition.

Step 2: Locate the lottery numbers near your — or, if you live somewhere that doesn’t have a lottery, find someplace that does.

Step 3: Generally speaking, the winning lottery numbers come in the form of a small set, such as 4, 7, 28, 37, 41, 2 (the recent Super Lotto jackpot here in California).

Step 4: Having located a set of lottery numbers, then compose and record a short composition that is somehow based on them. (Do detail how you extrapolated sound from the lottery when uploading the track.)

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0332” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0332” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Please consider posting your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0332-lucky-numbers/]]>
i used the android app kosmische because the notes are represented by numbers up to 122. i pressed random to get a patch: wasn't that lucky unfortunately. hid the mild unpleasantness with gradually increasing reverb and played around with cutoff and resonance.

➊➍ ➊➊ ⓿➌ / ➒➊ ➎⓿ ➋➍
Disquiet Junto Project 0332: Lucky Numbers
Make music based on the lottery.

Step 1: Every day, newspapers around the world publish the local lottery numbers. We’ll be making music based on these numbers. Think about how a string of numbers might inform — might seed — a short musical composition.

Step 2: Locate the lottery numbers near your — or, if you live somewhere that doesn’t have a lottery, find someplace that does.

Step 3: Generally speaking, the winning lottery numbers come in the form of a small set, such as 4, 7, 28, 37, 41, 2 (the recent Super Lotto jackpot here in California).

Step 4: Having located a set of lottery numbers, then compose and record a short composition that is somehow based on them. (Do detail how you extrapolated sound from the lottery when uploading the track.)

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0332” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0332” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Please consider posting your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0332-lucky-numbers/]]> 1979878 no no Mon, 14 May 2018 16:20:40 +0200 2018-05-14T16:20:40+02:00 02:42 https://hearthis.at/sevenism/drops-glisten-in-the-wind-naviarhaiku227/
After a few night poems here’s a morning haiku by Betty Drevniok, author of the seminal book Aware – A Haiku Primer. Together with George Swede and Eric Amann, she founded the Haiku Society of Canada.

If you want to learn more about Betty Drevniok, here’s an article by Miranda Baker about her life and career. The Betty Drevniok Award is an annual competition organized by Haiku Canada.

“Betty Drevniok’s haiku are simple everyday experiences, but they usually have a complex meaning. She does not like to impose her readers with emotions because she wants them to be able to relate to the moment through their own imaginations.“ (Miranda Baker)

http://www.naviarrecords.com/2018/05/09/naviarhaiku227-morning-coolness/

Deadline: 16th May 2018

Poem by Betty Drevniok http://performance.millikin.edu/haiku/writerprofiles/BakerOnDrevniok.html

Picture by Michael B. Stuart https://unsplash.com/@stustustudio]]>
After a few night poems here’s a morning haiku by Betty Drevniok, author of the seminal book Aware – A Haiku Primer. Together with George Swede and Eric Amann, she founded the Haiku Society of Canada.

If you want to learn more about Betty Drevniok, here’s an article by Miranda Baker about her life and career. The Betty Drevniok Award is an annual competition organized by Haiku Canada.

“Betty Drevniok’s haiku are simple everyday experiences, but they usually have a complex meaning. She does not like to impose her readers with emotions because she wants them to be able to relate to the moment through their own imaginations.“ (Miranda Baker)

http://www.naviarrecords.com/2018/05/09/naviarhaiku227-morning-coolness/

Deadline: 16th May 2018

Poem by Betty Drevniok http://performance.millikin.edu/haiku/writerprofiles/BakerOnDrevniok.html

Picture by Michael B. Stuart https://unsplash.com/@stustustudio]]> 1949140 no no Thu, 10 May 2018 22:56:26 +0200 2018-05-10T22:56:26+02:00 03:19 https://hearthis.at/sevenism/hold-your-eyes-open-naviarhaiku226/ .
he won't go to sleep / unless we play him the tune / that keeps him awake
.
Alvaro Cardona-Hine was a poet, painter, composer and long-time Zen student; born in Costa Rica, he spent most of his adult life in the US, and in 1986 opened an art gallery in Truchas, New Mexico, together with his wife Barbara McCauley. He passed away in 2016, but the art gallery is still active. A bio of this talented and restless creative man can be found at https://cardonahineart.wordpress.com/about.

Seven days to make music in response to Cardona-Hine‘s haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 9th May 2018

Poem by Alvaro Cardona-Hine https://cardonahineart.wordpress.com/about

Picture by Robert Nelson https://unsplash.com/@iambobnelson]]> .
he won't go to sleep / unless we play him the tune / that keeps him awake
.
Alvaro Cardona-Hine was a poet, painter, composer and long-time Zen student; born in Costa Rica, he spent most of his adult life in the US, and in 1986 opened an art gallery in Truchas, New Mexico, together with his wife Barbara McCauley. He passed away in 2016, but the art gallery is still active. A bio of this talented and restless creative man can be found at https://cardonahineart.wordpress.com/about.

Seven days to make music in response to Cardona-Hine‘s haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 9th May 2018

Poem by Alvaro Cardona-Hine https://cardonahineart.wordpress.com/about

Picture by Robert Nelson https://unsplash.com/@iambobnelson]]> 1937700 no no Mon, 07 May 2018 17:22:05 +0200 2018-05-07T17:22:05+02:00 03:28 https://hearthis.at/sevenism/lorobo-blues-disquiet0331/ /
12 string guitar close mic'd thru podfarm fx (synth harmony>sin chorus>random chorus>random s&h>analog square chorus>analog delay>reverse delay>tape echo>medium hall reverb / tweed b-man amp>bronze master>echo platter>sine chorus>stereo delay>cavernous reverb)]]> /
12 string guitar close mic'd thru podfarm fx (synth harmony>sin chorus>random chorus>random s&h>analog square chorus>analog delay>reverse delay>tape echo>medium hall reverb / tweed b-man amp>bronze master>echo platter>sine chorus>stereo delay>cavernous reverb)]]> sin chorus>random chorus>random s&h>analog square chorus>analog delay>reverse delay>tape echo>medium hall reverb / tweed b-man amp>bronze master>echo platter>sine chorus>stereo delay>cavernous reverb)]]> 1937701 no no Mon, 07 May 2018 17:01:16 +0200 2018-05-07T17:01:16+02:00 02:58 https://hearthis.at/sevenism/fly-low-in-faint-light-naviarhaiku225/ birds eye view
.
Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 2nd May 2018

Poem by Masaoka Shiki https://en.wikipedia.org/wiki/Masaoka_Shiki

Picture by Andrea Boldizsar https://unsplash.com/@andreaboldizsar]]> birds eye view
.
Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 2nd May 2018

Poem by Masaoka Shiki https://en.wikipedia.org/wiki/Masaoka_Shiki

Picture by Andrea Boldizsar https://unsplash.com/@andreaboldizsar]]> 1888889 no no Fri, 27 Apr 2018 13:48:23 +0200 2018-04-27T13:48:23+02:00 16:33 https://hearthis.at/sevenism/finding-something-missing-reduction-disquiet0330/ i wanted to avoid erasing amplitude as that's what i did in last week's junto. was thinking about fx that take away but inadvertently replace artefacts.

in the past audacity noise reduction has been good for this. i laboriously applied noise reduction about 60 times so that it accumulated throughout the track, then played it back and there'd been no noticeable effect (thru speakers)

so i saved as a 8kbps mp3 which erased a lot of detail and hi freq. had this faded in as another layer so it both adds to and subtracts at the same time
.
.
https://llllllll.co/t/disquiet-junto-project-0330-wax-off/
Disquiet Junto Project 0330: Wax Off
Make a piece of music by erasing aspects of a pre-existing track.

This project was proposed by frequent Junto participant Zero Meaning.

Step 1: Make a piece of music by erasing aspects of a pre-existing track. You’ll be taking an earlier audio track of your own and reworking it. Select a track. It might help to read through these instructions in full before making the selection.

Step 2: The theme of this project is “erasure.” You will be removing material from the track you selected in Step 1. Consider what “erasure” can mean in terms of sound: removal, texture, fragments, artifacts, etc. What techniques would erasure entail?]]> i wanted to avoid erasing amplitude as that's what i did in last week's junto. was thinking about fx that take away but inadvertently replace artefacts.

in the past audacity noise reduction has been good for this. i laboriously applied noise reduction about 60 times so that it accumulated throughout the track, then played it back and there'd been no noticeable effect (thru speakers)

so i saved as a 8kbps mp3 which erased a lot of detail and hi freq. had this faded in as another layer so it both adds to and subtracts at the same time
.
.
https://llllllll.co/t/disquiet-junto-project-0330-wax-off/
Disquiet Junto Project 0330: Wax Off
Make a piece of music by erasing aspects of a pre-existing track.

This project was proposed by frequent Junto participant Zero Meaning.

Step 1: Make a piece of music by erasing aspects of a pre-existing track. You’ll be taking an earlier audio track of your own and reworking it. Select a track. It might help to read through these instructions in full before making the selection.

Step 2: The theme of this project is “erasure.” You will be removing material from the track you selected in Step 1. Consider what “erasure” can mean in terms of sound: removal, texture, fragments, artifacts, etc. What techniques would erasure entail?]]> 1888890 no no Fri, 27 Apr 2018 12:39:05 +0200 2018-04-27T12:39:05+02:00 03:03 https://hearthis.at/sevenism/galaxy-spirals-naviarhaiku224/ /
The haiku of the week is by Taneda Santoka, a poet and mendicant priest who chose walking meditation instead of zazen or sitting meditation. It is estimated that he walked about 28,000 miles during his life as a priest. You can read more about his poetry and equally interesting life at https://simplyhaiku.com/SHv3n3/features/stanford_forrester-santoka.html



Deadline: 25th April 2018

Poem by Taneda Santoka https://terebess.hu/english/haiku/taneda.html

Picture by Michał Mancewicz https://unsplash.com/@kreyatif]]> /
The haiku of the week is by Taneda Santoka, a poet and mendicant priest who chose walking meditation instead of zazen or sitting meditation. It is estimated that he walked about 28,000 miles during his life as a priest. You can read more about his poetry and equally interesting life at https://simplyhaiku.com/SHv3n3/features/stanford_forrester-santoka.html



Deadline: 25th April 2018

Poem by Taneda Santoka https://terebess.hu/english/haiku/taneda.html

Picture by Michał Mancewicz https://unsplash.com/@kreyatif]]> 1882702 no no Sat, 21 Apr 2018 15:12:51 +0200 2018-04-21T15:12:51+02:00 17:41 https://hearthis.at/sevenism/hi-dbl-bs-200db-disquiet0329/ then in iris 2 had more double bass samples through resonators and high pitched percussive filters for strange pipe/flutelike rhythms
then to really expand the instrument i reduced the volume by 200db. i was interested to see if anything would be preserved.
//
https://llllllll.co/t/disquiet-junto-project-0329-extended-version/
Disquiet Junto Project 0329: Extended Version
Make a piece of music in which you expand the functionality of an instrument — and document your technique.

Step 1: This week’s project is about unintended techniques applied to musical instruments. You can come up with a new idea, but better still to use the opportunity to document a technique you have employed in the past.

Step 2: Think about concepts like “expanded cinema” and “prepared instruments.” Think about how an instrument can be used to do things it wasn’t necessarily designed to do.]]> then in iris 2 had more double bass samples through resonators and high pitched percussive filters for strange pipe/flutelike rhythms
then to really expand the instrument i reduced the volume by 200db. i was interested to see if anything would be preserved.
//
https://llllllll.co/t/disquiet-junto-project-0329-extended-version/
Disquiet Junto Project 0329: Extended Version
Make a piece of music in which you expand the functionality of an instrument — and document your technique.

Step 1: This week’s project is about unintended techniques applied to musical instruments. You can come up with a new idea, but better still to use the opportunity to document a technique you have employed in the past.

Step 2: Think about concepts like “expanded cinema” and “prepared instruments.” Think about how an instrument can be used to do things it wasn’t necessarily designed to do.]]> 1882703 no no Fri, 20 Apr 2018 21:34:46 +0200 2018-04-20T21:34:46+02:00 01:30 https://hearthis.at/sevenism/still-pond-disquiet0328/
i saw the painting as looking down on a pond with unknown things underneath. when we were kids there was a swamp with dark water close by; we scared ourselves with stories of what lurked underneath.

recently read that it takes days for a body of water to become still

blurred zither sample played around with in protoplasm. lots of different gentle echo ripples from podfarm, audacity, audition.
.
.)
))
https://llllllll.co/t/disquiet-junto-project-0328-sonic-pentimento/
Disquiet Junto Project 0328: Sonic Pentimento
Record a piece of music inspired by a term from painting.

Step 1: This week’s Disquiet Junto project involves recording a piece of music inspired by a term from painting. That word is “pentimento,” which is defined in the Merriam-Webster dictionary as “a reappearance in a painting of an original drawn or painted element which was eventually painted over by the artist.” Familiarize yourself with the term.

Step 2: Think about how the term “pentimento” can be borrowed from painting and applied to sound.]]>
i saw the painting as looking down on a pond with unknown things underneath. when we were kids there was a swamp with dark water close by; we scared ourselves with stories of what lurked underneath.

recently read that it takes days for a body of water to become still

blurred zither sample played around with in protoplasm. lots of different gentle echo ripples from podfarm, audacity, audition.
.
.)
))
https://llllllll.co/t/disquiet-junto-project-0328-sonic-pentimento/
Disquiet Junto Project 0328: Sonic Pentimento
Record a piece of music inspired by a term from painting.

Step 1: This week’s Disquiet Junto project involves recording a piece of music inspired by a term from painting. That word is “pentimento,” which is defined in the Merriam-Webster dictionary as “a reappearance in a painting of an original drawn or painted element which was eventually painted over by the artist.” Familiarize yourself with the term.

Step 2: Think about how the term “pentimento” can be borrowed from painting and applied to sound.]]> 1861093 no no Mon, 16 Apr 2018 21:03:03 +0200 2018-04-16T21:03:03+02:00 04:31 https://hearthis.at/sevenism/quiet-rushing-water-naviarhaiku223/
recorded on phone and just a bit of delay and reverb added
.

I’m quite sure this is the first time I share I haiku written by me.

In February I spent 10 days in Himachal Pradesh, a northern Indian state in the Himalayas, practising yoga 4 hours a day with my partner. Even though the yoga class was initially my idea, I soon realized that I lacked the flexibility (and patience) to enjoy it fully. We would start at 6,30AM with meditation, and that was my favourite part as sometimes, for a few moments, I was able to free my mind completely. In those rare occasions my senses were sharper, and after practicing for a few days I heard the sound of a waterfall, which I knew was in the village but I didn’t hear before.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 18th April 2018

Poem by Marco Alessi http://msacrx.tumblr.com

Picture by Patrick Hendry https://unsplash.com/@worldsbetweenlines]]>
recorded on phone and just a bit of delay and reverb added
.

I’m quite sure this is the first time I share I haiku written by me.

In February I spent 10 days in Himachal Pradesh, a northern Indian state in the Himalayas, practising yoga 4 hours a day with my partner. Even though the yoga class was initially my idea, I soon realized that I lacked the flexibility (and patience) to enjoy it fully. We would start at 6,30AM with meditation, and that was my favourite part as sometimes, for a few moments, I was able to free my mind completely. In those rare occasions my senses were sharper, and after practicing for a few days I heard the sound of a waterfall, which I knew was in the village but I didn’t hear before.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 18th April 2018

Poem by Marco Alessi http://msacrx.tumblr.com

Picture by Patrick Hendry https://unsplash.com/@worldsbetweenlines]]> 1858553 no no Thu, 12 Apr 2018 21:25:50 +0200 2018-04-12T21:25:50+02:00 03:56 https://hearthis.at/sevenism/fragments-naviarhaiku222/
.
This week’s haiku was offered by curator and multimedia artist Jason Richardson, also known as Bassling. Jason is one of the most regular participants in the Haiku challenge, both as musician and as poet. Together we also curated the exhibition Crossing Streams in 2017.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 11th April 2018

Poem by Jason Richardson http://highku.blogspot.co.uk

Picture by Casey Horner https://unsplash.com/@mischievous_penguins

#naviarrecords #Naviarhaiku #haiku #micropoetry #poetry]]>
.
This week’s haiku was offered by curator and multimedia artist Jason Richardson, also known as Bassling. Jason is one of the most regular participants in the Haiku challenge, both as musician and as poet. Together we also curated the exhibition Crossing Streams in 2017.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 11th April 2018

Poem by Jason Richardson http://highku.blogspot.co.uk

Picture by Casey Horner https://unsplash.com/@mischievous_penguins

#naviarrecords #Naviarhaiku #haiku #micropoetry #poetry]]> 1850528 no no Mon, 09 Apr 2018 12:49:55 +0200 2018-04-09T12:49:55+02:00 02:20 https://hearthis.at/sevenism/slow-red-shift-disquiet0327/ sliding pitch shift of 1 semitone. mastered in audition

https://llllllll.co/t/disquiet-junto-project-0327-time-zoned/
Disquiet Junto Project 0327: Time Zoned
Create a piece of music that is simultaneously in 3/4, 2/4, and 7/4 time.

Step 1: This week’s Disquiet Junto project, the 327th consecutive weekly Junto project, running since January 2012, will engage with the number 327. Compose a piece of music with three separate and distinct through-lines. Think of each of the three lines as an individual voice. The important thing is that the three through-lines occur in your composition simultaneously. One voice should be in 3/4 time. One should be in 2/4 time. And one should be in 7/4 time.

Major thanks to Ethan Hein and Nate Trier for helping develop the project.]]> sliding pitch shift of 1 semitone. mastered in audition

https://llllllll.co/t/disquiet-junto-project-0327-time-zoned/
Disquiet Junto Project 0327: Time Zoned
Create a piece of music that is simultaneously in 3/4, 2/4, and 7/4 time.

Step 1: This week’s Disquiet Junto project, the 327th consecutive weekly Junto project, running since January 2012, will engage with the number 327. Compose a piece of music with three separate and distinct through-lines. Think of each of the three lines as an individual voice. The important thing is that the three through-lines occur in your composition simultaneously. One voice should be in 3/4 time. One should be in 2/4 time. And one should be in 7/4 time.

Major thanks to Ethan Hein and Nate Trier for helping develop the project.]]> 1847890 no no Sun, 08 Apr 2018 17:40:38 +0200 2018-04-08T17:40:38+02:00 01:38 https://hearthis.at/sevenism/othering-disquiet0326/ pulled into protoplasm at 6 different semi/octaves
and had that going thru izotope vinyl - gradually throughout the track i upped the warp depth and wear
just played live for about 7 minutes - wasnt very good at playing today, so added some preverb to hide that a bit. 2 notes at once so 12 concurrent layers with all the different semi/octaves (i really like the layering in jon fischers art, was inspired by this)
mastered in audition
.

Disquiet Junto Project 0326: Wave Turntable
In collaboration with composer Danny Clay, make music for his exhibit with artist Jon Fischer using only sine waves and turntable surface noise.

Step 1: Tracks in this project will be played as part of a free event in San Francisco at the McEvoy Foundation for the Arts (mcevoyarts.org) on Saturday, April 7, 2018, for an exhibit by composer Danny Clay (dclaymusic.com) and artist Jon Fischer (feather2pixels.com). The project was developed in collaboration with Clay. Before proceeding, consider the sort of music that might be conducive as partially-heard, partially-background music for an art event.

Step 2: Compose a short piece of music using only sine waves and the surface sounds of vinyl played on a turntable. Those two sources are inspirations for the Clay/Fischer exhibit. (The cover image to this project shows some of Fischer’s turntable art.)

https://llllllll.co/t/disquiet-junto-project-0326-wave-turntable/]]> pulled into protoplasm at 6 different semi/octaves
and had that going thru izotope vinyl - gradually throughout the track i upped the warp depth and wear
just played live for about 7 minutes - wasnt very good at playing today, so added some preverb to hide that a bit. 2 notes at once so 12 concurrent layers with all the different semi/octaves (i really like the layering in jon fischers art, was inspired by this)
mastered in audition
.

Disquiet Junto Project 0326: Wave Turntable
In collaboration with composer Danny Clay, make music for his exhibit with artist Jon Fischer using only sine waves and turntable surface noise.

Step 1: Tracks in this project will be played as part of a free event in San Francisco at the McEvoy Foundation for the Arts (mcevoyarts.org) on Saturday, April 7, 2018, for an exhibit by composer Danny Clay (dclaymusic.com) and artist Jon Fischer (feather2pixels.com). The project was developed in collaboration with Clay. Before proceeding, consider the sort of music that might be conducive as partially-heard, partially-background music for an art event.

Step 2: Compose a short piece of music using only sine waves and the surface sounds of vinyl played on a turntable. Those two sources are inspirations for the Clay/Fischer exhibit. (The cover image to this project shows some of Fischer’s turntable art.)

https://llllllll.co/t/disquiet-junto-project-0326-wave-turntable/]]> 1831357 no no Fri, 30 Mar 2018 14:32:22 +0200 2018-03-30T14:32:22+02:00 06:58 https://hearthis.at/sevenism/old-timey-fuzz-disquiet0325/
oh whoops i misread that it should sound like a modern composition.. werent too many people making doom jazz in 1904 i dont think.
.
https://llllllll.co/t/disquiet-junto-project-0325-fake-book/12455
Disquiet Junto Project 0325: Fake Book
Make a forgery of an old jazz song by using samples from three Edison cylinders.

Step 1: This project involves using samples of pre-existing recordings to create a new recording. The three pieces of source audio are at these individual Internet Archive webpages:

https://archive.org/details/edbell-735
https://archive.org/details/EDIS-SRP-0194-01
https://archive.org/details/edgm-9107

Step 2: Download the tracks from Step 1 and listen to them. Listen for elements you might employ in your own new recording.

Step 3: Utilizing elements from Step 2, create a new composition that, to the extent you are able, sounds like it is from the same general era. Don’t add any other sound sources, though you can employ effects.]]>
oh whoops i misread that it should sound like a modern composition.. werent too many people making doom jazz in 1904 i dont think.
.
https://llllllll.co/t/disquiet-junto-project-0325-fake-book/12455
Disquiet Junto Project 0325: Fake Book
Make a forgery of an old jazz song by using samples from three Edison cylinders.

Step 1: This project involves using samples of pre-existing recordings to create a new recording. The three pieces of source audio are at these individual Internet Archive webpages:

https://archive.org/details/edbell-735
https://archive.org/details/EDIS-SRP-0194-01
https://archive.org/details/edgm-9107

Step 2: Download the tracks from Step 1 and listen to them. Listen for elements you might employ in your own new recording.

Step 3: Utilizing elements from Step 2, create a new composition that, to the extent you are able, sounds like it is from the same general era. Don’t add any other sound sources, though you can employ effects.]]> 1820527 no no Fri, 23 Mar 2018 23:07:48 +0100 2018-03-23T23:07:48+01:00 05:15 https://hearthis.at/sevenism/resonant-fields-naviarhaiku220/ this track i did the other day fit with the quiet garden sense - not sure about raindrops tho.
_
The haiku of the week was kindly offered by Zen teacher, writer and Naviar’s longtime friend Andō. I had the chance to have a chat with her in 2016, when we diiscussed meditation and creativity, as well as the relationship between poetry and music.

“[…] silence is not so much a recurring theme in my works, as the source all my work, whether it be poetry, writings, meditation, contemplation, retreat or silence itself. All my work arises from silence, in one way or another. Both silence and sound are inseparably connected. Sound arises from silence. When considered from the ultimate, all things, all perceptions, arise from silence.“ (Andō)

Seven days to make music in response to the assigned haiku: to particiipate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 28th March 2018

Poem by Andō http://theunsui.org/

Picture by Dmitry Bayer https://unsplash.com/@d__bayer]]> this track i did the other day fit with the quiet garden sense - not sure about raindrops tho.
_
The haiku of the week was kindly offered by Zen teacher, writer and Naviar’s longtime friend Andō. I had the chance to have a chat with her in 2016, when we diiscussed meditation and creativity, as well as the relationship between poetry and music.

“[…] silence is not so much a recurring theme in my works, as the source all my work, whether it be poetry, writings, meditation, contemplation, retreat or silence itself. All my work arises from silence, in one way or another. Both silence and sound are inseparably connected. Sound arises from silence. When considered from the ultimate, all things, all perceptions, arise from silence.“ (Andō)

Seven days to make music in response to the assigned haiku: to particiipate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 28th March 2018

Poem by Andō http://theunsui.org/

Picture by Dmitry Bayer https://unsplash.com/@d__bayer]]> 1820528 no no Fri, 23 Mar 2018 14:45:14 +0100 2018-03-23T14:45:14+01:00 07:00 https://hearthis.at/sevenism/infinity/
got some tonal elements from doing some extreme noise reduction in audacity (after the train had gone past, maybe a bird?) added reverb.
in live 8 i played the sample through protoplasm, podfarm 2 (sine chorus, random chorus, stereo delay, echo platter, large plate reverb) and ozone imager. changing the octaves a bit. just a single improvisation recorded.
back in audacity duplicated the track pitched down an octave and faded in
mastered in audition]]>
got some tonal elements from doing some extreme noise reduction in audacity (after the train had gone past, maybe a bird?) added reverb.
in live 8 i played the sample through protoplasm, podfarm 2 (sine chorus, random chorus, stereo delay, echo platter, large plate reverb) and ozone imager. changing the octaves a bit. just a single improvisation recorded.
back in audacity duplicated the track pitched down an octave and faded in
mastered in audition]]> 1817043 no no Wed, 21 Mar 2018 15:13:03 +0100 2018-03-21T15:13:03+01:00 03:20 https://hearthis.at/sevenism/r-a-n-d-o-m-i-z-m-4-/
tracklist

aretha franklin - try matty's
blackalicious - my pen and pad
dawn mccarthy and bonny prince billy - wai
beth gibbons & rustin man - drake
spinform - det fanns en tid
bola - forcasa 3
deerhunter - green jacket
wilco - shake it off
dj vadim & phi life cypher - ghetto rebels
clubroot - talisman
nils frahm - chant
peter broderick - variation 2
i am dive - farewell
a multitude of one - encounter with pluto
holly miranda - until now
boards of canada - hi scores (old tunes)
gorillaz - sound check (gravity)
the pack ad - snow]]>
tracklist

aretha franklin - try matty's
blackalicious - my pen and pad
dawn mccarthy and bonny prince billy - wai
beth gibbons & rustin man - drake
spinform - det fanns en tid
bola - forcasa 3
deerhunter - green jacket
wilco - shake it off
dj vadim & phi life cypher - ghetto rebels
clubroot - talisman
nils frahm - chant
peter broderick - variation 2
i am dive - farewell
a multitude of one - encounter with pluto
holly miranda - until now
boards of canada - hi scores (old tunes)
gorillaz - sound check (gravity)
the pack ad - snow]]> 2045094 no no Sat, 17 Mar 2018 17:01:32 +0100 2018-03-17T17:01:32+01:00 1:17:46 https://hearthis.at/sevenism/worker-drones-disquiet0324/
had classical instruments going through randomized arpeggio sounded a bit newsroomy motion but not so background. stretched and blurred to a drone and had the arpeggio coming in sometimes
.
.
.
https://llllllll.co/t/disquiet-junto-project-0324-factory-floor/
Disquiet Junto Project 0324: Factory Floor
Make music for newsrooms, design studios, and other collaborative workplaces.

Step 1: This is the latest in a series of Junto projects about background music. Consider what sort of music is appropriate for collaborative workplaces, such as newsrooms, design studios, software development teams, and so forth. Think about music that (1) isn’t distracting and (2) suggests momentum.

Step 2: Record a piece of music that applies the thinking arising from Step 1, and that makes sense played on repeat or as part of an imagined playlist of like-minded compositions. The length is up to you, but consider keeping it between three minutes and six minutes.]]>
had classical instruments going through randomized arpeggio sounded a bit newsroomy motion but not so background. stretched and blurred to a drone and had the arpeggio coming in sometimes
.
.
.
https://llllllll.co/t/disquiet-junto-project-0324-factory-floor/
Disquiet Junto Project 0324: Factory Floor
Make music for newsrooms, design studios, and other collaborative workplaces.

Step 1: This is the latest in a series of Junto projects about background music. Consider what sort of music is appropriate for collaborative workplaces, such as newsrooms, design studios, software development teams, and so forth. Think about music that (1) isn’t distracting and (2) suggests momentum.

Step 2: Record a piece of music that applies the thinking arising from Step 1, and that makes sense played on repeat or as part of an imagined playlist of like-minded compositions. The length is up to you, but consider keeping it between three minutes and six minutes.]]> 1810739 no no Sat, 17 Mar 2018 10:51:23 +0100 2018-03-17T10:51:23+01:00 03:35 https://hearthis.at/sevenism/only-moonlight-naviarhaiku219/
electroacoustic instruments - i've forgotten what
/

this poem by Kobayashi Issa is the haiku of the week. A paper mosquito net is a paper enclosure with just a small window made of a thin see-through cloth, the only part of the net from which Issa can see the moonlight.

Seven days to make music in response to the assigned haiku: to particiipate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 21st March 2018

Poem by Kobayashi Issa http://haikuguy.com/issa

Picture by Patrick Hendry https://unsplash.com/@worldsbetweenlines]]>
electroacoustic instruments - i've forgotten what
/

this poem by Kobayashi Issa is the haiku of the week. A paper mosquito net is a paper enclosure with just a small window made of a thin see-through cloth, the only part of the net from which Issa can see the moonlight.

Seven days to make music in response to the assigned haiku: to particiipate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 21st March 2018

Poem by Kobayashi Issa http://haikuguy.com/issa

Picture by Patrick Hendry https://unsplash.com/@worldsbetweenlines]]> 1810740 no no Sat, 17 Mar 2018 10:09:50 +0100 2018-03-17T10:09:50+01:00 06:56 https://hearthis.at/sevenism/where-are-you-disquiet0323/
of course, there's still the intent of making meditation music : indirectly influenced by the new agey nicey nicey bollox i was trying to avoid.

fortunately i forgot about all this. i went to the buddhist centre for a meditate and then had to rush to some work. later i was making some music (classical instrumetns in iris 2) feeling peaceful and present but also with an undercurrent of unaccepted stress and anxiety. an important insight from meditation is how complex my inner emotional landscape can be.

once i realized this was appropriate for the junto, i stretched the track to 7 minutes and recorded my meditation bowl (there happened to be a penny in there which made a nice buzz)

i can hear my sense of peace in the track but also the dissonance and distortion
.
.
https://llllllll.co/t/disquiet-junto-project-0323-music-for-meditation/
Disquiet Junto Project 0323: Music for Meditation
Record a piece of music suited to meditation.

Step 1: Consider music appropriate for meditation. Think of the sounds, the tones, the forms that might suit such a thing.

Step 2: Record a short piece of music for meditation. Make your track a set number of minutes (that is, a length divisible by 60 seconds), preferably between 7 minutes and 20 minutes. Whatever length you choose, insert a bell/chime sound precisely one minute after the track begins and precisely one minute before the track comes to an end.]]>
of course, there's still the intent of making meditation music : indirectly influenced by the new agey nicey nicey bollox i was trying to avoid.

fortunately i forgot about all this. i went to the buddhist centre for a meditate and then had to rush to some work. later i was making some music (classical instrumetns in iris 2) feeling peaceful and present but also with an undercurrent of unaccepted stress and anxiety. an important insight from meditation is how complex my inner emotional landscape can be.

once i realized this was appropriate for the junto, i stretched the track to 7 minutes and recorded my meditation bowl (there happened to be a penny in there which made a nice buzz)

i can hear my sense of peace in the track but also the dissonance and distortion
.
.
https://llllllll.co/t/disquiet-junto-project-0323-music-for-meditation/
Disquiet Junto Project 0323: Music for Meditation
Record a piece of music suited to meditation.

Step 1: Consider music appropriate for meditation. Think of the sounds, the tones, the forms that might suit such a thing.

Step 2: Record a short piece of music for meditation. Make your track a set number of minutes (that is, a length divisible by 60 seconds), preferably between 7 minutes and 20 minutes. Whatever length you choose, insert a bell/chime sound precisely one minute after the track begins and precisely one minute before the track comes to an end.]]> 1801806 no no Sun, 11 Mar 2018 14:39:41 +0100 2018-03-11T14:39:41+01:00 07:00 https://hearthis.at/sevenism/aflutter-naviarhaiku218/ light fading out
.
This week’s haiku was written by Sumitaku Kenshin, one of the most important representatives of free-form haiku, which ignores not just the syllabic formation typical of haiku poetry but seasonal reference as well. Kenshin started writing poety after being diagnosed with acute myeloid leukemia: he dedicated the last 2 years of his life to haiku, leaving 281 poems. He died in 1987, at the age of 25.

Seven days to make music in response to the assigned haiku: to particiipate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 14th March 2018

Poem by Sumitaku Kenshin https://longdream.wordpress.com/category/poetry/sumitaku-kenshin/

Picture by Byron Johnson https://unsplash.com/@byronism]]> light fading out
.
This week’s haiku was written by Sumitaku Kenshin, one of the most important representatives of free-form haiku, which ignores not just the syllabic formation typical of haiku poetry but seasonal reference as well. Kenshin started writing poety after being diagnosed with acute myeloid leukemia: he dedicated the last 2 years of his life to haiku, leaving 281 poems. He died in 1987, at the age of 25.

Seven days to make music in response to the assigned haiku: to particiipate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 14th March 2018

Poem by Sumitaku Kenshin https://longdream.wordpress.com/category/poetry/sumitaku-kenshin/

Picture by Byron Johnson https://unsplash.com/@byronism]]> 1800635 no no Sat, 10 Mar 2018 20:33:59 +0100 2018-03-10T20:33:59+01:00 04:00 https://hearthis.at/sevenism/the-caterpillar-disquiet0322/ 1793633 no no Mon, 05 Mar 2018 13:50:51 +0100 2018-03-05T13:50:51+01:00 05:06 https://hearthis.at/sevenism/the-air-before-it-falls-naviarhaiku216/ .
cello/viola/ukelele samples
-
Ippekiro Nakatsuka was one of the first to introduce the colloquial style into haiku poetry. His poems didn’t follow the 17 syllables’ structure, and most of the times also didn’t include the kigo word (seasonal reference). For Nakatsuka, what mattered the most was the ability to reduce a poem into a single picture or thought, with as little words as possible.

This more modern, free style haiku is called Kaiko, and was (at least officially) invented by Nakatsuka and Kawahigashi Hekigodo in 1915.

The most famous collection of verses by Nakatsuka is Cape Jasmine and Pomegranates.


Seven days to make music in response to the assigned haiku: to particiipate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 28th February 2018

Poem by Nakatsuka Ippekiro http://www.big.or.jp/~loupe/links/ehisto/eippekiro.shtml

Picture by Bryan Minear https://unsplash.com/@bryanminear]]> .
cello/viola/ukelele samples
-
Ippekiro Nakatsuka was one of the first to introduce the colloquial style into haiku poetry. His poems didn’t follow the 17 syllables’ structure, and most of the times also didn’t include the kigo word (seasonal reference). For Nakatsuka, what mattered the most was the ability to reduce a poem into a single picture or thought, with as little words as possible.

This more modern, free style haiku is called Kaiko, and was (at least officially) invented by Nakatsuka and Kawahigashi Hekigodo in 1915.

The most famous collection of verses by Nakatsuka is Cape Jasmine and Pomegranates.


Seven days to make music in response to the assigned haiku: to particiipate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 28th February 2018

Poem by Nakatsuka Ippekiro http://www.big.or.jp/~loupe/links/ehisto/eippekiro.shtml

Picture by Bryan Minear https://unsplash.com/@bryanminear]]> 1800637 no no Wed, 28 Feb 2018 12:01:00 +0100 2018-02-28T12:01:00+01:00 01:53 https://hearthis.at/sevenism/manic-disquiet0321/
i wander as well if it's different for musicians - i've trained myself to focus on ambient drones, on the minutiae.

i followed the instructions exactly with the intention of gentle subversion. if i'm feeling sad that can come through in the music regardless that it's in a major key.
i used a ukelele sample and an approximation of a piccolo (crossed with a cat), randomized tone, fast arpeggio, lots of variation.
.

Disquiet Junto Project 0321: Let’s Active
https://llllllll.co/t/disquiet-junto-project-0321-lets-active/
Make a short piece of music that decreases the mind’s tendency to wander, based on research by Dr. Liila Taruffi, PhD, and her colleagues.

Step 1: This week we’re making music that decreases the mind’s tendency to wander. The project was developed in coordination with a Dr. Liila Taruffi, PhD, based on a paper she and her colleagues published in Nature Scientific Reports.

Step 2: No, you absolutely don’t need to have read the 10-page research paper or its 60 footnotes to participate in this project. But … in you’re interested, you can find the PDF here:

http://rdcu.be/xXHf

Step 3: Record a piece of instrumental music (no voices, no words) based on the following constraints. Use samples, simulations, or approximations of the recommended instrumentation if the instruments are not available:

Instrumentation: banjo, piccolo, xylophone, celeste, glockenspiel, ukulele, toy piano, baritone saxophone, tambourine

Instruments number: max 6

Speed of music: 130-180 bpm

Key: major

Length: around 2 min

Recommended musical/acoustic features: bright timbres, high pitches, much pitch variability, rising pitch contour, fast tone attacks, medium-high sound level, very little microstructural regularity]]>
i wander as well if it's different for musicians - i've trained myself to focus on ambient drones, on the minutiae.

i followed the instructions exactly with the intention of gentle subversion. if i'm feeling sad that can come through in the music regardless that it's in a major key.
i used a ukelele sample and an approximation of a piccolo (crossed with a cat), randomized tone, fast arpeggio, lots of variation.
.

Disquiet Junto Project 0321: Let’s Active
https://llllllll.co/t/disquiet-junto-project-0321-lets-active/
Make a short piece of music that decreases the mind’s tendency to wander, based on research by Dr. Liila Taruffi, PhD, and her colleagues.

Step 1: This week we’re making music that decreases the mind’s tendency to wander. The project was developed in coordination with a Dr. Liila Taruffi, PhD, based on a paper she and her colleagues published in Nature Scientific Reports.

Step 2: No, you absolutely don’t need to have read the 10-page research paper or its 60 footnotes to participate in this project. But … in you’re interested, you can find the PDF here:

http://rdcu.be/xXHf

Step 3: Record a piece of instrumental music (no voices, no words) based on the following constraints. Use samples, simulations, or approximations of the recommended instrumentation if the instruments are not available:

Instrumentation: banjo, piccolo, xylophone, celeste, glockenspiel, ukulele, toy piano, baritone saxophone, tambourine

Instruments number: max 6

Speed of music: 130-180 bpm

Key: major

Length: around 2 min

Recommended musical/acoustic features: bright timbres, high pitches, much pitch variability, rising pitch contour, fast tone attacks, medium-high sound level, very little microstructural regularity]]> 1800638 no no Tue, 27 Feb 2018 11:58:23 +0100 2018-02-27T11:58:23+01:00 02:00 https://hearthis.at/sevenism/chapter-loops-disquiet0320/
i've had 3 books going round my head recently:
Barbara Kingsolver - The Poisonwood Bible
Wyl Menmuir - The Many
William Gibson - Virtual Light

so hopefully the music evokes a sense of these books. (i'd say theyre connected by dread /dreamlike/ floating / creep)

i used iris 2 / protoplasm / podfarm mainly. longer than i thought!
.
https://llllllll.co/t/disquiet-junto-project-0320-table-of-contents/
Disquiet Junto Project 0320: Table of Contents
Make a composition containing loopable background-music segments for each chapter of one of your favorite books.

Step 1: You’ll be composing a sequence of short, loopable segments of music that are useful as background music for reading.

Step 2: Choose a favorite book.

Step 3: Consider the tone, the temperament, and the content of each chapter in the book.

Step 4: Compose a piece of music with as many segments to it as there are chapters to the book. Compose each individual segment with the idea that it is loopable as background music while someone is reading the given chapter. Consider making connections between chapters through melodic themes or instrument choice and so forth.]]>
i've had 3 books going round my head recently:
Barbara Kingsolver - The Poisonwood Bible
Wyl Menmuir - The Many
William Gibson - Virtual Light

so hopefully the music evokes a sense of these books. (i'd say theyre connected by dread /dreamlike/ floating / creep)

i used iris 2 / protoplasm / podfarm mainly. longer than i thought!
.
https://llllllll.co/t/disquiet-junto-project-0320-table-of-contents/
Disquiet Junto Project 0320: Table of Contents
Make a composition containing loopable background-music segments for each chapter of one of your favorite books.

Step 1: You’ll be composing a sequence of short, loopable segments of music that are useful as background music for reading.

Step 2: Choose a favorite book.

Step 3: Consider the tone, the temperament, and the content of each chapter in the book.

Step 4: Compose a piece of music with as many segments to it as there are chapters to the book. Compose each individual segment with the idea that it is loopable as background music while someone is reading the given chapter. Consider making connections between chapters through melodic themes or instrument choice and so forth.]]> 1772770 no no Mon, 19 Feb 2018 23:11:09 +0100 2018-02-19T23:11:09+01:00 11:45 https://hearthis.at/sevenism/dropping-off-try-not-to-sleep-naviarhaiku215/ waves (stretched): https://freesound.org/people/Kinoton/sounds/387431/

i used to try to stay awake as a kid, my head nodding back as the waves of sleep caught up with me
/

Now considered as one of the most influencial modern Japanese writers, the novelist of the Meiji period Natsume Soseki was a late bloomer: his literary career officially began in 1903, with a series of haiku and renga published on various literary magazines. Between 1900 and 1903 he studied at the UCL in London, but this experience proved to be quite dramatic for the young Soseki as he’ll describe his period in the United Kingdom with these words:

“The two years I spent in London were the most unpleasant years in my life. Among English gentlemen I lived in misery, like a poor dog that had strayed among a pack of wolves.“

Despite this, when Soseki returned to Japan he exploded into prolific writing activity.

Seven days to make music in response to the assigned haiku: to particiipate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 21st February 2018

Poem by Natsume Soseki https://www.japantimes.co.jp/culture/2016/11/26/books/hidden-heart-natsume-soseki/#.WoRm0PwRc2x

Picture by Krista Mangulsone https://unsplash.com/@krista]]> waves (stretched): https://freesound.org/people/Kinoton/sounds/387431/

i used to try to stay awake as a kid, my head nodding back as the waves of sleep caught up with me
/

Now considered as one of the most influencial modern Japanese writers, the novelist of the Meiji period Natsume Soseki was a late bloomer: his literary career officially began in 1903, with a series of haiku and renga published on various literary magazines. Between 1900 and 1903 he studied at the UCL in London, but this experience proved to be quite dramatic for the young Soseki as he’ll describe his period in the United Kingdom with these words:

“The two years I spent in London were the most unpleasant years in my life. Among English gentlemen I lived in misery, like a poor dog that had strayed among a pack of wolves.“

Despite this, when Soseki returned to Japan he exploded into prolific writing activity.

Seven days to make music in response to the assigned haiku: to particiipate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 21st February 2018

Poem by Natsume Soseki https://www.japantimes.co.jp/culture/2016/11/26/books/hidden-heart-natsume-soseki/#.WoRm0PwRc2x

Picture by Krista Mangulsone https://unsplash.com/@krista]]> 1771413 no no Mon, 19 Feb 2018 13:25:11 +0100 2018-02-19T13:25:11+01:00 04:01 https://hearthis.at/sevenism/cold-sun-heavy-eyes-naviarhaiku214/ After last week’s Autumn poem here’s a Winter haiku by Kyoshi, who wrote more than two hundred thousand haiku in his lifetime. You can read some of his most well-known works here: http://simplyhaiku.com/SHv3n2/features/Inahata_Teiko.html
Seven days to make music in response to the assigned haiku: to particiipate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 14th February 2018

Poem by Takahama Kyoshi http://www.masterpiece-of-japanese-culture.com/literatures-and-poems/haiku/takahama-kyoshis-haiku-poems

Picture by Bailey Zindel https://unsplash.com/@baileyzindel]]> After last week’s Autumn poem here’s a Winter haiku by Kyoshi, who wrote more than two hundred thousand haiku in his lifetime. You can read some of his most well-known works here: http://simplyhaiku.com/SHv3n2/features/Inahata_Teiko.html
Seven days to make music in response to the assigned haiku: to particiipate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 14th February 2018

Poem by Takahama Kyoshi http://www.masterpiece-of-japanese-culture.com/literatures-and-poems/haiku/takahama-kyoshis-haiku-poems

Picture by Bailey Zindel https://unsplash.com/@baileyzindel]]> 1758383 no no Sat, 10 Feb 2018 20:21:45 +0100 2018-02-10T20:21:45+01:00 05:47 https://hearthis.at/sevenism/grace-notes-disquiet0319/
used a random arpeggio line, looped that
then re-recorded it live while muting at various points

another couple of random arpeggios stretched and blurred . thought about having it more structured so it still has shape without the hidden rhythm but i liked it meandering.
.
https://llllllll.co/t/disquiet-junto-project-0319-duly-noted/
Disquiet Junto Project 0319: Duly Noted
Make a composition with the same melody repeated but with notes appearing and disappearing.

Step 1: You’ll be making a piece of music based on a single short melody. The melody will be played on repeat for the length of the piece. Select a melody. As is often the case with projects that require seed material, it might be helpful to read through the full set of instructions before committing to a melody.

Step 2: Select your short melody.

Step 3: Compose a piece of music in which the melody selected in Step 2 is played on repeat. It should be heard in full at first, and then each subsequent time it plays one note or more than one note should temporarily not be heard.]]>
used a random arpeggio line, looped that
then re-recorded it live while muting at various points

another couple of random arpeggios stretched and blurred . thought about having it more structured so it still has shape without the hidden rhythm but i liked it meandering.
.
https://llllllll.co/t/disquiet-junto-project-0319-duly-noted/
Disquiet Junto Project 0319: Duly Noted
Make a composition with the same melody repeated but with notes appearing and disappearing.

Step 1: You’ll be making a piece of music based on a single short melody. The melody will be played on repeat for the length of the piece. Select a melody. As is often the case with projects that require seed material, it might be helpful to read through the full set of instructions before committing to a melody.

Step 2: Select your short melody.

Step 3: Compose a piece of music in which the melody selected in Step 2 is played on repeat. It should be heard in full at first, and then each subsequent time it plays one note or more than one note should temporarily not be heard.]]> 1758384 no no Sat, 10 Feb 2018 19:02:36 +0100 2018-02-10T19:02:36+01:00 04:35 https://hearthis.at/sevenism/autumn-storm-close-naviarhaiku213/ melodica and a bit of whistling at the end
this turned out well i think
.
"
I couldn’t find any information about Sekito, a Japanese haiku poet active in the 20th Century. The haiku I selected for this week’s challenge was included in the book “Cage of Fireflies“, a collection of modern and traditional haiku curated and translated by prize–winning author and editor Lucien Stryk.

Seven days to make music in response to Sekito’s poem: to particiipate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 7th February 2018

Poem by Sekito http://www.haikuspirit.org/fireflies.html

Picture by adrian https://unsplash.com/@aows

#naviar #haiku #poetry #micropoetry #ambient music #electronic music
"]]> melodica and a bit of whistling at the end
this turned out well i think
.
"
I couldn’t find any information about Sekito, a Japanese haiku poet active in the 20th Century. The haiku I selected for this week’s challenge was included in the book “Cage of Fireflies“, a collection of modern and traditional haiku curated and translated by prize–winning author and editor Lucien Stryk.

Seven days to make music in response to Sekito’s poem: to particiipate visit http://www.naviarrecords.com/about/naviar-haiku



Deadline: 7th February 2018

Poem by Sekito http://www.haikuspirit.org/fireflies.html

Picture by adrian https://unsplash.com/@aows

#naviar #haiku #poetry #micropoetry #ambient music #electronic music
"]]> 1748379 no no Sat, 03 Feb 2018 14:41:54 +0100 2018-02-03T14:41:54+01:00 04:25 https://hearthis.at/sevenism/progress-disquiet0318/
1. melodica tone i just recorded
2. in audacity pitchstretched and delay
3. protoplasm - lfos, different octaves
4. audition - chorus echo convolution reverb of version 2
5. podfarm - guitar amp chorus delay
6. version 2 through podfarm - same as version 5 plus more delay reverb and stereofied

Disquiet Junto Project 0318: Linear Training
https://llllllll.co/t/disquiet-junto-project-0318-linear-training/
Record a piece of music composed of variations on the same held tone.

Step 1: You’ll be making a piece of music based on a single held tone. Before recording that tone, it might help to understand the circumstances under which it will be employed, so read the instructions fully before proceeding.

Step 2: Record the held tone for roughly five to ten seconds.

Step 3: Make variations on that tone by processing it in various ways. The result should yield between roughly five and ten different versions of the original tone from Step 2.]]>
1. melodica tone i just recorded
2. in audacity pitchstretched and delay
3. protoplasm - lfos, different octaves
4. audition - chorus echo convolution reverb of version 2
5. podfarm - guitar amp chorus delay
6. version 2 through podfarm - same as version 5 plus more delay reverb and stereofied

Disquiet Junto Project 0318: Linear Training
https://llllllll.co/t/disquiet-junto-project-0318-linear-training/
Record a piece of music composed of variations on the same held tone.

Step 1: You’ll be making a piece of music based on a single held tone. Before recording that tone, it might help to understand the circumstances under which it will be employed, so read the instructions fully before proceeding.

Step 2: Record the held tone for roughly five to ten seconds.

Step 3: Make variations on that tone by processing it in various ways. The result should yield between roughly five and ten different versions of the original tone from Step 2.]]> 1748380 no no Sat, 03 Feb 2018 13:22:27 +0100 2018-02-03T13:22:27+01:00 02:58 https://hearthis.at/sevenism/moonhaze-down-flow-naviarhaiku212/ night threatens.

.
.
A disciple of Takahama Kyoshi, Seishi promoted an innovative style and subject matter which were rather at odds with his more conservative teacher. Nonetheless Seishi became an influential representative of the Hototogisu School (founded by Kyoshi) and is considered as one of the most important Japanese haiku writers of the twentieth century. A collection of 300 of his works entitled The Essence of Modem Haiku was published by Mangajin Inc in 1933.

Seven days to make music in response to Seishi’s poem: to particiipate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 31st January 2018

Poem by Seishi Yamaguchi https://allpoetry.com/Seishi-Yamaguchi

Picture by Teddy Kelley https://unsplash.com/@teddykelley

#naviar #haiku #micropoetry #Music and Poetry #ambient music]]> night threatens.

.
.
A disciple of Takahama Kyoshi, Seishi promoted an innovative style and subject matter which were rather at odds with his more conservative teacher. Nonetheless Seishi became an influential representative of the Hototogisu School (founded by Kyoshi) and is considered as one of the most important Japanese haiku writers of the twentieth century. A collection of 300 of his works entitled The Essence of Modem Haiku was published by Mangajin Inc in 1933.

Seven days to make music in response to Seishi’s poem: to particiipate visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 31st January 2018

Poem by Seishi Yamaguchi https://allpoetry.com/Seishi-Yamaguchi

Picture by Teddy Kelley https://unsplash.com/@teddykelley

#naviar #haiku #micropoetry #Music and Poetry #ambient music]]> 1746204 no no Wed, 31 Jan 2018 13:49:11 +0100 2018-01-31T13:49:11+01:00 05:17 https://hearthis.at/sevenism/mindless-mzk-7ism-leftrightcentre-mix/
with added djembe]]>
with added djembe]]> 1742458 no no Mon, 29 Jan 2018 22:27:27 +0100 2018-01-29T22:27:27+01:00 15:53 https://hearthis.at/sevenism/disquiet0316-stereo-megamulch/
\\ HE MANIORO ĀTAAHUA — HalF and Manioro [Disquiet0316]
ClaudeLeBelge — Disquiet0316 Second to the right
Disconcert — Ritual Of The Second Chair - w. 337is (disquiet0316)
Forelight — Program 2 (Disquiet0316)
GLSmyth — Six Legged Chair (disquiet0316)
jmmy kpple — Carlos R / kipple sound - appendices [disquiet0316]
k-blamo — JuntoCalif3(disquiet0316)
Larry Frazier — Two Sides disquiet0316
moduS ponY — muddy mind (Disquiet0316)
neurogami — Disquiet0316 - Zweiter Stuhl
Ohm Research — Just Suppose {Disquiet 0316}
otolythe — secondchairbase with encym :: disquiet0316
Robert Knote — A little place (Collaboration with moduS ponY)
samarobryn — The Mutable Truth [disquiet0316]
Synth Avesta — «Empty Aerie II» by Force Damage & Synth Avesta (Disquiet Junto 0316)
tigrinya — Links - Second Chair(disquiet0316)
Total Energy — Viola’s the second (disquiet0316, collab. w/Le Berger)
VGmrmojo — disquiet0316
Vortex Scrape — Disquiet0316 Take Two featuring halF unusuaL
W:I:L-o´the-wisp — W:I:L & zanshin 残真 with Daniel Diaz: One Empty Chair[disquiet0316]]]>
\\ HE MANIORO ĀTAAHUA — HalF and Manioro [Disquiet0316]
ClaudeLeBelge — Disquiet0316 Second to the right
Disconcert — Ritual Of The Second Chair - w. 337is (disquiet0316)
Forelight — Program 2 (Disquiet0316)
GLSmyth — Six Legged Chair (disquiet0316)
jmmy kpple — Carlos R / kipple sound - appendices [disquiet0316]
k-blamo — JuntoCalif3(disquiet0316)
Larry Frazier — Two Sides disquiet0316
moduS ponY — muddy mind (Disquiet0316)
neurogami — Disquiet0316 - Zweiter Stuhl
Ohm Research — Just Suppose {Disquiet 0316}
otolythe — secondchairbase with encym :: disquiet0316
Robert Knote — A little place (Collaboration with moduS ponY)
samarobryn — The Mutable Truth [disquiet0316]
Synth Avesta — «Empty Aerie II» by Force Damage & Synth Avesta (Disquiet Junto 0316)
tigrinya — Links - Second Chair(disquiet0316)
Total Energy — Viola’s the second (disquiet0316, collab. w/Le Berger)
VGmrmojo — disquiet0316
Vortex Scrape — Disquiet0316 Take Two featuring halF unusuaL
W:I:L-o´the-wisp — W:I:L & zanshin 残真 with Daniel Diaz: One Empty Chair[disquiet0316]]]> 1742459 no no Mon, 29 Jan 2018 22:08:53 +0100 2018-01-29T22:08:53+01:00 02:45 https://hearthis.at/sevenism/carlos-r-kipple-sound-sevenism-et-al-lost-appendices-disquiet0317/
i made a pad from all the unused tracks from disquiet 316 (just sticking everything together and playing thru protoplasm, podfarm, ozone imager):

\\ HE MANIORO ĀTAAHUA — HalF and Manioro [Disquiet0316]
ClaudeLeBelge — Disquiet0316 Second to the right
Disconcert — Ritual Of The Second Chair - w. 337is (disquiet0316)
Forelight — Program 2 (Disquiet0316)
GLSmyth — Six Legged Chair (disquiet0316)
jmmy kpple — Carlos R / kipple sound - appendices [disquiet0316]
k-blamo — JuntoCalif3(disquiet0316)
Larry Frazier — Two Sides disquiet0316
moduS ponY — muddy mind (Disquiet0316)
neurogami — Disquiet0316 - Zweiter Stuhl
Ohm Research — Just Suppose {Disquiet 0316}
otolythe — secondchairbase with encym :: disquiet0316
Robert Knote — A little place (Collaboration with moduS ponY)
samarobryn — The Mutable Truth [disquiet0316]
Synth Avesta — «Empty Aerie II» by Force Damage & Synth Avesta (Disquiet Junto 0316)
tigrinya — Links - Second Chair(disquiet0316)
Total Energy — Viola’s the second (disquiet0316, collab. w/Le Berger)
VGmrmojo — disquiet0316
Vortex Scrape — Disquiet0316 Take Two featuring halF unusuaL
W:I:L-o´the-wisp — W:I:L & zanshin 残真 with Daniel Diaz: One Empty Chair[disquiet0316]



.
https://llllllll.co/t/disquiet-junto-project-0317-triadic-awareness/11271
Disquiet Junto Project 0317: Triadic Awareness
The Assignment: Record the third part of a trio, adding to a pre-existing track of two parts.

Step 1: This week’s Disquiet Junto project is the third in a sequence that explores and encourages asynchronous collaboration. This week you will be adding music to a pre-existing track, which you will source from the previous week’s Junto project (disquiet.com/0316). Note that you are finishing a trio — you’re creating the third part of what two previous musicians created. Keep this in mind.

Step 2: The plan is for you to record a short and original piece of music, on any instrumentation of your choice, as a complement to a pre-existing track. First, however, you must select the piece of music to which you will be adding your own music. There are 56 tracks in all to choose from, 54 as part of this playlist:

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0316-el]]>
i made a pad from all the unused tracks from disquiet 316 (just sticking everything together and playing thru protoplasm, podfarm, ozone imager):

\\ HE MANIORO ĀTAAHUA — HalF and Manioro [Disquiet0316]
ClaudeLeBelge — Disquiet0316 Second to the right
Disconcert — Ritual Of The Second Chair - w. 337is (disquiet0316)
Forelight — Program 2 (Disquiet0316)
GLSmyth — Six Legged Chair (disquiet0316)
jmmy kpple — Carlos R / kipple sound - appendices [disquiet0316]
k-blamo — JuntoCalif3(disquiet0316)
Larry Frazier — Two Sides disquiet0316
moduS ponY — muddy mind (Disquiet0316)
neurogami — Disquiet0316 - Zweiter Stuhl
Ohm Research — Just Suppose {Disquiet 0316}
otolythe — secondchairbase with encym :: disquiet0316
Robert Knote — A little place (Collaboration with moduS ponY)
samarobryn — The Mutable Truth [disquiet0316]
Synth Avesta — «Empty Aerie II» by Force Damage & Synth Avesta (Disquiet Junto 0316)
tigrinya — Links - Second Chair(disquiet0316)
Total Energy — Viola’s the second (disquiet0316, collab. w/Le Berger)
VGmrmojo — disquiet0316
Vortex Scrape — Disquiet0316 Take Two featuring halF unusuaL
W:I:L-o´the-wisp — W:I:L & zanshin 残真 with Daniel Diaz: One Empty Chair[disquiet0316]



.
https://llllllll.co/t/disquiet-junto-project-0317-triadic-awareness/11271
Disquiet Junto Project 0317: Triadic Awareness
The Assignment: Record the third part of a trio, adding to a pre-existing track of two parts.

Step 1: This week’s Disquiet Junto project is the third in a sequence that explores and encourages asynchronous collaboration. This week you will be adding music to a pre-existing track, which you will source from the previous week’s Junto project (disquiet.com/0316). Note that you are finishing a trio — you’re creating the third part of what two previous musicians created. Keep this in mind.

Step 2: The plan is for you to record a short and original piece of music, on any instrumentation of your choice, as a complement to a pre-existing track. First, however, you must select the piece of music to which you will be adding your own music. There are 56 tracks in all to choose from, 54 as part of this playlist:

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0316-el]]> 1742460 no no Mon, 29 Jan 2018 22:02:49 +0100 2018-01-29T22:02:49+01:00 02:51 https://hearthis.at/sevenism/ohm-research-sevenism-sinestrer-disquiet0316/ https://soundcloud.com/ohm-research/sinestre-disquiet-0315

initially i thought i'd use mindless m*z*k's track but it wasn't downloadable so rolled the dice. glad i got this track

i used a djembe and had this through a lot of fx. i thought that would sound good with my initial selection but then used it randomly anyway even though i knew it'd be too rhythmic
doesnt quite go but i wander if anything can be done to bring it all together..
..
Disquiet Junto Project 0316: El Segundo
The Assignment: Record the second third of a trio, adding to a pre-existing track.

Step 1: This week’s Disquiet Junto project is the second in a sequence that explores and encourages asynchronous collaboration. This week you will be adding music to a pre-existing track, which you will source from the previous week’s Junto project (disquiet.com/0315). Note that you aren’t creating a duet — you’re creating the second third of what will eventually be a trio. Keep this in mind.

Step 2: The plan is for you to record a short and original piece of music, on any instrumentation of your choice, as a complement to the pre-existing track.]]> https://soundcloud.com/ohm-research/sinestre-disquiet-0315

initially i thought i'd use mindless m*z*k's track but it wasn't downloadable so rolled the dice. glad i got this track

i used a djembe and had this through a lot of fx. i thought that would sound good with my initial selection but then used it randomly anyway even though i knew it'd be too rhythmic
doesnt quite go but i wander if anything can be done to bring it all together..
..
Disquiet Junto Project 0316: El Segundo
The Assignment: Record the second third of a trio, adding to a pre-existing track.

Step 1: This week’s Disquiet Junto project is the second in a sequence that explores and encourages asynchronous collaboration. This week you will be adding music to a pre-existing track, which you will source from the previous week’s Junto project (disquiet.com/0315). Note that you aren’t creating a duet — you’re creating the second third of what will eventually be a trio. Keep this in mind.

Step 2: The plan is for you to record a short and original piece of music, on any instrumentation of your choice, as a complement to the pre-existing track.]]> 1734373 no no Mon, 22 Jan 2018 00:00:38 +0100 2018-01-22T00:00:38+01:00 03:11 https://hearthis.at/sevenism/winter-light-naviarhaiku210/ crisp light particles
hill peaks and troughs
.
iris2/audacity/audition
.
Daughter of Takahama Kyoshi, Tatsuko Hoshino was a haiku poet of the Shōwa period (1926-1989), as well as columnist and haiku selector for the Japanese newspaper Asahi Shimbun. She is also placed as one of the “4 Ts” of Japanese female haiku poets, the other three being Mitsuhashi Takajo, Nakamura Teijo, and Hashimoto Takako.

Seven days to make music in response to the assigned poem: more info at http://www.naviarrecords.com/about/naviar-haiku



Deadline: 17th January 2018

Poem by Tatsuko Hoshino https://wkdhaikutopics.blogspot.co.uk/2009/07/hoshino-tsubaki.html

Picture by Jonathan Knepper https://unsplash.com/@jknepp

#Naviarhaiku #haiku #poetry #micropoetry #ambient music]]> crisp light particles
hill peaks and troughs
.
iris2/audacity/audition
.
Daughter of Takahama Kyoshi, Tatsuko Hoshino was a haiku poet of the Shōwa period (1926-1989), as well as columnist and haiku selector for the Japanese newspaper Asahi Shimbun. She is also placed as one of the “4 Ts” of Japanese female haiku poets, the other three being Mitsuhashi Takajo, Nakamura Teijo, and Hashimoto Takako.

Seven days to make music in response to the assigned poem: more info at http://www.naviarrecords.com/about/naviar-haiku



Deadline: 17th January 2018

Poem by Tatsuko Hoshino https://wkdhaikutopics.blogspot.co.uk/2009/07/hoshino-tsubaki.html

Picture by Jonathan Knepper https://unsplash.com/@jknepp

#Naviarhaiku #haiku #poetry #micropoetry #ambient music]]> 1720867 no no Fri, 12 Jan 2018 17:26:11 +0100 2018-01-12T17:26:11+01:00 04:12 https://hearthis.at/sevenism/polyaroma-l-disquiet0315/ panned hard left
.
https://llllllll.co/t/disquiet-junto-project-0315-first-chair/11022
Disquiet Junto Project 0315: First Chair
Record the first third of a trio.

Step 1: This week’s Junto will be the first in a sequence that explores and encourages asynchronous collaboration. You will be recording something with the understanding that it will remain unfinished for the time being.

Step 2: The plan is for you to record a short and original piece of music, on any instrumentation of your choice. Conceive it as something that leaves room for something else — other instruments, other people — to join in.]]> panned hard left
.
https://llllllll.co/t/disquiet-junto-project-0315-first-chair/11022
Disquiet Junto Project 0315: First Chair
Record the first third of a trio.

Step 1: This week’s Junto will be the first in a sequence that explores and encourages asynchronous collaboration. You will be recording something with the understanding that it will remain unfinished for the time being.

Step 2: The plan is for you to record a short and original piece of music, on any instrumentation of your choice. Conceive it as something that leaves room for something else — other instruments, other people — to join in.]]> 1720868 no no Thu, 11 Jan 2018 23:54:41 +0100 2018-01-11T23:54:41+01:00 03:18 https://hearthis.at/sevenism/warbler-field-naviarhaiku209/ paulstretched pitched down field
/
According to the Buddhist Dictionary, Taigo is remembered for “the depth of his enlightenment that manifested in the spirit of acceptance and equality that he showed to all, from officials to prostitutes. He played with children, composed poetry in praise of nature, was renowned for his calligraphy, lived in extreme simplicity, and showed love for all living things to the extent of placing lice under his robes to keep them warm, allowing thieves to take freely from his possessions, and letting one leg protrude from his mosquito net at night to give the mosquitos food.“

Seven days to make music in response to Taigo’s poem: more info at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 10th January 2018

Poem by Ryōkan Taigu https://terebess.hu/english/haiku/ryokan.html

Picture by Alok Shenoy https://unsplash.com/@koyanloshe

#naviar #haiku #micropoetry #poetry #ambient music #short poem]]> paulstretched pitched down field
/
According to the Buddhist Dictionary, Taigo is remembered for “the depth of his enlightenment that manifested in the spirit of acceptance and equality that he showed to all, from officials to prostitutes. He played with children, composed poetry in praise of nature, was renowned for his calligraphy, lived in extreme simplicity, and showed love for all living things to the extent of placing lice under his robes to keep them warm, allowing thieves to take freely from his possessions, and letting one leg protrude from his mosquito net at night to give the mosquitos food.“

Seven days to make music in response to Taigo’s poem: more info at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 10th January 2018

Poem by Ryōkan Taigu https://terebess.hu/english/haiku/ryokan.html

Picture by Alok Shenoy https://unsplash.com/@koyanloshe

#naviar #haiku #micropoetry #poetry #ambient music #short poem]]> 1713292 no no Sat, 06 Jan 2018 19:56:22 +0100 2018-01-06T19:56:22+01:00 02:08 https://hearthis.at/sevenism/ice2018-disquiet0314/ Disquiet Junto Project 0314: Cold Start
The Assignment: Record the sound of ice in a glass and make something of it.

O

was thinking about how this ice was from the summer and how distant that feels/how the freezer acts as a pause button/reading michael palin travelling between the poles - on a huge ship through ice/

Recorded some ice cubes rattling in a pint glass
denoised sample
improvised in iris 2
pulled into protoplasm with fx: vinyl, 6 string ambience, sine chorus, echo platter, stero delay
paulstretched a little
mastered in audition]]> Disquiet Junto Project 0314: Cold Start
The Assignment: Record the sound of ice in a glass and make something of it.

O

was thinking about how this ice was from the summer and how distant that feels/how the freezer acts as a pause button/reading michael palin travelling between the poles - on a huge ship through ice/

Recorded some ice cubes rattling in a pint glass
denoised sample
improvised in iris 2
pulled into protoplasm with fx: vinyl, 6 string ambience, sine chorus, echo platter, stero delay
paulstretched a little
mastered in audition]]> 1707342 no no Fri, 05 Jan 2018 00:18:54 +0100 2018-01-05T00:18:54+01:00 06:02 https://hearthis.at/sevenism/let-go-walk-away-naviarhaiku208/ .
easier said than done.
/
Seven days to make music in response to Kyoshi’s poem: more info at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 3rd January 2018

Poem by Takahama Kyoshi https://terebess.hu/english/haiku/takahama.html

Picture by Jose Murillo https://unsplash.com/@jcmu]]> .
easier said than done.
/
Seven days to make music in response to Kyoshi’s poem: more info at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 3rd January 2018

Poem by Takahama Kyoshi https://terebess.hu/english/haiku/takahama.html

Picture by Jose Murillo https://unsplash.com/@jcmu]]> 1704727 no no Tue, 02 Jan 2018 19:42:28 +0100 2018-01-02T19:42:28+01:00 05:00 https://hearthis.at/sevenism/maitaita-anla/ get involved: https://www.ambientonline.org/forum/ambient/ao-challenges/83547-one-sample-dare-56
..
was making music when this came through so thought i'd do a quick track!

lots of noise reduction, paulstretched into itself, delay. small tonal part selected.
pulled into iris 2 with chorus delay reverb, improvised
paulstretched again
audition - convolution reverb, guitar fuzz, mastering

deeper bass made from the soft moan (denoised) improvised through protoplasm then paulstretched and reverb. levels adjusted in audacity]]> get involved: https://www.ambientonline.org/forum/ambient/ao-challenges/83547-one-sample-dare-56
..
was making music when this came through so thought i'd do a quick track!

lots of noise reduction, paulstretched into itself, delay. small tonal part selected.
pulled into iris 2 with chorus delay reverb, improvised
paulstretched again
audition - convolution reverb, guitar fuzz, mastering

deeper bass made from the soft moan (denoised) improvised through protoplasm then paulstretched and reverb. levels adjusted in audacity]]> 1704728 no no Tue, 02 Jan 2018 19:25:45 +0100 2018-01-02T19:25:45+01:00 07:12 https://hearthis.at/sevenism/2017-diary-disquiet0313/
1. temporal pulses (https://sevenism.bandcamp.com/album/a-rrus-rros)
2. isointers (https://sevenism.bandcamp.com/album/y-su-masq)
3. after (still during)(https://sevenism.bandcamp.com/album/let-me-be)
4. in aura (https://sevenism.bandcamp.com/album/permute)
5. the clouds they pass slowly (https://sevenism.bandcamp.com/album/red-blues)
6. mitzy.(https://sevenism.bandcamp.com/album/lisalys)
7. is it peace. (https://sevenism.bandcamp.com/album/cusp)
8. shadowed (https://sevenism.bandcamp.com/album/rhiz)
9. saccades (https://sevenism.bandcamp.com/album/saccades)
10. spider flow (https://sevenism.bandcamp.com/album/l-i-f-e-immersion)
11. southwind industries (https://sevenism.bandcamp.com/album/inside)
12. try not to sleep(https://sevenism.bandcamp.com/album/edgewaste)

............
https://llllllll.co/t/disquiet-junto-project-0313-audio-journal-2017/
Disquiet Junto Project 0313: Audio Journal 2017
The Assignment: Create a sonic diary of the past year with a dozen five-second segments.]]>
1. temporal pulses (https://sevenism.bandcamp.com/album/a-rrus-rros)
2. isointers (https://sevenism.bandcamp.com/album/y-su-masq)
3. after (still during)(https://sevenism.bandcamp.com/album/let-me-be)
4. in aura (https://sevenism.bandcamp.com/album/permute)
5. the clouds they pass slowly (https://sevenism.bandcamp.com/album/red-blues)
6. mitzy.(https://sevenism.bandcamp.com/album/lisalys)
7. is it peace. (https://sevenism.bandcamp.com/album/cusp)
8. shadowed (https://sevenism.bandcamp.com/album/rhiz)
9. saccades (https://sevenism.bandcamp.com/album/saccades)
10. spider flow (https://sevenism.bandcamp.com/album/l-i-f-e-immersion)
11. southwind industries (https://sevenism.bandcamp.com/album/inside)
12. try not to sleep(https://sevenism.bandcamp.com/album/edgewaste)

............
https://llllllll.co/t/disquiet-junto-project-0313-audio-journal-2017/
Disquiet Junto Project 0313: Audio Journal 2017
The Assignment: Create a sonic diary of the past year with a dozen five-second segments.]]> 1691458 no no Thu, 28 Dec 2017 21:38:48 +0100 2017-12-28T21:38:48+01:00 02:13 https://hearthis.at/sevenism/mist-tide-naviarhaiku207/ melodica mist
/~

Seven days to make music in response to Issa’s poem: more info at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 27th December 2017

Poem by Kobayashi Issa https://www.poetryfoundation.org/poets/kobayashi-issa

Picture by Dani Aláez https://unsplash.com/@danialaez]]> melodica mist
/~

Seven days to make music in response to Issa’s poem: more info at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 27th December 2017

Poem by Kobayashi Issa https://www.poetryfoundation.org/poets/kobayashi-issa

Picture by Dani Aláez https://unsplash.com/@danialaez]]> 1685172 no no Sun, 24 Dec 2017 11:31:52 +0100 2017-12-24T11:31:52+01:00 03:01 https://hearthis.at/sevenism/ampli-magni-disquiet0312/ amplification i think of sound and magnification, vision.
amplification is increasing a quality of the object whereas magnifcation is spatial - changing the surroundings.

i used a recording of a children's keyboard i had a go on in asda the other day

the track starts off amplifying in the obvious sense - getting louder.. also there's distortion (amplified too much) and reverb (everything getting bigger). more deeply i wanted to get a sense of fullness without detail (chorus/paulstretch)

for the last bit it fades from reverb/paulstretch to the more detailed sound zooming in to the object, claustrophobic, and seeing the flaws - in this case the artefacts from too much noise reduction

.
.
https://llllllll.co/t/disquiet-junto-project-0312-amplify-magnify/
Disquiet Junto Project 0312: Amplify/Magnify
Explore two ways in which sound is scaled.

Step 1: This week’s project will explore the difference between “amplification” and “magnification.” Consider the two words, what they have in common, and what distinguishes them when applied to sound.]]> amplification i think of sound and magnification, vision.
amplification is increasing a quality of the object whereas magnifcation is spatial - changing the surroundings.

i used a recording of a children's keyboard i had a go on in asda the other day

the track starts off amplifying in the obvious sense - getting louder.. also there's distortion (amplified too much) and reverb (everything getting bigger). more deeply i wanted to get a sense of fullness without detail (chorus/paulstretch)

for the last bit it fades from reverb/paulstretch to the more detailed sound zooming in to the object, claustrophobic, and seeing the flaws - in this case the artefacts from too much noise reduction

.
.
https://llllllll.co/t/disquiet-junto-project-0312-amplify-magnify/
Disquiet Junto Project 0312: Amplify/Magnify
Explore two ways in which sound is scaled.

Step 1: This week’s project will explore the difference between “amplification” and “magnification.” Consider the two words, what they have in common, and what distinguishes them when applied to sound.]]> 1685173 no no Sun, 24 Dec 2017 11:20:53 +0100 2017-12-24T11:20:53+01:00 02:12 https://hearthis.at/sevenism/snow-grey-skies-cold-sun-mix-naviarhaiku206/ .

snow stopped
in the voices of children
the sun shines
.

Make music in response to Ozaki’s poem in 7 days: more info at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 20th December 2017

Poem by Ozaki Hōsai https://en.wikipedia.org/wiki/Ozaki_H%C5%8Dsai

Picture by Kalle Kortelainen https://unsplash.com/@kallek]]> .

snow stopped
in the voices of children
the sun shines
.

Make music in response to Ozaki’s poem in 7 days: more info at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 20th December 2017

Poem by Ozaki Hōsai https://en.wikipedia.org/wiki/Ozaki_H%C5%8Dsai

Picture by Kalle Kortelainen https://unsplash.com/@kallek]]> 1676463 no no Sun, 17 Dec 2017 22:40:22 +0100 2017-12-17T22:40:22+01:00 05:00 https://hearthis.at/sevenism/song-of-ceramics-disquiet0311/
i'm not sure how to explain that clearly

cello/bass clarinet/viola/violin samples. guitar fx, chorus, reverb.
mastered for hi freq ceramic sounds
{} {}{} {}

Disquiet Junto Project 0311: Ceramic Notation
Read a work of ceramics as a score in graphic notation.
https://llllllll.co/t/disquiet-junto-project-0311-ceramic-notation/10612

Major thanks to Grant Wilkinson for instigating this week’s project.

Step 1: This week’s Junto project is our first graphic score in a while. The idea of a graphic score in this case is to read an image as piece of musical notation. Here, the graphic score is a photo of a sculpture, the sculpture a ceramic wall installation by Steven Geddes, who is based in London.

Step 2: To begin with, look at this photo of a piece by Geddes that is titled Notations:

https://www.instagram.com/p/BcfUGjvhemn/]]>
i'm not sure how to explain that clearly

cello/bass clarinet/viola/violin samples. guitar fx, chorus, reverb.
mastered for hi freq ceramic sounds
{} {}{} {}

Disquiet Junto Project 0311: Ceramic Notation
Read a work of ceramics as a score in graphic notation.
https://llllllll.co/t/disquiet-junto-project-0311-ceramic-notation/10612

Major thanks to Grant Wilkinson for instigating this week’s project.

Step 1: This week’s Junto project is our first graphic score in a while. The idea of a graphic score in this case is to read an image as piece of musical notation. Here, the graphic score is a photo of a sculpture, the sculpture a ceramic wall installation by Steven Geddes, who is based in London.

Step 2: To begin with, look at this photo of a piece by Geddes that is titled Notations:

https://www.instagram.com/p/BcfUGjvhemn/]]> 1676465 no no Sun, 17 Dec 2017 12:46:20 +0100 2017-12-17T12:46:20+01:00 04:57 https://hearthis.at/sevenism/shrapnel-naviarhaiku205/
then cyclic echo delay of birds from my garden

tree grove drone in iris2 faded in
.

ake music in response to Sabiron’s poem in 7 days: more info at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 13th December 2017

Poem by Georges Sabiron https://www.thehaikufoundation.org/juxta/juxta-2-1/snapshots-haiku-in-the-great-war/

Picture by Ian Keefe https://unsplash.com/@iankeefe]]>
then cyclic echo delay of birds from my garden

tree grove drone in iris2 faded in
.

ake music in response to Sabiron’s poem in 7 days: more info at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 13th December 2017

Poem by Georges Sabiron https://www.thehaikufoundation.org/juxta/juxta-2-1/snapshots-haiku-in-the-great-war/

Picture by Ian Keefe https://unsplash.com/@iankeefe]]> 1667017 no no Sun, 10 Dec 2017 14:37:44 +0100 2017-12-10T14:37:44+01:00 03:35 https://hearthis.at/sevenism/half-heard-whispered-disquiet0310/
playing back the recording it seemed less than what i'd perceived in the initial surprise. the first half of the track represents the hiddeness of the sound (iris 2, paulstretch). the second half represents the more subjective tuneful nature (protoplasm, podfarm fx)

re-creation has that subjective element even when the source material is a sample of occurence.

Disquiet Junto Project 0310: From Memory
Recall — and then recreate — a favorite sound.
https://llllllll.co/t/disquiet-junto-project-0310-from-memory/]]>
playing back the recording it seemed less than what i'd perceived in the initial surprise. the first half of the track represents the hiddeness of the sound (iris 2, paulstretch). the second half represents the more subjective tuneful nature (protoplasm, podfarm fx)

re-creation has that subjective element even when the source material is a sample of occurence.

Disquiet Junto Project 0310: From Memory
Recall — and then recreate — a favorite sound.
https://llllllll.co/t/disquiet-junto-project-0310-from-memory/]]> 1665105 no no Fri, 08 Dec 2017 21:20:35 +0100 2017-12-08T21:20:35+01:00 05:11 https://hearthis.at/sevenism/nderr/
track made only with this sample:
https://soundcloud.com/lotka_volterra/ao-osd55-sample

1. sample played with through iris 2 demo
2. aggressive noise reduction to leave tonal elements
3. track 2 improvised in iris 2
4. levels adjusted and mastered in audition]]>
track made only with this sample:
https://soundcloud.com/lotka_volterra/ao-osd55-sample

1. sample played with through iris 2 demo
2. aggressive noise reduction to leave tonal elements
3. track 2 improvised in iris 2
4. levels adjusted and mastered in audition]]> 1660229 no no Mon, 04 Dec 2017 13:48:26 +0100 2017-12-04T13:48:26+01:00 05:02 https://hearthis.at/sevenism/signal-to-noise-disquiet0309-/ focus, clarity --> power, bass, noise
harmonica sample and guitar fx

.
Disquiet Junto Project 0309: Military Matrix Mixer
Mix music according to a military standard for relative message clarity.

Step 1: Familiarize yourself with the concept of “five by five,” in which five “readability” levels and five “signal strength” levels are aligned in a matrix. Messages are rated from 1 to 5 in readability (unreadable, readable now and then, readable but with difficulty, readable, perfectly readable) and from 1 to 5 in signal strength (scarcely perceptible, weak, fairly good, good, very good).]]> focus, clarity --> power, bass, noise
harmonica sample and guitar fx

.
Disquiet Junto Project 0309: Military Matrix Mixer
Mix music according to a military standard for relative message clarity.

Step 1: Familiarize yourself with the concept of “five by five,” in which five “readability” levels and five “signal strength” levels are aligned in a matrix. Messages are rated from 1 to 5 in readability (unreadable, readable now and then, readable but with difficulty, readable, perfectly readable) and from 1 to 5 in signal strength (scarcely perceptible, weak, fairly good, good, very good).]]> power, bass, noise harmonica sample and guitar fx . Disquiet Junto Project 0309: Military Matrix Mixer Mix music according to a military standard for relative message clarity. Step 1: Familiarize yourself with the concept of “five by five,” in which five “readability” levels and five “signal strength” levels are aligned in a matrix. Messages are rated from 1 to 5 in readability (unreadable, readable now and then, readable but with difficulty, readable, perfectly readable) and from 1 to 5 in signal strength (scarcely perceptible, weak, fairly good, good, very good).]]> 1656130 no no Fri, 01 Dec 2017 13:59:21 +0100 2017-12-01T13:59:21+01:00 03:06 https://hearthis.at/sevenism/syndicated-love-naviarhaiku204/ ..
the pear blossoming…
after the battle this
ruined house

(nashi saku ya
ikusa no ato no
kuzure ie)

Shiki is at the same time the last of the Great Masters of Haiku and the first poet of modern haiku. He was the first to use the word “haiku”, therefore separating it once and for all from the renga: before then, the “hokku” was simply the opening stanza of this Japanese collaborative linked poem.

Shiki was seriously ill with spinal tuberculosis for most of his life: this had a strong impact on his works as much of his poetry concerns the minutiae of sick-room life.

During his time in China as a war correspondent, Shiki wrote a battlefield haiku, which we’ll use this week for our music challenge.

Make music in response to Shiki’s poem in 7 days: more info at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 6th December 2017

Poem by Masaoka Shiki https://en.wikipedia.org/wiki/Masaoka_Shiki

Picture by Elias Schupmann https://unsplash.com/@2epg2]]> ..
the pear blossoming…
after the battle this
ruined house

(nashi saku ya
ikusa no ato no
kuzure ie)

Shiki is at the same time the last of the Great Masters of Haiku and the first poet of modern haiku. He was the first to use the word “haiku”, therefore separating it once and for all from the renga: before then, the “hokku” was simply the opening stanza of this Japanese collaborative linked poem.

Shiki was seriously ill with spinal tuberculosis for most of his life: this had a strong impact on his works as much of his poetry concerns the minutiae of sick-room life.

During his time in China as a war correspondent, Shiki wrote a battlefield haiku, which we’ll use this week for our music challenge.

Make music in response to Shiki’s poem in 7 days: more info at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 6th December 2017

Poem by Masaoka Shiki https://en.wikipedia.org/wiki/Masaoka_Shiki

Picture by Elias Schupmann https://unsplash.com/@2epg2]]> 1654066 no no Thu, 30 Nov 2017 14:32:56 +0100 2017-11-30T14:32:56+01:00 04:49 https://hearthis.at/sevenism/gratitude-for-k-disquiet0308/ for putting up with my stress rage and snapping

melodica and ukelele samples
.

Disquiet Junto Project 0308: Giving Thanks
Write a short piece of music for a person or thing you're thankful for.
https://llllllll.co/t/disquiet-junto-project-0308-giving-thanks/]]> for putting up with my stress rage and snapping

melodica and ukelele samples
.

Disquiet Junto Project 0308: Giving Thanks
Write a short piece of music for a person or thing you're thankful for.
https://llllllll.co/t/disquiet-junto-project-0308-giving-thanks/]]> 1649880 no no Sun, 26 Nov 2017 13:09:56 +0100 2017-11-26T13:09:56+01:00 03:21 https://hearthis.at/sevenism/swaying-tree-beating-wings-naviarhaiku203/
heron oscillating into focus
.

Shuson Kato was, together with Ishida Hakyo and Nakamura Kusatao, a member of the “Human Exploration School”, identified in the popular mind as poets who explored ‘how human beings should live’.

Initially Kato despised haiku and was more interested in the 31-syllable tanka. However, while working in a high school he met a famous haiku poet, Shuoshi Mizuhara, who became his lifelong teacher.

Seven days to make music inspired by Kato’s poem. Find out more and participate at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 29th November 2017

Poem by Shuson Kato http://www.independent.co.uk/news/people/obituary-shuson-kato-1483946.html

Picture by Fabrizio Conti https://unsplash.com/@staticlaw]]>
heron oscillating into focus
.

Shuson Kato was, together with Ishida Hakyo and Nakamura Kusatao, a member of the “Human Exploration School”, identified in the popular mind as poets who explored ‘how human beings should live’.

Initially Kato despised haiku and was more interested in the 31-syllable tanka. However, while working in a high school he met a famous haiku poet, Shuoshi Mizuhara, who became his lifelong teacher.

Seven days to make music inspired by Kato’s poem. Find out more and participate at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 29th November 2017

Poem by Shuson Kato http://www.independent.co.uk/news/people/obituary-shuson-kato-1483946.html

Picture by Fabrizio Conti https://unsplash.com/@staticlaw]]> 1649881 no no Sun, 26 Nov 2017 12:15:14 +0100 2017-11-26T12:15:14+01:00 10:16 https://hearthis.at/sevenism/instant-infinity-disquiet0307/ then paulstretched it til it sounded intentional.
ignored the black white stuff; that didnt appeal to me at all.

that's pretty much an amplification of how i work anyway. i think experimental stuff is quite close to the spirit of punk, of doing something different, subversive, reactionary but without the desperate need to be cool or (ironically) that thatcherite individualism
also there's that element of feeling free and in the moment, and of course not bothering to learn any instruments, that appeals to me.
..............................................................................
https://llllllll.co/t/disquiet-junto-project-0307-black-and-white-and-punk-all-over/
Step 1: Think about what “punk” means to you. The word has mutated over time, and can embody something as specific as instrumentation and recording, and as broad as a spirit, an approach, a philosophy. It’s both a source of inspiration and a nexus of conflicted debate. Keep your sense of punk in mind as you follow the remaining steps.]]> then paulstretched it til it sounded intentional.
ignored the black white stuff; that didnt appeal to me at all.

that's pretty much an amplification of how i work anyway. i think experimental stuff is quite close to the spirit of punk, of doing something different, subversive, reactionary but without the desperate need to be cool or (ironically) that thatcherite individualism
also there's that element of feeling free and in the moment, and of course not bothering to learn any instruments, that appeals to me.
..............................................................................
https://llllllll.co/t/disquiet-junto-project-0307-black-and-white-and-punk-all-over/
Step 1: Think about what “punk” means to you. The word has mutated over time, and can embody something as specific as instrumentation and recording, and as broad as a spirit, an approach, a philosophy. It’s both a source of inspiration and a nexus of conflicted debate. Keep your sense of punk in mind as you follow the remaining steps.]]> 1636278 no no Fri, 17 Nov 2017 13:59:15 +0100 2017-11-17T13:59:15+01:00 05:01 https://hearthis.at/sevenism/wind-alone-naviarhaiku202/
duplicated a layer and blurred it into itself with paulstretch and delay.

stereo echo and mastering in audition

i tried to find a word for sea wind but couldnt find any middle ground between sea-breeze and typhoon

~
Seven days to make music inspired by Santoka’s poem. Find out more and participate at http://www.naviarrecords.com/about/naviar-haiku]]>
duplicated a layer and blurred it into itself with paulstretch and delay.

stereo echo and mastering in audition

i tried to find a word for sea wind but couldnt find any middle ground between sea-breeze and typhoon

~
Seven days to make music inspired by Santoka’s poem. Find out more and participate at http://www.naviarrecords.com/about/naviar-haiku]]> 1636279 no no Fri, 17 Nov 2017 13:04:41 +0100 2017-11-17T13:04:41+01:00 04:00 https://hearthis.at/sevenism/walk-disquiet0306/ quite an effort getting anywhere
this is my journey upstairs!

i recorded the walk on my phone .
i had my fave phone synth running (kosmische) - slow tooth-drilly patch
must admit i did a little in post. when i record on my phone anything emanating from the phone only gets recorded in the left channel. so in audacity i stereofied it with haas.

/
Disquiet Junto Project 0306: Music in Motion
Record a piece of music while en route somewhere
https://llllllll.co/t/disquiet-junto-project-0306-music-in-motion/

Step 1: You’ll be making a piece of music while en route somewhere. Consider what instrument(s) and recording equipment you can easily carry.

Step 2: Plot a short trip — maybe a bus or train ride, maybe you’re in the back seat while someone else drives, maybe you’re driving and you record yourself singing.

Step 3: Compose and record a short piece of music with the equipment from Step 1 while on the route you decided upon in Step 2. Only use that equipment, and finish the piece while you’re still on the road.]]> quite an effort getting anywhere
this is my journey upstairs!

i recorded the walk on my phone .
i had my fave phone synth running (kosmische) - slow tooth-drilly patch
must admit i did a little in post. when i record on my phone anything emanating from the phone only gets recorded in the left channel. so in audacity i stereofied it with haas.

/
Disquiet Junto Project 0306: Music in Motion
Record a piece of music while en route somewhere
https://llllllll.co/t/disquiet-junto-project-0306-music-in-motion/

Step 1: You’ll be making a piece of music while en route somewhere. Consider what instrument(s) and recording equipment you can easily carry.

Step 2: Plot a short trip — maybe a bus or train ride, maybe you’re in the back seat while someone else drives, maybe you’re driving and you record yourself singing.

Step 3: Compose and record a short piece of music with the equipment from Step 1 while on the route you decided upon in Step 2. Only use that equipment, and finish the piece while you’re still on the road.]]> 1627654 no no Sat, 11 Nov 2017 14:41:54 +0100 2017-11-11T14:41:54+01:00 01:34 https://hearthis.at/sevenism/lulle/ 1/ sample run through proroplasm 3 octaves
2/ sample thru protoplasm, podfarm (echoes, delay), ambience .1, 6string ambience
3/ portions of track 2 improvised thru protoplasm
4/ portion of track 2 run thru the mangle - pitch played with in minor key, paulstretched x2.
5/ track 2 played thru iris2 for the ambient bit at the end
6/ mastered in audition]]> 1/ sample run through proroplasm 3 octaves
2/ sample thru protoplasm, podfarm (echoes, delay), ambience .1, 6string ambience
3/ portions of track 2 improvised thru protoplasm
4/ portion of track 2 run thru the mangle - pitch played with in minor key, paulstretched x2.
5/ track 2 played thru iris2 for the ambient bit at the end
6/ mastered in audition]]> 1627614 no no Sat, 11 Nov 2017 14:06:49 +0100 2017-11-11T14:06:49+01:00 03:31 https://hearthis.at/sevenism/motionlessness-naviarhaiku201/
.
in the calm stillness
after the rainstorm:
flies.
.
Seven days to make music inspired by Santoka’s poem: more info at: http://www.naviarrecords.com/about/naviar-haiku

Deadline: 15th November 2017

Poem by Taneda Santōka https://terebess.hu/english/haiku/taneda.html

Picture by Micah Hallahan https://unsplash.com/@micah_hallahan]]>
.
in the calm stillness
after the rainstorm:
flies.
.
Seven days to make music inspired by Santoka’s poem: more info at: http://www.naviarrecords.com/about/naviar-haiku

Deadline: 15th November 2017

Poem by Taneda Santōka https://terebess.hu/english/haiku/taneda.html

Picture by Micah Hallahan https://unsplash.com/@micah_hallahan]]> 1627615 no no Fri, 10 Nov 2017 19:45:21 +0100 2017-11-10T19:45:21+01:00 05:09 https://hearthis.at/sevenism/and-drive-and-naviarhaiku200/
this is a sound i've used a lot for naviar: rolling, detuned, resynthesized melodica. i wouldnt have developed the sound without this project.

just keep going
----------------------------------------------------

Seven days to make music inspired by Meg’s poem: more info at: http://www.naviarrecords.com/about/naviar-haiku

Deadline: 8th November 2017

Haiku by Haiku Lizard http://haikulizard.tumblr.com

Picture by A. L. https://unsplash.com/@overdriv3]]>
this is a sound i've used a lot for naviar: rolling, detuned, resynthesized melodica. i wouldnt have developed the sound without this project.

just keep going
----------------------------------------------------

Seven days to make music inspired by Meg’s poem: more info at: http://www.naviarrecords.com/about/naviar-haiku

Deadline: 8th November 2017

Haiku by Haiku Lizard http://haikulizard.tumblr.com

Picture by A. L. https://unsplash.com/@overdriv3]]> 1618093 no no Sat, 04 Nov 2017 22:18:43 +0100 2017-11-04T22:18:43+01:00 07:07 https://hearthis.at/sevenism/komala-poson-disquiet0305/ -pulled them into audacity and saved a section from each of ~2.5, 5, and 6 seconds long - again i didnt listen to these samples
-looped in protoplasm with automation on various echo reverb fx
-first i heard was when i hit play and record. cleaned up with a bit of mastering in audition!

...
Disquiet Junto Project 0305: Three Princes
Explore chance by exploring the roots of the word “serendipity.”
https://llllllll.co/t/disquiet-junto-project-0305-three-princes/

Step 1: The word “serendipity” has an interesting origin. Its coinage is credited to Horace Walpole, who apparently made it up based on a Persian fairy tale, “The Three Princes of Serendip.” In turn, “Serendip” is itself a Persian word for another place entirely, Sri Lanka, or Ceylon. To explore the nature of serendipity, we’re going to apply randomness to samples of Ceylonese music.

Step 2: Choose three tracks — one for each prince in the fairy tale — from this collection of music from Ceylon:

https://goo.gl/szUFd2

Photo associated with this project is a stereo image of a Ceylon sunset, courtesy of the Tekniska museet account on Flickr, thanks to a Creative commons license:

flic.kr/p/emto4p]]> -pulled them into audacity and saved a section from each of ~2.5, 5, and 6 seconds long - again i didnt listen to these samples
-looped in protoplasm with automation on various echo reverb fx
-first i heard was when i hit play and record. cleaned up with a bit of mastering in audition!

...
Disquiet Junto Project 0305: Three Princes
Explore chance by exploring the roots of the word “serendipity.”
https://llllllll.co/t/disquiet-junto-project-0305-three-princes/

Step 1: The word “serendipity” has an interesting origin. Its coinage is credited to Horace Walpole, who apparently made it up based on a Persian fairy tale, “The Three Princes of Serendip.” In turn, “Serendip” is itself a Persian word for another place entirely, Sri Lanka, or Ceylon. To explore the nature of serendipity, we’re going to apply randomness to samples of Ceylonese music.

Step 2: Choose three tracks — one for each prince in the fairy tale — from this collection of music from Ceylon:

https://goo.gl/szUFd2

Photo associated with this project is a stereo image of a Ceylon sunset, courtesy of the Tekniska museet account on Flickr, thanks to a Creative commons license:

flic.kr/p/emto4p]]> 1616622 no no Fri, 03 Nov 2017 19:08:28 +0100 2017-11-03T19:08:28+01:00 03:27 https://hearthis.at/sevenism/glenn-sogge-sevenism-house-of-a-thousand-tales/
this is a remix/collab of https://soundcloud.com/glenn-sogge/collab-opp-house-of-a-thousand-tales]]>
this is a remix/collab of https://soundcloud.com/glenn-sogge/collab-opp-house-of-a-thousand-tales]]> 1610306 no no Mon, 30 Oct 2017 13:35:03 +0100 2017-10-30T13:35:03+01:00 20:41 https://hearthis.at/sevenism/ruche-populaire-disquiet0304/ i didnt know that hives referred to manmade structures - bees make nests.

i thought about honeycomb structure before on this album: https://sevenism.bandcamp.com/album/heavy-air

here, i wanted to tessellate hexagons of notes (but all that means is i played 2 notes at 3 simultaneous octaves). i used a sample of bees inside a hive (https://freesound.org/people/pillonoise/sounds/353199/) and tried to make it musical with lots of fx.

⬡⬡⬡⬡⬡⬡

https://llllllll.co/t/disquiet-junto-project-0304-lets-buzz/
Disquiet Junto Project 0304: Let’s Buzz
Create a piece of music by thinking of the structure of a bee hive.

Step 1: Consider the bee hive. Think about its structure, the activity it contains, how the hive lends form to that activity and how the activity contributes to the hive’s form.

Step 2: Create a piece of music that is based on the structure of the bee hive.]]> i didnt know that hives referred to manmade structures - bees make nests.

i thought about honeycomb structure before on this album: https://sevenism.bandcamp.com/album/heavy-air

here, i wanted to tessellate hexagons of notes (but all that means is i played 2 notes at 3 simultaneous octaves). i used a sample of bees inside a hive (https://freesound.org/people/pillonoise/sounds/353199/) and tried to make it musical with lots of fx.

⬡⬡⬡⬡⬡⬡

https://llllllll.co/t/disquiet-junto-project-0304-lets-buzz/
Disquiet Junto Project 0304: Let’s Buzz
Create a piece of music by thinking of the structure of a bee hive.

Step 1: Consider the bee hive. Think about its structure, the activity it contains, how the hive lends form to that activity and how the activity contributes to the hive’s form.

Step 2: Create a piece of music that is based on the structure of the bee hive.]]> 1607288 no no Fri, 27 Oct 2017 18:52:51 +0200 2017-10-27T18:52:51+02:00 03:14 https://hearthis.at/sevenism/sazanka-naviarhaiku199/ vocal howls/fx

podfarm//audacity//live//audition

.
Reginald Horace Blyth is mostly known for his work as a populariser of Japanese culture outside Japan: many contemporary Western writers of haiku were introduced to the genre thanks his series of work on Zen, haiku & senryu poetry. Only two of Blyth’s own haiku are actually known, and today’s assignment is one of them.

Seven days to make music in response to Blyth’s haiku: to find out more and participate, visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 1st November 2017

Haiku by Reginald Horace Blyth http://www.gardendigest.com/zen/blyth.htm

Picture by Josh Calabrese https://unsplash.com/@jaycalabresephotography]]> vocal howls/fx

podfarm//audacity//live//audition

.
Reginald Horace Blyth is mostly known for his work as a populariser of Japanese culture outside Japan: many contemporary Western writers of haiku were introduced to the genre thanks his series of work on Zen, haiku & senryu poetry. Only two of Blyth’s own haiku are actually known, and today’s assignment is one of them.

Seven days to make music in response to Blyth’s haiku: to find out more and participate, visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 1st November 2017

Haiku by Reginald Horace Blyth http://www.gardendigest.com/zen/blyth.htm

Picture by Josh Calabrese https://unsplash.com/@jaycalabresephotography]]> 1607289 no no Thu, 26 Oct 2017 22:52:49 +0200 2017-10-26T22:52:49+02:00 04:54 https://hearthis.at/sevenism/antivernal-naviarhaiku198/ .
autumn wind -
a figure
standing alone
.
Ryōkan Taigu was a Japanese poet and calligrapher who lived during the Edo period. A Buddhist monk who lived much of his life as a hermit, he spent most of his time writing poetry, calligraphy, and communing with nature. His poetry is often very simple and inspired by nature.

Seven days to make music in response to Ryōkan’s haiku: to find out more and participate, visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 25th October 2017

Haiku by Ryōkan Taigu https://artofwonder.org/2014/11/14/forgetting-the-moon-the-poetry-of-ryokan/

Picture by Tom Sodoge https://unsplash.com/@tomsdg]]> .
autumn wind -
a figure
standing alone
.
Ryōkan Taigu was a Japanese poet and calligrapher who lived during the Edo period. A Buddhist monk who lived much of his life as a hermit, he spent most of his time writing poetry, calligraphy, and communing with nature. His poetry is often very simple and inspired by nature.

Seven days to make music in response to Ryōkan’s haiku: to find out more and participate, visit http://www.naviarrecords.com/about/naviar-haiku

Deadline: 25th October 2017

Haiku by Ryōkan Taigu https://artofwonder.org/2014/11/14/forgetting-the-moon-the-poetry-of-ryokan/

Picture by Tom Sodoge https://unsplash.com/@tomsdg]]> 1601284 no no Tue, 24 Oct 2017 15:44:13 +0200 2017-10-24T15:44:13+02:00 13:14 https://hearthis.at/sevenism/fallout-disquiet0303/ Pay tribute to the Roland 303 by doing something that is apart from how you think it was intended to be utilized.
https://llllllll.co/t/disquiet-junto-project-0303-out-of-sequence/9724
.
messed around with the 303 emulator at 350bpm and 100,000bpm and managed to crash the browser. not before recording some nonsense tho. had this running thru protoplasm, sine chorus, echo platter and ozone imager. as echo platter makes it more formless imager should have increased the stereo width. mastered in audition.]]> Pay tribute to the Roland 303 by doing something that is apart from how you think it was intended to be utilized.
https://llllllll.co/t/disquiet-junto-project-0303-out-of-sequence/9724
.
messed around with the 303 emulator at 350bpm and 100,000bpm and managed to crash the browser. not before recording some nonsense tho. had this running thru protoplasm, sine chorus, echo platter and ozone imager. as echo platter makes it more formless imager should have increased the stereo width. mastered in audition.]]> 1595945 no no Fri, 20 Oct 2017 17:44:30 +0200 2017-10-20T17:44:30+02:00 07:31 https://hearthis.at/sevenism/nightfall-disquiet0302/
found an old solo piano track put through the mangle and guitar fx.. detuned and lots of delays.
/
Disquiet Junto Project 0302: Gronkytonk
Record a single in the genre introduced in Malka Older’s novel Infomacracy.
https://llllllll.co/t/disquiet-junto-project-0302-gronkytonk/]]>
found an old solo piano track put through the mangle and guitar fx.. detuned and lots of delays.
/
Disquiet Junto Project 0302: Gronkytonk
Record a single in the genre introduced in Malka Older’s novel Infomacracy.
https://llllllll.co/t/disquiet-junto-project-0302-gronkytonk/]]> 1585209 no no Thu, 12 Oct 2017 23:58:39 +0200 2017-10-12T23:58:39+02:00 05:57 https://hearthis.at/sevenism/cyclic-waves-naviarhaiku196/ ~
the waves charge and crash,
then they return, again and
again -- and again
~
http://naviarlab.tumblr.com/post/166038381858/naviarhaiku196-the-waves-charge-and-crash]]> ~
the waves charge and crash,
then they return, again and
again -- and again
~
http://naviarlab.tumblr.com/post/166038381858/naviarhaiku196-the-waves-charge-and-crash]]> 1579758 no no Wed, 11 Oct 2017 14:46:23 +0200 2017-10-11T14:46:23+02:00 02:48 https://hearthis.at/sevenism/l-i-f-e-immersion-/ https://sevenism.bandcamp.com/album/l-i-f-e-immersion

My albums from the last year have been leading up to this. I've been wanting to do a mix that encompasses a lot of different styles all melded together..at the same time I've been working improvised, one take, as much as possible. Got the balance ok.. It was only the jungle track that was lots of fiddly samples. The rest was recorded as it was made.

The inspiration was from a free CD from eternity magazine in the mid 90s. Life: innovation by Jack Smooth (https://www.mixcloud.com/matt-preston2/eternity-magazine-life-innovation-free-cd-march-1996-ambient-house-drum-bass-techo-mix/). Rave had got popular; but it had all got segregated you couldn't like house if you liked jungle. You didn't like ambient and gabba. But this mix had everything all mixed seamlessly.. And all made by just one guy.

My plan was to be a bit more diverse, to have some more blues soul hip-hop stuff but then I haven't been making much like that recently. I let it flow as it wanted, most tracks were done one afternoon, and it came out pretty ambient.

There's quite a range of styles though. It starts at experimental drone then to weird classical / noise, then there's an acoustic section flowing into pulsing hypnotic electroacoustic > rhythmic electronic > ambient techno > jungle (with samples from previous tracks), a dub version then bassy ambient and an ambient fade out.

tracklist:

0.00 a_౩rdo
0.34 chorus for robot voice
1.14 early
2.08 SLOW RECOVERY
9.09 tisle oe
14.07 ⓣ③⓪⓪ⓢ
21.47 disquiet300
23.26 twelve string web
26.57 left open
30.48 fortando glissimo
38.28 arcoda.
39.32 oh.iograin
46.03 .☮.
50.16 antitaverna
53.20 spider flow
57.20 spider dub
60.53 teale sep
63.45 bark cover fade

i've put the full unmixed tracks in as bonus tracks too: some of these are quite a bit longer.]]> https://sevenism.bandcamp.com/album/l-i-f-e-immersion

My albums from the last year have been leading up to this. I've been wanting to do a mix that encompasses a lot of different styles all melded together..at the same time I've been working improvised, one take, as much as possible. Got the balance ok.. It was only the jungle track that was lots of fiddly samples. The rest was recorded as it was made.

The inspiration was from a free CD from eternity magazine in the mid 90s. Life: innovation by Jack Smooth (https://www.mixcloud.com/matt-preston2/eternity-magazine-life-innovation-free-cd-march-1996-ambient-house-drum-bass-techo-mix/). Rave had got popular; but it had all got segregated you couldn't like house if you liked jungle. You didn't like ambient and gabba. But this mix had everything all mixed seamlessly.. And all made by just one guy.

My plan was to be a bit more diverse, to have some more blues soul hip-hop stuff but then I haven't been making much like that recently. I let it flow as it wanted, most tracks were done one afternoon, and it came out pretty ambient.

There's quite a range of styles though. It starts at experimental drone then to weird classical / noise, then there's an acoustic section flowing into pulsing hypnotic electroacoustic > rhythmic electronic > ambient techno > jungle (with samples from previous tracks), a dub version then bassy ambient and an ambient fade out.

tracklist:

0.00 a_౩rdo
0.34 chorus for robot voice
1.14 early
2.08 SLOW RECOVERY
9.09 tisle oe
14.07 ⓣ③⓪⓪ⓢ
21.47 disquiet300
23.26 twelve string web
26.57 left open
30.48 fortando glissimo
38.28 arcoda.
39.32 oh.iograin
46.03 .☮.
50.16 antitaverna
53.20 spider flow
57.20 spider dub
60.53 teale sep
63.45 bark cover fade

i've put the full unmixed tracks in as bonus tracks too: some of these are quite a bit longer.]]> rhythmic electronic > ambient techno > jungle (with samples from previous tracks), a dub version then bassy ambient and an ambient fade out. tracklist: 0.00 a_౩rdo 0.34 chorus for robot voice 1.14 early 2.08 SLOW RECOVERY 9.09 tisle oe 14.07 ⓣ③⓪⓪ⓢ 21.47 disquiet300 23.26 twelve string web 26.57 left open 30.48 fortando glissimo 38.28 arcoda. 39.32 oh.iograin 46.03 .☮. 50.16 antitaverna 53.20 spider flow 57.20 spider dub 60.53 teale sep 63.45 bark cover fade i've put the full unmixed tracks in as bonus tracks too: some of these are quite a bit longer.]]> 1578614 no no Tue, 10 Oct 2017 20:03:59 +0200 2017-10-10T20:03:59+02:00 1:06:14 https://hearthis.at/sevenism/lee-rosevere-sevenism-meiaions-disquiet0301/
i think anything can be meditation music. it's about being present where you are, listening without judgment. it's not about the music putting you in a peaceful state - the peace is emergent, intrinsic.

(that's my excuse for this being a difficult listen)

,,,,,,,,,,
Disquiet Junto Project 0301: Parts > Sum
Artfully reduce an album to something less than itself.
https://llllllll.co/t/disquiet-junto-project-0301-parts-sum/9526

Step 1: Download the album 5 Minute Meditations by Lee Rosevere. It’s available here from the record label Happy Puppy Records:

https://goo.gl/Wn5t1r]]>
i think anything can be meditation music. it's about being present where you are, listening without judgment. it's not about the music putting you in a peaceful state - the peace is emergent, intrinsic.

(that's my excuse for this being a difficult listen)

,,,,,,,,,,
Disquiet Junto Project 0301: Parts > Sum
Artfully reduce an album to something less than itself.
https://llllllll.co/t/disquiet-junto-project-0301-parts-sum/9526

Step 1: Download the album 5 Minute Meditations by Lee Rosevere. It’s available here from the record label Happy Puppy Records:

https://goo.gl/Wn5t1r]]> Sum Artfully reduce an album to something less than itself. https://llllllll.co/t/disquiet-junto-project-0301-parts-sum/9526 Step 1: Download the album 5 Minute Meditations by Lee Rosevere. It’s available here from the record label Happy Puppy Records: https://goo.gl/Wn5t1r]]> 1576743 no no Sun, 08 Oct 2017 13:45:03 +0200 2017-10-08T13:45:03+02:00 07:00 https://hearthis.at/sevenism/slow-recovery-naviarhaiku195-/
used a bach piece : https://musopen.org/music/3218/johann-sebastian-bach/blessed-is-the-man-bwv-57/

lots of fx + skewing

..
http://naviarlab.tumblr.com/post/165792941533/naviarhaiku195-leaving-the-hospital-room

Haiku by Sumitaku Kenshin http://simplyhaiku.com/SHv2n6/features/Hiroaki_Sato_feature.html

Picture by Martin Kníže https://unsplash.com/@martz90]]>
used a bach piece : https://musopen.org/music/3218/johann-sebastian-bach/blessed-is-the-man-bwv-57/

lots of fx + skewing

..
http://naviarlab.tumblr.com/post/165792941533/naviarhaiku195-leaving-the-hospital-room

Haiku by Sumitaku Kenshin http://simplyhaiku.com/SHv2n6/features/Hiroaki_Sato_feature.html

Picture by Martin Kníže https://unsplash.com/@martz90]]> 1567534 no no Sun, 01 Oct 2017 21:01:21 +0200 2017-10-01T21:01:21+02:00 28:00 https://hearthis.at/sevenism/disquiet0300/ instrument 2: C harmonica. i entrusted audacity to pitch shift to E. paulstretched it into itself
instrument 3: 12 string guitar. bit of finger picking in Em. nothing added. well except reverb when i mastered in audition
...
https://llllllll.co/t/disquiet-junto-the-300th-consecutive-weekly-project/
Disquiet Junto Project 0300: The 300th Project
3 chords x 100 seconds

Step 1: For the 300th consecutive weekly Disquiet Junto project, choose a chord. Read the 6 steps of these instructions all the way through before making a decisions about instrumentation (Step 2) or recording (Steps 3 and 4). Understanding the intended end result will potentially influence those decisions.

Step 2: Choose three different instruments on which to play the chord selected in Step 1.

Step 3: Record yourself playing for 100 seconds that chord on the first of the instruments you chose in Step 2. You may want to record slightly longer than 100 seconds and edit back. Not every instrument has infinite sustain. You may need to use different techniques (strumming, sequencing, preparing, etc.) to achieve the 100 seconds. Consider those different techniques and the role they’ll have in the resulting sound.

Step 4: Repeat Step 3 for each of the other two instruments from Step 2. Consider how the three instruments, as well as the techniques you employ to play them, will correlate with each other.]]> instrument 2: C harmonica. i entrusted audacity to pitch shift to E. paulstretched it into itself
instrument 3: 12 string guitar. bit of finger picking in Em. nothing added. well except reverb when i mastered in audition
...
https://llllllll.co/t/disquiet-junto-the-300th-consecutive-weekly-project/
Disquiet Junto Project 0300: The 300th Project
3 chords x 100 seconds

Step 1: For the 300th consecutive weekly Disquiet Junto project, choose a chord. Read the 6 steps of these instructions all the way through before making a decisions about instrumentation (Step 2) or recording (Steps 3 and 4). Understanding the intended end result will potentially influence those decisions.

Step 2: Choose three different instruments on which to play the chord selected in Step 1.

Step 3: Record yourself playing for 100 seconds that chord on the first of the instruments you chose in Step 2. You may want to record slightly longer than 100 seconds and edit back. Not every instrument has infinite sustain. You may need to use different techniques (strumming, sequencing, preparing, etc.) to achieve the 100 seconds. Consider those different techniques and the role they’ll have in the resulting sound.

Step 4: Repeat Step 3 for each of the other two instruments from Step 2. Consider how the three instruments, as well as the techniques you employ to play them, will correlate with each other.]]> 1565053 no no Sat, 30 Sep 2017 16:33:58 +0200 2017-09-30T16:33:58+02:00 01:40 https://hearthis.at/sevenism/uncertainty-dub-disquiet0299/ Make super slow music in 3/4 time.
https://llllllll.co/t/disquiet-junto-project-0299-10bpm-waltz/

Step 1: This project is intended as a way to contribute to the 10 BPM Dance Club announced at tenbpm.tumblr.com and twitter.com/onetakerecords. Tracks submitted to One Take Records will be included at an inaugural event in Copenhagen at the end of this month, September 2017.
--------
i used my trusty old copy of music maker 3 from the 90s. never found anything easier to make beats from samples.
used the samples from last week so it's kind of a remix in a more compus mentus state, and used sample from week before too. masterd in audition
i think it's 10bpm in 3/4 but that rimshot binshot on the 1/8ths has a lot going on so dunno if it counts. confuses my brain less anyway..]]> Make super slow music in 3/4 time.
https://llllllll.co/t/disquiet-junto-project-0299-10bpm-waltz/

Step 1: This project is intended as a way to contribute to the 10 BPM Dance Club announced at tenbpm.tumblr.com and twitter.com/onetakerecords. Tracks submitted to One Take Records will be included at an inaugural event in Copenhagen at the end of this month, September 2017.
--------
i used my trusty old copy of music maker 3 from the 90s. never found anything easier to make beats from samples.
used the samples from last week so it's kind of a remix in a more compus mentus state, and used sample from week before too. masterd in audition
i think it's 10bpm in 3/4 but that rimshot binshot on the 1/8ths has a lot going on so dunno if it counts. confuses my brain less anyway..]]> 1554089 no no Thu, 21 Sep 2017 23:04:52 +0200 2017-09-21T23:04:52+02:00 04:56 https://hearthis.at/sevenism/faceache-disquiet0298/ Make a track with two rolls of a 20-sided die.
https://llllllll.co/t/disquiet-junto-project-0298-dungeons-drum-machines/

.
rolled a 1 and 12. so i got notes A F E E and rhythm 448888 (altho i misread as three 8s)
appropriate notes as the nearest chord is FACE and i've got pretty bad tooth/ear/headache at the mo.
made in a daze as i got back from rhodes at 2 this morning and had work today.
the drone is from the plane sound. the beat is from a (literally) shitty hotel bin. tried to do 10bpm but it was in audacity so fuzzily quantized...
pitch shifts just done in audacity, beat mastered a bit in audition, extra delay and echo reversal stuff in audacity.
pad made from the plane drone at 6-8 octaves higher with izotope vinyl, six string ambience, podfarm fx]]> Make a track with two rolls of a 20-sided die.
https://llllllll.co/t/disquiet-junto-project-0298-dungeons-drum-machines/

.
rolled a 1 and 12. so i got notes A F E E and rhythm 448888 (altho i misread as three 8s)
appropriate notes as the nearest chord is FACE and i've got pretty bad tooth/ear/headache at the mo.
made in a daze as i got back from rhodes at 2 this morning and had work today.
the drone is from the plane sound. the beat is from a (literally) shitty hotel bin. tried to do 10bpm but it was in audacity so fuzzily quantized...
pitch shifts just done in audacity, beat mastered a bit in audition, extra delay and echo reversal stuff in audacity.
pad made from the plane drone at 6-8 octaves higher with izotope vinyl, six string ambience, podfarm fx]]> 1550271 no no Mon, 18 Sep 2017 22:02:31 +0200 2017-09-18T22:02:31+02:00 03:31 https://hearthis.at/sevenism/star-focus-naviarhaiku192/
made from audacity dial tone
.
the lamp once out
cool stars enter
the window frame
.
http://naviarlab.tumblr.com
Undoubtedly one of the most important Japanese writer in modern history, Natsume Sōseki began his career publishing haiku and renku poems in a number of newspapers and periodicals. Early in his career he met Masaoka Shiki, who encouraged him to become a writer and tutored him in the art of composing haiku.

Sōseki is mostly known for his novels, especially Kokoro

Make music in response to Sōseki’s poem in 7 days: more info at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 13th September 2017

Haiku by Natsume Sōseki https://en.wikipedia.org/wiki/Natsume_S%C5%8Dseki

Picture by Aleks Dahlberg https://unsplash.com/@aleksdahlberg]]>
made from audacity dial tone
.
the lamp once out
cool stars enter
the window frame
.
http://naviarlab.tumblr.com
Undoubtedly one of the most important Japanese writer in modern history, Natsume Sōseki began his career publishing haiku and renku poems in a number of newspapers and periodicals. Early in his career he met Masaoka Shiki, who encouraged him to become a writer and tutored him in the art of composing haiku.

Sōseki is mostly known for his novels, especially Kokoro

Make music in response to Sōseki’s poem in 7 days: more info at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 13th September 2017

Haiku by Natsume Sōseki https://en.wikipedia.org/wiki/Natsume_S%C5%8Dseki

Picture by Aleks Dahlberg https://unsplash.com/@aleksdahlberg]]> 1543220 no no Tue, 12 Sep 2017 20:45:56 +0200 2017-09-12T20:45:56+02:00 01:39 https://hearthis.at/sevenism/still-alarm-disquiet0297/
https://llllllll.co/t/disquiet-junto-project-0297-domestic-chorus/
Disquiet Junto Project 0297: Domestic Chorus
Make music from all the alarms, buzzer, and other alerts in your home.

at the moment i'm not using an alarm and i've disabled most of the notifications on my phone. need some peace.

music is made from the alarm on my phone then i made it near silent.

image: detail flic.kr/p/a81KGD]]>
https://llllllll.co/t/disquiet-junto-project-0297-domestic-chorus/
Disquiet Junto Project 0297: Domestic Chorus
Make music from all the alarms, buzzer, and other alerts in your home.

at the moment i'm not using an alarm and i've disabled most of the notifications on my phone. need some peace.

music is made from the alarm on my phone then i made it near silent.

image: detail flic.kr/p/a81KGD]]> 1539127 no no Sat, 09 Sep 2017 13:55:04 +0200 2017-09-09T13:55:04+02:00 02:42 https://hearthis.at/sevenism/smallest-primes-disquiet0296-/
similar to a recent junto this is comprised of text-to-speech-to-music

just pasted the prime numbers into audition speech generation and then had a load of fx applied: delay, echo, guitar fuzz, chorus, convolution reverb, mastering

i wanted the numbers to be on the cusp of liminality

.. ... .....
Disquiet Junto Project 0296: Clustered Primes
Make music inspired by a prime-number query initiated by novelist Robin Sloan.

Step 1: The source material for this week’s project is a list of prime numbers. The list is the result of a contest that novelist Robin Sloan ran recently. In advance of the release of his new novel, Sourdough, which will be published on September 5, Sloan asked readers of his email newsletter to compete for an advance copy by submitting a prime number. The people who submitted the lowest prime numbers — and this next bit is important — that no one else submitted won a copy of the book. With that in mind, take a gander at the resulting CSV file of prime numbers here:

https://www.dropbox.com/s/1l9r1uncsmos0u0/primecountsmay2017.csv?dl=0]]>
similar to a recent junto this is comprised of text-to-speech-to-music

just pasted the prime numbers into audition speech generation and then had a load of fx applied: delay, echo, guitar fuzz, chorus, convolution reverb, mastering

i wanted the numbers to be on the cusp of liminality

.. ... .....
Disquiet Junto Project 0296: Clustered Primes
Make music inspired by a prime-number query initiated by novelist Robin Sloan.

Step 1: The source material for this week’s project is a list of prime numbers. The list is the result of a contest that novelist Robin Sloan ran recently. In advance of the release of his new novel, Sourdough, which will be published on September 5, Sloan asked readers of his email newsletter to compete for an advance copy by submitting a prime number. The people who submitted the lowest prime numbers — and this next bit is important — that no one else submitted won a copy of the book. With that in mind, take a gander at the resulting CSV file of prime numbers here:

https://www.dropbox.com/s/1l9r1uncsmos0u0/primecountsmay2017.csv?dl=0]]> 1531278 no no Sat, 02 Sep 2017 13:16:09 +0200 2017-09-02T13:16:09+02:00 07:37 https://hearthis.at/sevenism/poison-echoes-pt-1-disquiet0295/ ran this through izotope vinyl and six string ambience
mastered in audition

joint project for naviar records and disquiet junto
.
Disquiet Junto Project 0295: Disregard Echoes
Make music inspired by a haiku, reflecting on Australian history.
https://llllllll.co/t/disquiet-junto-project-0295-disregard-echoes/

This week’s project is a collaboration with Naviar Records and Western Riverina Arts, spearheaded by longtime Junto participant Jason Richardson. The results will contribute to an exhibition in the town of Narrandera during October that incorporates haiku describing local scenes.

Step 1: Consider the following haiku:

Poisoned Waterhole:
Violent disregard echoes.
Keenly felt today.
.
http://www.naviarrecords.com/about/naviar-haiku

Haiku by Peita Vincent https://www.frankandearnest.com.au/our-story

Picture by Jason Richardson http://bassling.blogspot.co.uk]]> ran this through izotope vinyl and six string ambience
mastered in audition

joint project for naviar records and disquiet junto
.
Disquiet Junto Project 0295: Disregard Echoes
Make music inspired by a haiku, reflecting on Australian history.
https://llllllll.co/t/disquiet-junto-project-0295-disregard-echoes/

This week’s project is a collaboration with Naviar Records and Western Riverina Arts, spearheaded by longtime Junto participant Jason Richardson. The results will contribute to an exhibition in the town of Narrandera during October that incorporates haiku describing local scenes.

Step 1: Consider the following haiku:

Poisoned Waterhole:
Violent disregard echoes.
Keenly felt today.
.
http://www.naviarrecords.com/about/naviar-haiku

Haiku by Peita Vincent https://www.frankandearnest.com.au/our-story

Picture by Jason Richardson http://bassling.blogspot.co.uk]]> 1522693 no no Sat, 26 Aug 2017 15:51:56 +0200 2017-08-26T15:51:56+02:00 07:44 https://hearthis.at/sevenism/poison-echoes-pt-2-naviarhaiku190/ then the fx chain: ddly - podfarm2 - neutrino
podfarm 2 had line 6 agro, sine chorus, reverse delay and echo platter loaded
.
joint project for naviar records and disquiet junto
.
Disquiet Junto Project 0295: Disregard Echoes
Make music inspired by a haiku, reflecting on Australian history.
https://llllllll.co/t/disquiet-junto-project-0295-disregard-echoes/

This week’s project is a collaboration with Naviar Records and Western Riverina Arts, spearheaded by longtime Junto participant Jason Richardson. The results will contribute to an exhibition in the town of Narrandera during October that incorporates haiku describing local scenes.

Step 1: Consider the following haiku:

Poisoned Waterhole:
Violent disregard echoes.
Keenly felt today.
.
http://www.naviarrecords.com/about/naviar-haiku

Haiku by Peita Vincent https://www.frankandearnest.com.au/our-story

Picture by Jason Richardson http://bassling.blogspot.co.uk]]> then the fx chain: ddly - podfarm2 - neutrino
podfarm 2 had line 6 agro, sine chorus, reverse delay and echo platter loaded
.
joint project for naviar records and disquiet junto
.
Disquiet Junto Project 0295: Disregard Echoes
Make music inspired by a haiku, reflecting on Australian history.
https://llllllll.co/t/disquiet-junto-project-0295-disregard-echoes/

This week’s project is a collaboration with Naviar Records and Western Riverina Arts, spearheaded by longtime Junto participant Jason Richardson. The results will contribute to an exhibition in the town of Narrandera during October that incorporates haiku describing local scenes.

Step 1: Consider the following haiku:

Poisoned Waterhole:
Violent disregard echoes.
Keenly felt today.
.
http://www.naviarrecords.com/about/naviar-haiku

Haiku by Peita Vincent https://www.frankandearnest.com.au/our-story

Picture by Jason Richardson http://bassling.blogspot.co.uk]]> 1522694 no no Sat, 26 Aug 2017 15:51:56 +0200 2017-08-26T15:51:56+02:00 04:44 https://hearthis.at/sevenism/verdant-edge/
swaying / floating / rippling
.

http://www.naviarrecords.com/about/naviar-haiku

Haiku by Susan Carey Killham http://www.westrivarts.com.au/the-people-test/

Picture by Jason Richardson http://bassling.blogspot.co.uk]]>
swaying / floating / rippling
.

http://www.naviarrecords.com/about/naviar-haiku

Haiku by Susan Carey Killham http://www.westrivarts.com.au/the-people-test/

Picture by Jason Richardson http://bassling.blogspot.co.uk]]> 1516985 no no Wed, 23 Aug 2017 12:40:03 +0200 2017-08-23T12:40:03+02:00 02:05 https://hearthis.at/sevenism/o-k-disquiet0294/ Pay tribute to the late Bassel Khartabil by turning his spoken words into music.
https://llllllll.co/t/disquiet-junto-project-0294-offline-status/8904

pulled the sample into protoplasm at different octaves then ran that through loop alienizer, ambience 0.1, podfarm2 with some delays, analog chorus, rotary drum + horn.
used the rhythmic start and gradually had the speech coming in so that it would sound kinda natural when it comes in clean at the end

didnt use any other sounds.]]> Pay tribute to the late Bassel Khartabil by turning his spoken words into music.
https://llllllll.co/t/disquiet-junto-project-0294-offline-status/8904

pulled the sample into protoplasm at different octaves then ran that through loop alienizer, ambience 0.1, podfarm2 with some delays, analog chorus, rotary drum + horn.
used the rhythmic start and gradually had the speech coming in so that it would sound kinda natural when it comes in clean at the end

didnt use any other sounds.]]> 1507485 no no Fri, 18 Aug 2017 23:30:10 +0200 2017-08-18T23:30:10+02:00 04:51 https://hearthis.at/sevenism/sepia-fog-naviarhaiku188/ .
a sepia wash
as dawn is smothered by fog
and gums retain night
.
http://www.naviarrecords.com/2017/08/09/naviarhaiku188-a-sepia-wash/
.

The author of the week is Jason Richardson, the main curator of the exhibition Crossing Streams which Naviar is co-curating: he’s currently writing a haiku each day this year, and this week’s poem is one of them.

Jason has been living in the Western Riverina region of NSW since 2009 and worked as curator at a community-run museum and with Landcare among others.

“I think it’s really important to give everyone the chance to engage with making art, rather than playing the role of audience.“ (Jason)

Seven days to make music inspired by Jason’s poem and participate in the Haiku challenge and the Crossing Stream exhibition. More info at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 16th August 2017

Haiku & Picture by Jason Richardson http://bassling.blogspot.co.uk]]> .
a sepia wash
as dawn is smothered by fog
and gums retain night
.
http://www.naviarrecords.com/2017/08/09/naviarhaiku188-a-sepia-wash/
.

The author of the week is Jason Richardson, the main curator of the exhibition Crossing Streams which Naviar is co-curating: he’s currently writing a haiku each day this year, and this week’s poem is one of them.

Jason has been living in the Western Riverina region of NSW since 2009 and worked as curator at a community-run museum and with Landcare among others.

“I think it’s really important to give everyone the chance to engage with making art, rather than playing the role of audience.“ (Jason)

Seven days to make music inspired by Jason’s poem and participate in the Haiku challenge and the Crossing Stream exhibition. More info at http://www.naviarrecords.com/about/naviar-haiku

Deadline: 16th August 2017

Haiku & Picture by Jason Richardson http://bassling.blogspot.co.uk]]> 1502894 no no Tue, 15 Aug 2017 12:42:19 +0200 2017-08-15T12:42:19+02:00 06:27 https://hearthis.at/sevenism/immergence-disquiet0293-newpalmyra/ love as a response to fear and hate

convolution / distortion fading into chorus / mastering / natural hiss

https://llllllll.co/t/disquiet-junto-project-0293-emerge-immerse/8838
Disquiet Junto Project 0293: Emerge/Immerse
Make music for Paige Dansinger’s Palmyra 3D/VR images, paying tribute to the late Bassel Khartabil.

Step 1: This is the first of two consecutive projects we’re undertaking, following the news of Bassel Khartabil’s death. (If you’re new to the Junto, Bassel was an open-source coder who did a lot of work in CGI before being imprisoned in Syria. Word of his execution just recently became public.) Paige Dansinger is making VR drawings in Tilt Brush inspired by Bassel’s Palmyra CGI work, drawing from her own interest in making a better world. For this project we’re going to make sound, in Bassel’s honor, to accompany her 3D work. View Paige’s pieces at:

http://www.newpalmyra.org/projects/junto-emerge-immerse/

Step 2: Think about the sort of sound that might accompany, contribute to, or otherwise be a component part of a VR experience. Now, record a short piece of music, up to two minutes, that is about something emerging — something being brought to life, or coming out of a cave, or otherwise coming into being.

RIP Bassel]]> love as a response to fear and hate

convolution / distortion fading into chorus / mastering / natural hiss

https://llllllll.co/t/disquiet-junto-project-0293-emerge-immerse/8838
Disquiet Junto Project 0293: Emerge/Immerse
Make music for Paige Dansinger’s Palmyra 3D/VR images, paying tribute to the late Bassel Khartabil.

Step 1: This is the first of two consecutive projects we’re undertaking, following the news of Bassel Khartabil’s death. (If you’re new to the Junto, Bassel was an open-source coder who did a lot of work in CGI before being imprisoned in Syria. Word of his execution just recently became public.) Paige Dansinger is making VR drawings in Tilt Brush inspired by Bassel’s Palmyra CGI work, drawing from her own interest in making a better world. For this project we’re going to make sound, in Bassel’s honor, to accompany her 3D work. View Paige’s pieces at:

http://www.newpalmyra.org/projects/junto-emerge-immerse/

Step 2: Think about the sort of sound that might accompany, contribute to, or otherwise be a component part of a VR experience. Now, record a short piece of music, up to two minutes, that is about something emerging — something being brought to life, or coming out of a cave, or otherwise coming into being.

RIP Bassel]]> 1500919 no no Mon, 14 Aug 2017 13:20:44 +0200 2017-08-14T13:20:44+02:00 02:42 https://hearthis.at/sevenism/moth-to-flame/ track made just from this sample: https://soundcloud.com/lotka_volterra/voce0014-black-cats-lunch

in audition i applied 7 voice chorus and lots of convolution reverb to the whole sample
in audacity i paulstretched the sample to about 8 minutes long, there was a nice tonal element in the middle which i isolated
in ableton i made a chain of protoplasm > izotope vinyl > six string ambience > podfarm2 (sine chorus - analog delay mod - echo platter - reverb)
in protoplasm i loaded the isolated sample at 3 different octaves and improvised live using my mouse on an onscreen keyboard while my partner tried to talk to me
recorded the track in audacity then normalized it. tried to hide the bad playing with some preverb (reversed the track, applied reverb, reversed again)
pulled the track back into audition. declipped and declicked. duplicated the track - convolution reverb in one. mastering and guitar fuzz in the other. crossfaded to the latter.]]> track made just from this sample: https://soundcloud.com/lotka_volterra/voce0014-black-cats-lunch

in audition i applied 7 voice chorus and lots of convolution reverb to the whole sample
in audacity i paulstretched the sample to about 8 minutes long, there was a nice tonal element in the middle which i isolated
in ableton i made a chain of protoplasm > izotope vinyl > six string ambience > podfarm2 (sine chorus - analog delay mod - echo platter - reverb)
in protoplasm i loaded the isolated sample at 3 different octaves and improvised live using my mouse on an onscreen keyboard while my partner tried to talk to me
recorded the track in audacity then normalized it. tried to hide the bad playing with some preverb (reversed the track, applied reverb, reversed again)
pulled the track back into audition. declipped and declicked. duplicated the track - convolution reverb in one. mastering and guitar fuzz in the other. crossfaded to the latter.]]> izotope vinyl > six string ambience > podfarm2 (sine chorus - analog delay mod - echo platter - reverb) in protoplasm i loaded the isolated sample at 3 different octaves and improvised live using my mouse on an onscreen keyboard while my partner tried to talk to me recorded the track in audacity then normalized it. tried to hide the bad playing with some preverb (reversed the track, applied reverb, reversed again) pulled the track back into audition. declipped and declicked. duplicated the track - convolution reverb in one. mastering and guitar fuzz in the other. crossfaded to the latter.]]> 1481978 no no Tue, 08 Aug 2017 15:41:14 +0200 2017-08-08T15:41:14+02:00 05:50 https://hearthis.at/sevenism/shadowed-disquiet0292/
my track didnt turn out how i anticipated. the music is cloudier and obscured, not as sharp or sudden. i used an older track, 'in aura', played through a synth with reverse delay and other guitar fx
()
Disquiet Junto Project 0292: Eclipse Music
In coordination with St. Louis Art Hack Day, make some solar-inspired tunes.
https://llllllll.co/t/make-music-for-a-solar-eclipse-disquiet-junto-0292/

Step 1: There’s a solar eclipse coming to the United States on August 21. This is the first full solar eclipse in the U.S. in a long time, since June 8, 1918. The next such eclipse in the U.S. won’t be until August 12, 2045. Ponder the eclipse, and that time frame. Take note that this project is being done in coordination with the upcoming Art Hack Day in St. Louis. If you’re in the area, consider joining in in person. If you’re not (true for the vast majority of Junto participants), your resulting Junto music from this project will be played as part of the St. Louis art showing on August 19. (And certainly you can opt out of that last bit, if you’d like.) Major thanks to Tyler Mathews and Jon Phillips for encouraging this project. Details here:

https://www.eventbrite.com/e/art-hack-day-st-louis-eclipse-tickets-35500853007

Step 2: Think about the constituent elements in (the various facets of) an eclipse, what it means in terms of sensory experience — in cultures ancient and contemporary.]]>
my track didnt turn out how i anticipated. the music is cloudier and obscured, not as sharp or sudden. i used an older track, 'in aura', played through a synth with reverse delay and other guitar fx
()
Disquiet Junto Project 0292: Eclipse Music
In coordination with St. Louis Art Hack Day, make some solar-inspired tunes.
https://llllllll.co/t/make-music-for-a-solar-eclipse-disquiet-junto-0292/

Step 1: There’s a solar eclipse coming to the United States on August 21. This is the first full solar eclipse in the U.S. in a long time, since June 8, 1918. The next such eclipse in the U.S. won’t be until August 12, 2045. Ponder the eclipse, and that time frame. Take note that this project is being done in coordination with the upcoming Art Hack Day in St. Louis. If you’re in the area, consider joining in in person. If you’re not (true for the vast majority of Junto participants), your resulting Junto music from this project will be played as part of the St. Louis art showing on August 19. (And certainly you can opt out of that last bit, if you’d like.) Major thanks to Tyler Mathews and Jon Phillips for encouraging this project. Details here:

https://www.eventbrite.com/e/art-hack-day-st-louis-eclipse-tickets-35500853007

Step 2: Think about the constituent elements in (the various facets of) an eclipse, what it means in terms of sensory experience — in cultures ancient and contemporary.]]> 1479521 no no Sun, 06 Aug 2017 13:09:47 +0200 2017-08-06T13:09:47+02:00 06:13 https://hearthis.at/sevenism/light-plume-refraction/ Make music that suggests the way a paper lantern filters light.
https://llllllll.co/t/make-music-that-sounds-like-a-lantern-junto-0291/

i was playing piano to destress and wasnt planning on using this but when i plugged it into the fx it seemed to fit well.

i used the crystal reverb effect in ableton as it's really bright and airy. i was thinking of wave particle duality, that quantum slit experiment, light refraction

i was trying to make that low end less muddy for a bit but then realized it fit with a sense of being claustrophobic inside a lantern]]> Make music that suggests the way a paper lantern filters light.
https://llllllll.co/t/make-music-that-sounds-like-a-lantern-junto-0291/

i was playing piano to destress and wasnt planning on using this but when i plugged it into the fx it seemed to fit well.

i used the crystal reverb effect in ableton as it's really bright and airy. i was thinking of wave particle duality, that quantum slit experiment, light refraction

i was trying to make that low end less muddy for a bit but then realized it fit with a sense of being claustrophobic inside a lantern]]> 1463702 no no Fri, 28 Jul 2017 14:12:02 +0200 2017-07-28T14:12:02+02:00 02:42 https://hearthis.at/sevenism/boom-tiss-disquiet0290/ warning- my partner thought she was 'going schizophrenic' listening to this and had to leave the room..
.
https://llllllll.co/t/disquiet-junto-project-0290-text-to-beat/
Disquiet Junto Project 0290: Text-to-Beat
Use computer-generated speech as the rhythmic foundation for a track.

Step 1: This week we’re going to build a track around text-to-speech, the results of a computer-generated voice speaking. In past text-to-speech we’ve used pre-existing text as the source. In this case we’re going to build the text to order. Keep this in mind.]]> warning- my partner thought she was 'going schizophrenic' listening to this and had to leave the room..
.
https://llllllll.co/t/disquiet-junto-project-0290-text-to-beat/
Disquiet Junto Project 0290: Text-to-Beat
Use computer-generated speech as the rhythmic foundation for a track.

Step 1: This week we’re going to build a track around text-to-speech, the results of a computer-generated voice speaking. In past text-to-speech we’ve used pre-existing text as the source. In this case we’re going to build the text to order. Keep this in mind.]]> 1462137 no no Mon, 24 Jul 2017 23:27:46 +0200 2017-07-24T23:27:46+02:00 02:07 https://hearthis.at/sevenism/midnight-blue-naviarhaiku184/
..

Ali Znaidi (b.1977) lives in Redeyef, Tunisia. He is the author of several chapbooks, including Experimental Ruminations (Fowlpox Press, 2012), Moon’s Cloth Embroidered with Poems (Origami Poems Project, 2012), Bye, Donna Summer! (Fowlpox Press, 2014), Taste of the Edge (Kind of a Hurricane Press, 2014), Mathemaku x5 (Spacecraft Press, 2015), and Austere Lights (Locofo Chaps: an imprint of Moria Books, 2017).

Seven days to make music inspired by Ali’s poem: to participate visit http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 19th July

Poem by Ali Znaidi http://aliznaidi.blogspot.co.uk

Picture by Will Stewart https://unsplash.com/@wilstewart3]]>
..

Ali Znaidi (b.1977) lives in Redeyef, Tunisia. He is the author of several chapbooks, including Experimental Ruminations (Fowlpox Press, 2012), Moon’s Cloth Embroidered with Poems (Origami Poems Project, 2012), Bye, Donna Summer! (Fowlpox Press, 2014), Taste of the Edge (Kind of a Hurricane Press, 2014), Mathemaku x5 (Spacecraft Press, 2015), and Austere Lights (Locofo Chaps: an imprint of Moria Books, 2017).

Seven days to make music inspired by Ali’s poem: to participate visit http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 19th July

Poem by Ali Znaidi http://aliznaidi.blogspot.co.uk

Picture by Will Stewart https://unsplash.com/@wilstewart3]]> 1440851 no no Wed, 19 Jul 2017 13:19:27 +0200 2017-07-19T13:19:27+02:00 07:30 https://hearthis.at/sevenism/is-it-peace-disquiet0289/ Disquiet Junto Project 0289: Ancient Artifacts
Imagine a forgotten instrument and make music with it.
..

庚寅年 (4̲5̲0̲ ̲B̲C̲), ̲H̲u̲n̲i̲n̲g̲ ̲p̲r̲o̲v̲i̲n̲c̲e̲
She was alone. Self imposed exile. Her time spent in music. To connect with an imagined future. Less painful to consort with envisioned ghosts. Her childhood instruments contorted with destroyed nature and slaughtered food.

A̲n̲n̲a̲l̲s̲ ̲o̲f̲ ̲M̲u̲s̲i̲c̲o̲l̲o̲g̲y̲ ̲(̲P̲r̲i̲m̲i̲t̲i̲v̲e̲/̲A̲n̲c̲i̲e̲n̲t̲ ̲H̲i̲s̲t̲o̲r̲y̲)̲ ̲1̲9̲5̲6̲ ̲(̲r̲e̲j̲e̲c̲t̲e̲d̲ ̲m̲a̲n̲u̲s̲c̲r̲i̲p̲t̲)̲
“..I posit that over the decades she’d somehow modified a sheng polyphonically and with further sensitivity to sound vibrations allowing the strings of some sort of bass harp /guqin to create dronelike (faburden) harmonics
.. The tablature took years to decode written in probably an esoteric, that is to say, unique style of her invention but given the sheer volume of annotated vellum and glancing similarity to chronistic qin tablature I think I’ve arrived at an adequate solution.”

c̲l̲o̲u̲u̲d̲s̲o̲u̲n̲d̲.̲a̲u̲d̲i̲o̲/̲x̲p̲r̲o̲c̲k̲x̲/̲r̲e̲d̲i̲s̲c̲o̲v̲e̲r̲e̲d̲_̲a̲u̲d̲i̲o̲_̲r̲e̲f̲i̲x̲,̲ ̲2̲0̲1̲9̲
bit different but hear me out..found grandads old stuff and there was like this journal paper on how he found these remains of this woman /ewww/ in china and some cool old instrument well like all broken up thousands of years old.. and he’d managed to renotate her songs..wish id known him but dads all like ‘he took the cowards way out’ and that’s it .jeez. so anyway I played it all slow like desolate and despondent -fuqd up uke and melodica!!. Gonna make this story into a comic stay toond bitches xxx!]]> Disquiet Junto Project 0289: Ancient Artifacts
Imagine a forgotten instrument and make music with it.
..

庚寅年 (4̲5̲0̲ ̲B̲C̲), ̲H̲u̲n̲i̲n̲g̲ ̲p̲r̲o̲v̲i̲n̲c̲e̲
She was alone. Self imposed exile. Her time spent in music. To connect with an imagined future. Less painful to consort with envisioned ghosts. Her childhood instruments contorted with destroyed nature and slaughtered food.

A̲n̲n̲a̲l̲s̲ ̲o̲f̲ ̲M̲u̲s̲i̲c̲o̲l̲o̲g̲y̲ ̲(̲P̲r̲i̲m̲i̲t̲i̲v̲e̲/̲A̲n̲c̲i̲e̲n̲t̲ ̲H̲i̲s̲t̲o̲r̲y̲)̲ ̲1̲9̲5̲6̲ ̲(̲r̲e̲j̲e̲c̲t̲e̲d̲ ̲m̲a̲n̲u̲s̲c̲r̲i̲p̲t̲)̲
“..I posit that over the decades she’d somehow modified a sheng polyphonically and with further sensitivity to sound vibrations allowing the strings of some sort of bass harp /guqin to create dronelike (faburden) harmonics
.. The tablature took years to decode written in probably an esoteric, that is to say, unique style of her invention but given the sheer volume of annotated vellum and glancing similarity to chronistic qin tablature I think I’ve arrived at an adequate solution.”

c̲l̲o̲u̲u̲d̲s̲o̲u̲n̲d̲.̲a̲u̲d̲i̲o̲/̲x̲p̲r̲o̲c̲k̲x̲/̲r̲e̲d̲i̲s̲c̲o̲v̲e̲r̲e̲d̲_̲a̲u̲d̲i̲o̲_̲r̲e̲f̲i̲x̲,̲ ̲2̲0̲1̲9̲
bit different but hear me out..found grandads old stuff and there was like this journal paper on how he found these remains of this woman /ewww/ in china and some cool old instrument well like all broken up thousands of years old.. and he’d managed to renotate her songs..wish id known him but dads all like ‘he took the cowards way out’ and that’s it .jeez. so anyway I played it all slow like desolate and despondent -fuqd up uke and melodica!!. Gonna make this story into a comic stay toond bitches xxx!]]> 1434041 no no Mon, 17 Jul 2017 15:56:41 +0200 2017-07-17T15:56:41+02:00 06:21 https://hearthis.at/sevenism/storm-threatening-dsqt288/
( i used nsynth: https://aiexperiments.withgoogle.com/sound-maker)

i played this through protoplasm, bit of preverb in audacity, mastered in audition.

it's really oppressively humid here at the moment, there's a storm threatening. hope that comes through.

i've done an nsynth album here: https://sevenism.bandcamp.com/album/red-blues
@sevenism

https://llllllll.co/t/disquiet-junto-project-0288-interspecies-duet/
Disquiet Junto Project 0288: Interspecies Duet
Make music from samples of two different animals.

Step 1: We’re going to use samples of two different animals and have them make music together. It’s recommended that you source the audio from the excellent site freesound.org, in part because it’s a great resource, and in part to raise awareness about the site’s existence. Donating a bit to the service would be appreciated, as well, but of course isn’t required.]]>
( i used nsynth: https://aiexperiments.withgoogle.com/sound-maker)

i played this through protoplasm, bit of preverb in audacity, mastered in audition.

it's really oppressively humid here at the moment, there's a storm threatening. hope that comes through.

i've done an nsynth album here: https://sevenism.bandcamp.com/album/red-blues
@sevenism

https://llllllll.co/t/disquiet-junto-project-0288-interspecies-duet/
Disquiet Junto Project 0288: Interspecies Duet
Make music from samples of two different animals.

Step 1: We’re going to use samples of two different animals and have them make music together. It’s recommended that you source the audio from the excellent site freesound.org, in part because it’s a great resource, and in part to raise awareness about the site’s existence. Donating a bit to the service would be appreciated, as well, but of course isn’t required.]]> 1384466 no no Thu, 06 Jul 2017 22:00:15 +0200 2017-07-06T22:00:15+02:00 04:17 https://hearthis.at/sevenism/deserted-tape-cut-mix-disquiet0287/ .played it in vlc cutting between various portions
.recorded in audacity, took out all the microscopic silences from the cuts manually..trying to find them pesky zero crossings
.cheated a bit and did some de-clicking in audition!

original track here https://soundcloud.com/naviar-records/sevenism-deserted-nr001?in=naviar-records/sets/sevenism-saline-celestial

Disquiet Junto Project 0287: Digital Pause Tape
Make a track using only cut and paste.

https://llllllll.co/t/disquiet-junto-project-0287-digital-pause-tape/]]> .played it in vlc cutting between various portions
.recorded in audacity, took out all the microscopic silences from the cuts manually..trying to find them pesky zero crossings
.cheated a bit and did some de-clicking in audition!

original track here https://soundcloud.com/naviar-records/sevenism-deserted-nr001?in=naviar-records/sets/sevenism-saline-celestial

Disquiet Junto Project 0287: Digital Pause Tape
Make a track using only cut and paste.

https://llllllll.co/t/disquiet-junto-project-0287-digital-pause-tape/]]> 1377270 no no Fri, 30 Jun 2017 16:33:18 +0200 2017-06-30T16:33:18+02:00 04:03 https://hearthis.at/sevenism/-harmattan-naviarhaiku182/ occasional leaves
.
The Harmattan is a season in the West African subcontinent, which occurs between the end of November and the middle of March. It is characterized by dry and dusty northeasterly trade wind, of the same name, which blows from the Sahara Desert over West Africa into the Gulf of Guinea.

A new haiku written by a member of Africa Haiku Network. Jamil Dan'bala Umar is a young teacher from Ghana and a regular contributor to the Mamba Haiku Journal.

Seven days to translate a haiku poem into sounds: more info at http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 5th July

Poem by Jamil Dan'bala Umar https://twitter.com/Danbala

Picture by Alexandra Seinet https://unsplash.com/@alexseinet]]> occasional leaves
.
The Harmattan is a season in the West African subcontinent, which occurs between the end of November and the middle of March. It is characterized by dry and dusty northeasterly trade wind, of the same name, which blows from the Sahara Desert over West Africa into the Gulf of Guinea.

A new haiku written by a member of Africa Haiku Network. Jamil Dan'bala Umar is a young teacher from Ghana and a regular contributor to the Mamba Haiku Journal.

Seven days to translate a haiku poem into sounds: more info at http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 5th July

Poem by Jamil Dan'bala Umar https://twitter.com/Danbala

Picture by Alexandra Seinet https://unsplash.com/@alexseinet]]> 1377271 no no Thu, 29 Jun 2017 18:29:42 +0200 2017-06-29T18:29:42+02:00 07:13 https://hearthis.at/sevenism/atus-naviarhaiku181/ .
blackout / our laughter laughs / at us
.
Poem by Nana Fredua-Agyeman http://nanafreduagyeman.blogspot.co.uk/

Picture by Nathan Anderson https://unsplash.com/@nathananderson]]> .
blackout / our laughter laughs / at us
.
Poem by Nana Fredua-Agyeman http://nanafreduagyeman.blogspot.co.uk/

Picture by Nathan Anderson https://unsplash.com/@nathananderson]]> 1374408 no no Wed, 28 Jun 2017 13:14:05 +0200 2017-06-28T13:14:05+02:00 04:28 https://hearthis.at/sevenism/boson-spin-sevenism-kaleidophobia/
guitar distortion / reverb / exciters / chorus]]>
guitar distortion / reverb / exciters / chorus]]> 1371471 no no Mon, 26 Jun 2017 12:45:01 +0200 2017-06-26T12:45:01+02:00 07:17 https://hearthis.at/sevenism/transliterated-self-disquiet0286/ converted to midi inaccurately
had the midi playing through various synths / samples
ableton changed the bpm , not sure why. i didnt argue.
.

https://llllllll.co/t/disquiet-junto-project-0286-found-in-translation/
.Disquiet Junto Project 0286: Found in Translation
Make three versions of something from different distances.

Step 1: Choose some piece of music, something expressly melodic or rhythmic might work best, with the intention of doing multiple renditions of it.

Step 2: Consider what it means to “transliterate” something, and how that differs from “translating” something, and how both differ from “interpreting” something.]]> converted to midi inaccurately
had the midi playing through various synths / samples
ableton changed the bpm , not sure why. i didnt argue.
.

https://llllllll.co/t/disquiet-junto-project-0286-found-in-translation/
.Disquiet Junto Project 0286: Found in Translation
Make three versions of something from different distances.

Step 1: Choose some piece of music, something expressly melodic or rhythmic might work best, with the intention of doing multiple renditions of it.

Step 2: Consider what it means to “transliterate” something, and how that differs from “translating” something, and how both differ from “interpreting” something.]]> 1368895 no no Sat, 24 Jun 2017 19:58:26 +0200 2017-06-24T19:58:26+02:00 06:45 https://hearthis.at/sevenism/bar-code-mi-d-i-dsq285/ had this running through some instrument samples and fx. i really could not be arsed to draw two more barcodes so when the feedback had died down i played the same barcode again x2
i think i did well to leave some rhythm in; kind of allergic to rhythm at the moment: i'll bring it up next time i go to the doctors.

Disquiet Junto Project 0285: Live Barcoding
Make rhythms from your packaged goods.

Step 1: We’ll be making music from barcodes, those zebra-striped symbols that adorn packaged goods. Please find the three barcodes nearest you.

Step 2: Look at the barcodes and sort out how they suggest, for you, a rhythm, a beat — how do they function as notations of percussion?

Step 3: Create a short piece of music in which each of the three barcodes is independently interpreted for its rhythmic content. In other words, make a piece of music that layers the beats of the three barcodes you selected in Step 1 based on the notational concepts that arose in Step 2.]]> had this running through some instrument samples and fx. i really could not be arsed to draw two more barcodes so when the feedback had died down i played the same barcode again x2
i think i did well to leave some rhythm in; kind of allergic to rhythm at the moment: i'll bring it up next time i go to the doctors.

Disquiet Junto Project 0285: Live Barcoding
Make rhythms from your packaged goods.

Step 1: We’ll be making music from barcodes, those zebra-striped symbols that adorn packaged goods. Please find the three barcodes nearest you.

Step 2: Look at the barcodes and sort out how they suggest, for you, a rhythm, a beat — how do they function as notations of percussion?

Step 3: Create a short piece of music in which each of the three barcodes is independently interpreted for its rhythmic content. In other words, make a piece of music that layers the beats of the three barcodes you selected in Step 1 based on the notational concepts that arose in Step 2.]]> 1361583 no no Sun, 18 Jun 2017 12:37:22 +0200 2017-06-18T12:37:22+02:00 02:09 https://hearthis.at/sevenism/rest-in-motion-naviarhaiku179/ bunch of fx
.
where feet fall softly,
distant lands abound,
with every step
.

DEADLINE: 14th June

Poem by Best Left Wild https://www.bestleftwild.com

Sharing poetry and music inspired by woodland walks, daily meditation and those moments of stillness amidst the waves, Best Left Wild explores the wild places within and without.

Picture by Jamie Dench https://www.jamiedench.com]]> bunch of fx
.
where feet fall softly,
distant lands abound,
with every step
.

DEADLINE: 14th June

Poem by Best Left Wild https://www.bestleftwild.com

Sharing poetry and music inspired by woodland walks, daily meditation and those moments of stillness amidst the waves, Best Left Wild explores the wild places within and without.

Picture by Jamie Dench https://www.jamiedench.com]]> 1352467 no no Fri, 09 Jun 2017 19:31:30 +0200 2017-06-09T19:31:30+02:00 03:00 https://hearthis.at/sevenism/anthropocene-phase-transition-disquiet0284/
had this playing and pulled the file into ableton too - lots of slow oscilation, slow delay, huge reverb and other stereo widening stuff, had this running at different octaves

then recorded for a while: the audition file is playing from ~ the hour mark and the ableton file from the start

stereo fx more pronounced in headphones but it sounds better acousmatically.

Disquiet Junto Project 0284: Creative Commonfield
Make ambient music from the sound of clay bowls.

Step 1: We’ll be making ambient recordings this week based on source audio from the artist Chris Kallmyer. He recorded the music using bells and bowls he constructed from clay sourced on the banks of the Mississippi River in St. Louis. Download the source audio from here:

https://goo.gl/Jb5CGU

https://llllllll.co/t/disquiet-junto-project-0284-creative-commonfield/]]>
had this playing and pulled the file into ableton too - lots of slow oscilation, slow delay, huge reverb and other stereo widening stuff, had this running at different octaves

then recorded for a while: the audition file is playing from ~ the hour mark and the ableton file from the start

stereo fx more pronounced in headphones but it sounds better acousmatically.

Disquiet Junto Project 0284: Creative Commonfield
Make ambient music from the sound of clay bowls.

Step 1: We’ll be making ambient recordings this week based on source audio from the artist Chris Kallmyer. He recorded the music using bells and bowls he constructed from clay sourced on the banks of the Mississippi River in St. Louis. Download the source audio from here:

https://goo.gl/Jb5CGU

https://llllllll.co/t/disquiet-junto-project-0284-creative-commonfield/]]> 1352468 no no Thu, 08 Jun 2017 22:32:30 +0200 2017-06-08T22:32:30+02:00 23:15 https://hearthis.at/sevenism/soil-n-sand-disquiet0283/ Disquiet Junto Project 0283: Rooms Within Rooms
Make an instrumental song built from the sounds of different rooms.

i used the sound of the fishtank humming in the lounge
the sound of the cutlery draw in the kitchen
the sound of birds in the garden

protoplasm, ambience 0.1, ddly, podfarm were used to make the hum more musical. had automation on the fades so the birds, cutlery, hum were going in and out at different times. the fading in and out was pretty random so luckily there's points where each sound is alone.]]> Disquiet Junto Project 0283: Rooms Within Rooms
Make an instrumental song built from the sounds of different rooms.

i used the sound of the fishtank humming in the lounge
the sound of the cutlery draw in the kitchen
the sound of birds in the garden

protoplasm, ambience 0.1, ddly, podfarm were used to make the hum more musical. had automation on the fades so the birds, cutlery, hum were going in and out at different times. the fading in and out was pretty random so luckily there's points where each sound is alone.]]> 1345852 no no Sat, 03 Jun 2017 16:09:30 +0200 2017-06-03T16:09:30+02:00 02:45 https://hearthis.at/sevenism/dark-mist-naviarhaiku178/
cecilia5 / audacity / audition
.

the river's mist
helps out the haze
moonlit night

http://naviarlab.tumblr.com

Kobayashi Issa (1763 – 1828) was one of Japan’s most prolific poets. He left in his journals over twenty thousand haiku poems. His real name was Kobayashi Yataro, but eventually took the pen name Issa, which means “cup of tea”.



DEADLINE: 7th June

Poem by Kobayashi Issa https://www.poetryfoundation.org/poems-and-poets/poets/detail/kobayashi-issa

Picture by Gatis Vilaks https://unsplash.com/@gatisv]]>
cecilia5 / audacity / audition
.

the river's mist
helps out the haze
moonlit night

http://naviarlab.tumblr.com

Kobayashi Issa (1763 – 1828) was one of Japan’s most prolific poets. He left in his journals over twenty thousand haiku poems. His real name was Kobayashi Yataro, but eventually took the pen name Issa, which means “cup of tea”.



DEADLINE: 7th June

Poem by Kobayashi Issa https://www.poetryfoundation.org/poems-and-poets/poets/detail/kobayashi-issa

Picture by Gatis Vilaks https://unsplash.com/@gatisv]]> 1345854 no no Thu, 01 Jun 2017 21:10:57 +0200 2017-06-01T21:10:57+02:00 04:52 https://hearthis.at/sevenism/injustice-naviarhaiku177/ ..
.
Eastern guard tower
glints in sunset; convicts rest
like lizards on rocks.
.
..
Etheridge Knight started writing poetry while serving a sentence at the Indiana State Prison and published his first collection, Poems from Prison in 1968.

Seven days to make music inspired by Knight’s poem: more info at http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 31st May

Poem by Etheridge Knight https://en.wikipedia.org/wiki/Etheridge_Knight

Picture by Chris Child https://unsplash.com/@chris23]]> ..
.
Eastern guard tower
glints in sunset; convicts rest
like lizards on rocks.
.
..
Etheridge Knight started writing poetry while serving a sentence at the Indiana State Prison and published his first collection, Poems from Prison in 1968.

Seven days to make music inspired by Knight’s poem: more info at http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 31st May

Poem by Etheridge Knight https://en.wikipedia.org/wiki/Etheridge_Knight

Picture by Chris Child https://unsplash.com/@chris23]]> 1337650 no no Sun, 28 May 2017 12:06:25 +0200 2017-05-28T12:06:25+02:00 05:23 https://hearthis.at/sevenism/dream-paralysis/ https://ambientonline.bandcamp.com/album/ambient-online-compilation-volume-8-part-one

can't remember how i made this one!]]> https://ambientonline.bandcamp.com/album/ambient-online-compilation-volume-8-part-one

can't remember how i made this one!]]> 1336847 no no Sat, 27 May 2017 15:18:56 +0200 2017-05-27T15:18:56+02:00 07:17 https://hearthis.at/sevenism/song-drone-disquiet0282/
recorded the sounds of the garden then my partner started shouting about standing in pigeon poop so had to do another recording!

i used paulstretch and delay to get that voice quality. stretched at different time resolutions to get more dronelike stuff.

denoising the recording and the gust of wind produced some weird artefacts which i decided to leave in.

as usual i read the junto instruct last night and had half forgotten it this morning

OoOOooooooooooooOOOOOOooOOO

Disquiet Junto Project 0282: Berio’s Bach
http://llllllll.co/t/disquiet-junto-project-0282-berios-bach/
Make a piece of music based on one composer’s observation regarding another composer.

Compose a short piece of music that opens and closes with there being a clear sense of which parts are “structurally significant” and which are “decorative,” but that in the middle gets ambiguous in this regard.]]>
recorded the sounds of the garden then my partner started shouting about standing in pigeon poop so had to do another recording!

i used paulstretch and delay to get that voice quality. stretched at different time resolutions to get more dronelike stuff.

denoising the recording and the gust of wind produced some weird artefacts which i decided to leave in.

as usual i read the junto instruct last night and had half forgotten it this morning

OoOOooooooooooooOOOOOOooOOO

Disquiet Junto Project 0282: Berio’s Bach
http://llllllll.co/t/disquiet-junto-project-0282-berios-bach/
Make a piece of music based on one composer’s observation regarding another composer.

Compose a short piece of music that opens and closes with there being a clear sense of which parts are “structurally significant” and which are “decorative,” but that in the middle gets ambiguous in this regard.]]> 1335561 no no Fri, 26 May 2017 12:45:40 +0200 2017-05-26T12:45:40+02:00 03:15 https://hearthis.at/sevenism/refracted-stillness-naviarhaiku176/
this software uses AI to create impossible instruments. the track here combines aspects of a reversed guitar and a pan flute

i'm interested in creating something human from something computational.

| || |||| || |
The haiku of the week is from The Narrow Road to the Interior, a collection of haibun (prose + haiku) written by Matsuo Basho

In Yamagata Province, the ancient temple founded by Jikaku Daishi in 86o, Ryushaku Temple is stone quiet, perfectly tidy. Everyone told us to see it. It meant a few miles extra, doubling back toward Obanazawa to find shelter. Monks at the foot of the mountain offered rooms, then we climbed the ridge to the temple, scrambling up through ancient gnarled pine and oak, gray smooth stones and moss. The temple doors, built on rocks, were bolted. I crawled among boulders to make my bows at shrines. The silence was profound. I sat, feeling my heart begin to open.

Lonely stillness-
a single cicada’s cry
sinking into stone

DEADLINE: 25th May

Poem by Matsuo Bashō https://www.goodreads.com/author/show/62257.Bash_Matsuo

Picture by Parker Gibbs https://unsplash.com/@parkergibbsmccullough

#naviar #haiku #haikuoftheday #MatsuoBasho]]>
this software uses AI to create impossible instruments. the track here combines aspects of a reversed guitar and a pan flute

i'm interested in creating something human from something computational.

| || |||| || |
The haiku of the week is from The Narrow Road to the Interior, a collection of haibun (prose + haiku) written by Matsuo Basho

In Yamagata Province, the ancient temple founded by Jikaku Daishi in 86o, Ryushaku Temple is stone quiet, perfectly tidy. Everyone told us to see it. It meant a few miles extra, doubling back toward Obanazawa to find shelter. Monks at the foot of the mountain offered rooms, then we climbed the ridge to the temple, scrambling up through ancient gnarled pine and oak, gray smooth stones and moss. The temple doors, built on rocks, were bolted. I crawled among boulders to make my bows at shrines. The silence was profound. I sat, feeling my heart begin to open.

Lonely stillness-
a single cicada’s cry
sinking into stone

DEADLINE: 25th May

Poem by Matsuo Bashō https://www.goodreads.com/author/show/62257.Bash_Matsuo

Picture by Parker Gibbs https://unsplash.com/@parkergibbsmccullough

#naviar #haiku #haikuoftheday #MatsuoBasho]]> 1329007 no no Sat, 20 May 2017 10:07:06 +0200 2017-05-20T10:07:06+02:00 06:20 https://hearthis.at/sevenism/falling-spirals-disquiet0281/ Disquiet Junto Project 0281: Pattern Interruption
Create a pattern, loop it, and intersperse alterations.
~~~~
recorded some melodica and palindromed it
in ableton i had it looping with lots of oscillation and gradually different octaves coming through as well as different delays (pingpong, reverse, platter, ddly) with more and more feedback. i thought this would deal with the variation rather than actually playing different notes.
feedback cut down in the last minute

image from https://www.nsf.gov/news/mmg/mmg_disp.jsp?med_id=73108]]> Disquiet Junto Project 0281: Pattern Interruption
Create a pattern, loop it, and intersperse alterations.
~~~~
recorded some melodica and palindromed it
in ableton i had it looping with lots of oscillation and gradually different octaves coming through as well as different delays (pingpong, reverse, platter, ddly) with more and more feedback. i thought this would deal with the variation rather than actually playing different notes.
feedback cut down in the last minute

image from https://www.nsf.gov/news/mmg/mmg_disp.jsp?med_id=73108]]> 1328117 no no Fri, 19 May 2017 12:44:50 +0200 2017-05-19T12:44:50+02:00 04:01 https://hearthis.at/sevenism/bass-on-blue-naviarhaiku175/ heavily processed bamboo flute
post holiday blues
..
The author of the week is Sumitaku Kenshin (1961-1987). He died just before turning 26, and devoted the last 20 months of his life to haiku poetry.

Seven days to make music in response to Sumitaku Kenshin’s poem: more info at http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 17th May

Poem by Sumitaku Kenshin (translated by Alex Fyffe) http://simplyhaiku.com/SHv2n6/features/Hiroaki_Sato_feature.html

Picture by Eutah Mizushima https://unsplash.com/@eutahm]]> heavily processed bamboo flute
post holiday blues
..
The author of the week is Sumitaku Kenshin (1961-1987). He died just before turning 26, and devoted the last 20 months of his life to haiku poetry.

Seven days to make music in response to Sumitaku Kenshin’s poem: more info at http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 17th May

Poem by Sumitaku Kenshin (translated by Alex Fyffe) http://simplyhaiku.com/SHv2n6/features/Hiroaki_Sato_feature.html

Picture by Eutah Mizushima https://unsplash.com/@eutahm]]> 1322747 no no Sun, 14 May 2017 14:19:15 +0200 2017-05-14T14:19:15+02:00 03:50 https://hearthis.at/sevenism/the-lost-chord-1888-refix-disquiet0280-/
i converted https://www.youtube.com/watch?v=8D0SXIANTLM&list=WL&index=14 to midi after denoising
from http://www.classicfm.com/discover-music/latest/oldest-recordings/:
"This is the earliest recording of music known to exist. In 1888 a recording of Arthur Sullivan's song 'The Lost Chord' was etched onto a phonograph cylinder. Sullivan was astounded at this new technology, but had his reservations too. At the time he said "I can only say that I am astonished and somewhat terrified at the result of this evening's experiments: astonished at the wonderful power you have developed, and terrified at the thought that so much hideous and bad music may be put on record forever.""

i made some bamboo flute samples and plugged them into a synth. i bought the flute in portugal a couple of days ago - i love cheap badly made instruments - they can sound so interesting. this cost 3 euro i think

then renoised it with various fx. it amused me to take out the vinyl distortions and then add the izotope vinyl vst to the chain.
.

http://llllllll.co/t/celebrate-a-junto-members-70th-birthday-disquiet-junto-project-0280/
Disquiet Junto Project 0280: 20170514
Celebrate the 70th birthday of a Junto member.

This week we celebrate the May 14, 2017, birthday of Junto member ferrie = differentieel, of the Netherlands.

Junto member ferrie = differentieel, of the Netherlands, turns 70 years of age on May 14, 2017. In correspondence leading up to this project, ferrie shared an observation that the composer Frederic Rzewski had previously shared with him in a letter: “Using pre-existing material for building new things is a very old practice.”]]>
i converted https://www.youtube.com/watch?v=8D0SXIANTLM&list=WL&index=14 to midi after denoising
from http://www.classicfm.com/discover-music/latest/oldest-recordings/:
"This is the earliest recording of music known to exist. In 1888 a recording of Arthur Sullivan's song 'The Lost Chord' was etched onto a phonograph cylinder. Sullivan was astounded at this new technology, but had his reservations too. At the time he said "I can only say that I am astonished and somewhat terrified at the result of this evening's experiments: astonished at the wonderful power you have developed, and terrified at the thought that so much hideous and bad music may be put on record forever.""

i made some bamboo flute samples and plugged them into a synth. i bought the flute in portugal a couple of days ago - i love cheap badly made instruments - they can sound so interesting. this cost 3 euro i think

then renoised it with various fx. it amused me to take out the vinyl distortions and then add the izotope vinyl vst to the chain.
.

http://llllllll.co/t/celebrate-a-junto-members-70th-birthday-disquiet-junto-project-0280/
Disquiet Junto Project 0280: 20170514
Celebrate the 70th birthday of a Junto member.

This week we celebrate the May 14, 2017, birthday of Junto member ferrie = differentieel, of the Netherlands.

Junto member ferrie = differentieel, of the Netherlands, turns 70 years of age on May 14, 2017. In correspondence leading up to this project, ferrie shared an observation that the composer Frederic Rzewski had previously shared with him in a letter: “Using pre-existing material for building new things is a very old practice.”]]> 1321410 no no Sat, 13 May 2017 13:01:53 +0200 2017-05-13T13:01:53+02:00 02:52 https://hearthis.at/sevenism/bamboo-sea-naviarhaiku174/ windy instruments
id like bamboo to take over the end of the garden
|||

Ozaki Hōsai was part of the New Trend Movement which is credited with the development of free-form haiku. In his short lifetime, he wrote only one book: Right under the big sky, I don’t wear a hat.

Seven days to make music inspired by his poem: more info at http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 10th May

Poem by Ozaki Hōsai https://en.wikipedia.org/wiki/Ozaki_H%C5%8Dsai

Picture by Sam X https://unsplash.com/@samx]]> windy instruments
id like bamboo to take over the end of the garden
|||

Ozaki Hōsai was part of the New Trend Movement which is credited with the development of free-form haiku. In his short lifetime, he wrote only one book: Right under the big sky, I don’t wear a hat.

Seven days to make music inspired by his poem: more info at http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 10th May

Poem by Ozaki Hōsai https://en.wikipedia.org/wiki/Ozaki_H%C5%8Dsai

Picture by Sam X https://unsplash.com/@samx]]> 1314560 no no Sat, 06 May 2017 13:26:06 +0200 2017-05-06T13:26:06+02:00 06:52 https://hearthis.at/sevenism/thought-dsqt0279/
i recorded myself saying thought, refreshed fakemusicgenerator.com til i got a track with thought in the title and used the generated midi with my recording in a synth and sampler. made a nice tribal polyrhythm

also a drone with the word slowed and reversed and pitched up and down and so on
.............
http://llllllll.co/t/disquiet-junto-project-0279-word-interiorities/
Disquiet Junto Project 0279: Word Interiorities
Dissect the sonic properties of a single spoken word.

Step 1: We’ll be composing short explorations of sound by taking apart the recording of a single spoken word, excavating it for its components, and then exposing them through various techniques, such as repetition, elongation, and contrast. The first step is to choose your word. You can choose your own, or you can follow these chance instructions, which require a single dice. First, roll the dice once. That number tells you which of the six chapters in Luciano Berio’s book Remembering the Future contains your word. Then roll the dice three times; the combined values of those three rolls (e.g., a roll of 3 and a roll of 4 and a roll of 2 yields 9) is how many words to count into the chapter to find your word. You should be able to access a digital copy of the book via Google Books at this URL:

https://goo.gl/hQ1kc0]]>
i recorded myself saying thought, refreshed fakemusicgenerator.com til i got a track with thought in the title and used the generated midi with my recording in a synth and sampler. made a nice tribal polyrhythm

also a drone with the word slowed and reversed and pitched up and down and so on
.............
http://llllllll.co/t/disquiet-junto-project-0279-word-interiorities/
Disquiet Junto Project 0279: Word Interiorities
Dissect the sonic properties of a single spoken word.

Step 1: We’ll be composing short explorations of sound by taking apart the recording of a single spoken word, excavating it for its components, and then exposing them through various techniques, such as repetition, elongation, and contrast. The first step is to choose your word. You can choose your own, or you can follow these chance instructions, which require a single dice. First, roll the dice once. That number tells you which of the six chapters in Luciano Berio’s book Remembering the Future contains your word. Then roll the dice three times; the combined values of those three rolls (e.g., a roll of 3 and a roll of 4 and a roll of 2 yields 9) is how many words to count into the chapter to find your word. You should be able to access a digital copy of the book via Google Books at this URL:

https://goo.gl/hQ1kc0]]> 1313982 no no Fri, 05 May 2017 22:10:58 +0200 2017-05-05T22:10:58+02:00 04:14 https://hearthis.at/sevenism/midnight-sands-naviarhaiku173/ ~~~
Seven days to make music inspired by the assigned poem. More info at: http://www.naviarrecords.com/about/naviar-haiku

Poem by Kala Ramesh https://ssla.edu.in/the-heart-of-haiku/7-faculty/202-kala-ramesh

Picture by Tim de Groot https://unsplash.com/@timdegroot]]> ~~~
Seven days to make music inspired by the assigned poem. More info at: http://www.naviarrecords.com/about/naviar-haiku

Poem by Kala Ramesh https://ssla.edu.in/the-heart-of-haiku/7-faculty/202-kala-ramesh

Picture by Tim de Groot https://unsplash.com/@timdegroot]]> 1308640 no no Sun, 30 Apr 2017 19:42:25 +0200 2017-04-30T19:42:25+02:00 07:39 https://hearthis.at/sevenism/dream-haze-disquiet0278/
based on all this i went for experimental ambient, classical architecture so classical music samples (cello, viola, bass clarinet) jangly guitar fx echoes, all recorded in one take, emergent melodies to represent emergent cognition and integration, and that kind of hypnotic sense that fits with a looser more freeform notation

|||||
http://llllllll.co/t/disquiet-junto-project-0278-macconnels-jingle/
Disquiet Junto Project 0278: MacConnel’s Jingle
The Assignment: Interpret a work of contemporary art as a graphically notated score.

Step 1: The image at the following URL is a photograph of Jingle, a 1980 work by the artist Kim MacConnel (b. 1946). The piece, which is approximately 8 feet wide and is made of acrylic on cotton, hangs at the Parrish Art Museum in the town of Watermill, New York, on the east end of Long Island.

http://disquiet.com/wp-content/uploads/2017/04/kimmacconneljingle.jpg

Step 2: Compose a short piece of music that interprets MacConnel’s Jingle as a graphically notated score.]]>
based on all this i went for experimental ambient, classical architecture so classical music samples (cello, viola, bass clarinet) jangly guitar fx echoes, all recorded in one take, emergent melodies to represent emergent cognition and integration, and that kind of hypnotic sense that fits with a looser more freeform notation

|||||
http://llllllll.co/t/disquiet-junto-project-0278-macconnels-jingle/
Disquiet Junto Project 0278: MacConnel’s Jingle
The Assignment: Interpret a work of contemporary art as a graphically notated score.

Step 1: The image at the following URL is a photograph of Jingle, a 1980 work by the artist Kim MacConnel (b. 1946). The piece, which is approximately 8 feet wide and is made of acrylic on cotton, hangs at the Parrish Art Museum in the town of Watermill, New York, on the east end of Long Island.

http://disquiet.com/wp-content/uploads/2017/04/kimmacconneljingle.jpg

Step 2: Compose a short piece of music that interprets MacConnel’s Jingle as a graphically notated score.]]> 1307965 no no Fri, 28 Apr 2017 12:42:06 +0200 2017-04-28T12:42:06+02:00 07:04 https://hearthis.at/sevenism/in-aura-mix-navairhaiku172/ distant chimes
..
..
morning calm
the song that hovers
out of sight

The poem of the week is a beautiful haiku by Peggy Willis Lyles. You can find more information about Peggy at http://www.worldhaiku.net/poetry/eng/us/p.willis.lyles.htm.

“Sometimes we say too much. Words get in the way… . A good haiku offers just enough words, just the right words, to recreate the essence of a specific time and place and hold it permanently available.” (Peggy Willis Lyles)

DEADLINE: 26th April

Poem by Peggy Willis Lyles http://www.worldhaiku.net/poetry/eng/us/p.willis.lyles.htm

Picture by Timothy Meinberg https://unsplash.com/@tmbrg

For more information visit http://www.naviarrecords.com/about/naviar-haiku]]> distant chimes
..
..
morning calm
the song that hovers
out of sight

The poem of the week is a beautiful haiku by Peggy Willis Lyles. You can find more information about Peggy at http://www.worldhaiku.net/poetry/eng/us/p.willis.lyles.htm.

“Sometimes we say too much. Words get in the way… . A good haiku offers just enough words, just the right words, to recreate the essence of a specific time and place and hold it permanently available.” (Peggy Willis Lyles)

DEADLINE: 26th April

Poem by Peggy Willis Lyles http://www.worldhaiku.net/poetry/eng/us/p.willis.lyles.htm

Picture by Timothy Meinberg https://unsplash.com/@tmbrg

For more information visit http://www.naviarrecords.com/about/naviar-haiku]]> 1302188 no no Tue, 25 Apr 2017 13:56:03 +0200 2017-04-25T13:56:03+02:00 05:26 https://hearthis.at/sevenism/three-words-for-loss-disquiet0277/ the first chunk is 3 previous tracks of mine
second is 3 field recordings
third is 3 samples of classical instruments
i messed around with pitch but phasing rather than speed. each chunk processed with the same fx to fit together
.
.
.
http://llllllll.co/t/chew-some-concrete-sounds-disquiet-junto-project-0277/
Disquiet Junto Project 0277: Chew Concrète
The Assignment: Make music inspired by C. Reider’s Chew Cinders album procedures.

Step 1: This week’s project is inspired by the manner in which C. Reider recorded his recent album, Chew Cinders (Midnight Circles). We aren’t remixing his album. We’re remixing/repurposing his approach to the album. You can check it out here:

https://midnightcircles.bandcamp.com/album/chew-cinders

Step 2: This instruction is adapted, with Reider’s input, from the manner in which he recorded the album:

Process a sequence of standalone “chunks” of pre-recorded sound — voice, field recordings, noise — with an emphasis on the manipulation of time and pitch. Speed things up, slow them down, and explore the opportunity to use cutup techniques. Pay particular attention to segues between the chunks.]]> the first chunk is 3 previous tracks of mine
second is 3 field recordings
third is 3 samples of classical instruments
i messed around with pitch but phasing rather than speed. each chunk processed with the same fx to fit together
.
.
.
http://llllllll.co/t/chew-some-concrete-sounds-disquiet-junto-project-0277/
Disquiet Junto Project 0277: Chew Concrète
The Assignment: Make music inspired by C. Reider’s Chew Cinders album procedures.

Step 1: This week’s project is inspired by the manner in which C. Reider recorded his recent album, Chew Cinders (Midnight Circles). We aren’t remixing his album. We’re remixing/repurposing his approach to the album. You can check it out here:

https://midnightcircles.bandcamp.com/album/chew-cinders

Step 2: This instruction is adapted, with Reider’s input, from the manner in which he recorded the album:

Process a sequence of standalone “chunks” of pre-recorded sound — voice, field recordings, noise — with an emphasis on the manipulation of time and pitch. Speed things up, slow them down, and explore the opportunity to use cutup techniques. Pay particular attention to segues between the chunks.]]> 1297483 no no Thu, 20 Apr 2017 22:27:31 +0200 2017-04-20T22:27:31+02:00 06:00 https://hearthis.at/sevenism/birds-eye-view-naviarhaiku171/ cello/trumpet/viola samples
lots of fx
.
among twenty snowy mountains,
the only moving thing
was the eye of the blackbird.
.
The author of the week is Wallace Stevens, one of the most well-known and respected poets of the 20th century. “Thirteen Ways of Looking at a Blackbird“ is probably his best-known poem, and this week’s assignment is its first stanza.

“Thirteen Ways of Looking at a Blackbird” is a sequence of thirteen Imagist poems written in variable syllabic verse. Line length varies from two to ten syllables, but the norm is four to eight syllables per line, thus approximating in English the line lengths of Japanese forms such as the haiku, the senryu, and the tanka, all of which utilize five- and seven-syllable lines. In effect, Wallace Stevens’s series is a sequence of Japanese-style Zen poems. The unifying factor in the series is the image of the blackbird, which appears in each of the numbered sections of the set; each poem otherwise stands on its own and offers an insight either into “the nature of the universe,” as does the haiku, or into "the nature of mankind,“ as does the senryu. (from Terebess)

Read the whole poem at: https://www.poetryfoundation.org/poems-and-poets/poems/detail/45236

DEADLINE: 19th April

Poem by Wallace Stevens https://www.poetryfoundation.org/poems-and-poets/poets/detail/wallace-stevens

Picture by Jan Erik Waiderhttps://unsplash.com/@northlandscapes?photo=Kc3meWFta9w]]> cello/trumpet/viola samples
lots of fx
.
among twenty snowy mountains,
the only moving thing
was the eye of the blackbird.
.
The author of the week is Wallace Stevens, one of the most well-known and respected poets of the 20th century. “Thirteen Ways of Looking at a Blackbird“ is probably his best-known poem, and this week’s assignment is its first stanza.

“Thirteen Ways of Looking at a Blackbird” is a sequence of thirteen Imagist poems written in variable syllabic verse. Line length varies from two to ten syllables, but the norm is four to eight syllables per line, thus approximating in English the line lengths of Japanese forms such as the haiku, the senryu, and the tanka, all of which utilize five- and seven-syllable lines. In effect, Wallace Stevens’s series is a sequence of Japanese-style Zen poems. The unifying factor in the series is the image of the blackbird, which appears in each of the numbered sections of the set; each poem otherwise stands on its own and offers an insight either into “the nature of the universe,” as does the haiku, or into "the nature of mankind,“ as does the senryu. (from Terebess)

Read the whole poem at: https://www.poetryfoundation.org/poems-and-poets/poems/detail/45236

DEADLINE: 19th April

Poem by Wallace Stevens https://www.poetryfoundation.org/poems-and-poets/poets/detail/wallace-stevens

Picture by Jan Erik Waiderhttps://unsplash.com/@northlandscapes?photo=Kc3meWFta9w]]> 1291409 no no Sun, 16 Apr 2017 19:31:16 +0200 2017-04-16T19:31:16+02:00 05:47 https://hearthis.at/sevenism/808s-n-brokenstates-disquiet0276/ loaded into protoplasm at 3 different octaves
had a (block)chain of guitar fx
at each stage the block gets more complex and further from the original. ending in a nice noisy drone.
-
.
More on this 276th weekly Disquiet Junto project — “808 Blockchain Beats: Make 808-style beats based on the blockchain” — at:

llllllll.co/t/808-blockchain-be…junto-project-0276/]]> loaded into protoplasm at 3 different octaves
had a (block)chain of guitar fx
at each stage the block gets more complex and further from the original. ending in a nice noisy drone.
-
.
More on this 276th weekly Disquiet Junto project — “808 Blockchain Beats: Make 808-style beats based on the blockchain” — at:

llllllll.co/t/808-blockchain-be…junto-project-0276/]]> 1289606 no no Sat, 15 Apr 2017 21:45:05 +0200 2017-04-15T21:45:05+02:00 05:33 https://hearthis.at/sevenism/randomizm-3/ slightly slowed n scrunched
randomly chosen by an mp3 player

tracks:
boqurant - oak
sir richard bishop - graviton polarity generator
underworld - good morning cockerel
joy zipper - apathy
klute - coconut teaser
milieu - sofaphonk
bjork - innocence
low + dirty 3 - when i called upon your..
peter broderick - and it's alright
kevin shields - are you awake
posthuman - burning gods city
bon iver - minnesota, wi]]> slightly slowed n scrunched
randomly chosen by an mp3 player

tracks:
boqurant - oak
sir richard bishop - graviton polarity generator
underworld - good morning cockerel
joy zipper - apathy
klute - coconut teaser
milieu - sofaphonk
bjork - innocence
low + dirty 3 - when i called upon your..
peter broderick - and it's alright
kevin shields - are you awake
posthuman - burning gods city
bon iver - minnesota, wi]]> 2045095 no no Wed, 12 Apr 2017 15:39:05 +0200 2017-04-12T15:39:05+02:00 1:04:08 https://hearthis.at/sevenism/spring-palindromes-ii-disquiet0275/ Make a track all over again.
http://llllllll.co/t/revisit-something-disquiet-junto-project-0275/7300

i've been doing the junto coming on 2 years. i wanted to celebrate that by redoing my first junto track and kind of to mark how much i've learnt since then - largely in part by the breadth of these projects.

but then i was kind of uninspired by the original so changed my mind. weirdly, that same day the original track came on random on my phone (out of 14,000 tracks) and i took that a sign. also i reflected on how i used to put some of my own music on my, well, i used an mp3 player back then. getting back into music the tracks were more memorable but now i'm making so much i can barely remember how i made the tracks i did yesterday.

the structure is similar in that i've reversed the first half to create a palindrome but i've switched between ableton audacity and audition which is what i tend to do at the moment.

recreation of https://hearthis.at/sevenism/spring-palindromes-dark-winter-snippets-disquiet0177-netlabelportrait/

original instructions:
Step 1: Create a new piece of music by using nothing but the following segments of the following songs:

Use the first 30 seconds from “Part 1″ off Scott Lawlor’s World of Ice and Snow:

www.darkwinter.com/dw095.html

Use the first 30 seconds from “Underground Shelter” off Nadador Nocturno’s Harsh Winters in the Distance:

www.darkwinter.com/dw096.html

Use the first 30 seconds from “DSM III – The Cristalline Entity” off Ovdk vs Seetyca’s Allegorik Symptom Before the Cataclysm:

darkwinter.com/dw097.html]]> Make a track all over again.
http://llllllll.co/t/revisit-something-disquiet-junto-project-0275/7300

i've been doing the junto coming on 2 years. i wanted to celebrate that by redoing my first junto track and kind of to mark how much i've learnt since then - largely in part by the breadth of these projects.

but then i was kind of uninspired by the original so changed my mind. weirdly, that same day the original track came on random on my phone (out of 14,000 tracks) and i took that a sign. also i reflected on how i used to put some of my own music on my, well, i used an mp3 player back then. getting back into music the tracks were more memorable but now i'm making so much i can barely remember how i made the tracks i did yesterday.

the structure is similar in that i've reversed the first half to create a palindrome but i've switched between ableton audacity and audition which is what i tend to do at the moment.

recreation of https://hearthis.at/sevenism/spring-palindromes-dark-winter-snippets-disquiet0177-netlabelportrait/

original instructions:
Step 1: Create a new piece of music by using nothing but the following segments of the following songs:

Use the first 30 seconds from “Part 1″ off Scott Lawlor’s World of Ice and Snow:

www.darkwinter.com/dw095.html

Use the first 30 seconds from “Underground Shelter” off Nadador Nocturno’s Harsh Winters in the Distance:

www.darkwinter.com/dw096.html

Use the first 30 seconds from “DSM III – The Cristalline Entity” off Ovdk vs Seetyca’s Allegorik Symptom Before the Cataclysm:

darkwinter.com/dw097.html]]> 1284974 no no Mon, 10 Apr 2017 22:50:41 +0200 2017-04-10T22:50:41+02:00 03:56 https://hearthis.at/sevenism/gescom-disengage-radio-show-19111995/
i made it stereo, did some noise reduction, de-noising.. kind of fixed some of the vinyl fuck ups on the second track. Other eq-y mastering stuff.

Disengage ran from 1992 - 1997. This might've been mixed by Autechre or other anonymous artists associated with Gescom]]>
i made it stereo, did some noise reduction, de-noising.. kind of fixed some of the vinyl fuck ups on the second track. Other eq-y mastering stuff.

Disengage ran from 1992 - 1997. This might've been mixed by Autechre or other anonymous artists associated with Gescom]]> 1282736 no no Sun, 09 Apr 2017 16:34:34 +0200 2017-04-09T16:34:34+02:00 1:30:43 https://hearthis.at/sevenism/dark-rain-gomel-1986/
To commemorate the 31th anniversary of Chernobyl disaster, Food of War is organizing Clouded Lands, a show which aims to raise awareness on the consequences that such catastrophic event brings in people’s culture and everyday life: outcomes that can still be seen and experienced today in this area of our planet.

Naviar’s task is to recreate sounds, atmospheres and moods of one of the areas mostly affected by the disaster: the region of Gomel, in Belarus.

Just 70 miles away from the nuclear disaster, the Gomel region is where the Soviet government used artillery shells filled with silver iodide to make rain clouds that would “wash out” radioactive particles which were drifting towards densely populated cities. Witnesses say that that day in 1986 they saw black rain falling from the sky. The nuclear fallout is said to have caused an 80% increase in disabled births here, and to this day huge areas around Gomel remain uninhabitable. To commemorate this tragedy, musicians are called to reimagine sounds and moods from those days in Gomel, and translate them into sounds.]]>
To commemorate the 31th anniversary of Chernobyl disaster, Food of War is organizing Clouded Lands, a show which aims to raise awareness on the consequences that such catastrophic event brings in people’s culture and everyday life: outcomes that can still be seen and experienced today in this area of our planet.

Naviar’s task is to recreate sounds, atmospheres and moods of one of the areas mostly affected by the disaster: the region of Gomel, in Belarus.

Just 70 miles away from the nuclear disaster, the Gomel region is where the Soviet government used artillery shells filled with silver iodide to make rain clouds that would “wash out” radioactive particles which were drifting towards densely populated cities. Witnesses say that that day in 1986 they saw black rain falling from the sky. The nuclear fallout is said to have caused an 80% increase in disabled births here, and to this day huge areas around Gomel remain uninhabitable. To commemorate this tragedy, musicians are called to reimagine sounds and moods from those days in Gomel, and translate them into sounds.]]> 1280132 no no Fri, 24 Mar 2017 13:07:43 +0100 2017-03-24T13:07:43+01:00 04:42 https://hearthis.at/sevenism/virtual-flower-naviarhaiku169/
.
virtual flowers
on a windy night
computer humming
.

Poem by Katherine Samuelowicz http://www.worldhaiku.net/poetry/eng/au/k.samuelowicz.htm

Picture by Jeremy Bishop https://unsplash.com/@tidesinourveins]]>
.
virtual flowers
on a windy night
computer humming
.

Poem by Katherine Samuelowicz http://www.worldhaiku.net/poetry/eng/au/k.samuelowicz.htm

Picture by Jeremy Bishop https://unsplash.com/@tidesinourveins]]> 1278358 no no Tue, 04 Apr 2017 23:47:21 +0200 2017-04-04T23:47:21+02:00 03:24 https://hearthis.at/sevenism/brkn-snd-disquiet0274/ the beat is from https://aiexperiments.withgoogle.com/drum-machine/view/ which is huge fun to play with. i kept the pattern the same and clicked shuffle a lot for different sounds. except when it got to ~1:50 and that great beat comes from nowhere.. was hard to change it then..
the synth is crystal, contorted with lots of lfo modulation. broken further by saving as an 8kbps mp3 , then fed thru a lot of guitar distortion. same bpm as the beat
(the original synth sound is still low down in the mix too)
-0͙̙̗̠͖͔ͫ̽́͊ͬ̔̚2̡̻̝͌ͣ7̶͎̥̩͔͔̱ͣ̓̔ͤ̀4̧͔̝̤̗͆̍̉--------
“Broken Sound: Record a piece of music in the genre called ‘broken sound’” — at:

disquiet.com/0274/

llllllll.co/t/the-genre-of-brok…junto-project-0274/]]> the beat is from https://aiexperiments.withgoogle.com/drum-machine/view/ which is huge fun to play with. i kept the pattern the same and clicked shuffle a lot for different sounds. except when it got to ~1:50 and that great beat comes from nowhere.. was hard to change it then..
the synth is crystal, contorted with lots of lfo modulation. broken further by saving as an 8kbps mp3 , then fed thru a lot of guitar distortion. same bpm as the beat
(the original synth sound is still low down in the mix too)
-0͙̙̗̠͖͔ͫ̽́͊ͬ̔̚2̡̻̝͌ͣ7̶͎̥̩͔͔̱ͣ̓̔ͤ̀4̧͔̝̤̗͆̍̉--------
“Broken Sound: Record a piece of music in the genre called ‘broken sound’” — at:

disquiet.com/0274/

llllllll.co/t/the-genre-of-brok…junto-project-0274/]]> 1272268 no no Fri, 31 Mar 2017 12:48:50 +0200 2017-03-31T12:48:50+02:00 04:13 https://hearthis.at/sevenism/rousing-disquiet027/ i held down a note then another until my fingers could stretch no more
all slowed down in audacity ~60x
faded in throughout.
gentle wake up / definitely up by the end of the cacophony
◖◗
Disquiet Junto Project 0273: Alarm Clocked
The Assignment: Make music for a (new! improved!) slow-waking alarm clock.
http://llllllll.co/t/alarm-clocked-disquiet-junto-project-0273/7097

Image associated with this track is used with a Creative Commons license: flic.kr/p/662uYX]]> i held down a note then another until my fingers could stretch no more
all slowed down in audacity ~60x
faded in throughout.
gentle wake up / definitely up by the end of the cacophony
◖◗
Disquiet Junto Project 0273: Alarm Clocked
The Assignment: Make music for a (new! improved!) slow-waking alarm clock.
http://llllllll.co/t/alarm-clocked-disquiet-junto-project-0273/7097

Image associated with this track is used with a Creative Commons license: flic.kr/p/662uYX]]> 1262900 no no Fri, 24 Mar 2017 20:26:18 +0100 2017-03-24T20:26:18+01:00 05:06 https://hearthis.at/sevenism/fallen-leaf-naviarhaiku168/ made it more fluttery and liquid in ableton


http://naviarlab.tumblr.com
This week’s poem was written by Ryuin, over 300 years ago. Very little is known about this haiku writer, who was contemporary of Matsuo Basho and died in 1690. As always, seven days to make music in response to the assigned haiku poem: more info at: http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 29th March

Poem by Ryuin http://www.haiku-hia.com/about_haiku/selections_en/heuvel_select.html

Picture by Caleb George http://www.caleb-morris.com]]> made it more fluttery and liquid in ableton


http://naviarlab.tumblr.com
This week’s poem was written by Ryuin, over 300 years ago. Very little is known about this haiku writer, who was contemporary of Matsuo Basho and died in 1690. As always, seven days to make music in response to the assigned haiku poem: more info at: http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 29th March

Poem by Ryuin http://www.haiku-hia.com/about_haiku/selections_en/heuvel_select.html

Picture by Caleb George http://www.caleb-morris.com]]> 1262278 no no Fri, 24 Mar 2017 12:39:48 +0100 2017-03-24T12:39:48+01:00 05:07 https://hearthis.at/sevenism/orbital-resonance-disquiet0272/
() () () () () ()
http://llllllll.co/t/exoplanetary-interv-disquiet-junto-project-0272/6985

Disquiet Junto Project 0272: Exoplanetary Intervals
The Assignment: Use music to express the relationships between the TRAPPIST-1 planets.]]>
() () () () () ()
http://llllllll.co/t/exoplanetary-interv-disquiet-junto-project-0272/6985

Disquiet Junto Project 0272: Exoplanetary Intervals
The Assignment: Use music to express the relationships between the TRAPPIST-1 planets.]]> 1252563 no no Thu, 16 Mar 2017 22:50:47 +0100 2017-03-16T22:50:47+01:00 04:04 https://hearthis.at/sevenism/the-city-sleeps-naviarhaiku167/
sometimes i see this project as rewriting a haiku; but this happened more literally this time.

i played 12 string guitar and represented the dog/shadow as a pitched up echo gradually going out of phase.
.

.
lost in a labyrinth of streets
late at night
a stray dog following me...
.

As always, seven days to make music inspired by the poem above: more info at http://www.naviarrecords.com/about/naviar-haiku

Poem by Ty Hadman http://www.ahapoetry.com/PPthbio.htm

Picture by Khachik Simonian http://khachik.com]]>
sometimes i see this project as rewriting a haiku; but this happened more literally this time.

i played 12 string guitar and represented the dog/shadow as a pitched up echo gradually going out of phase.
.

.
lost in a labyrinth of streets
late at night
a stray dog following me...
.

As always, seven days to make music inspired by the poem above: more info at http://www.naviarrecords.com/about/naviar-haiku

Poem by Ty Hadman http://www.ahapoetry.com/PPthbio.htm

Picture by Khachik Simonian http://khachik.com]]> 1252005 no no Thu, 16 Mar 2017 14:39:57 +0100 2017-03-16T14:39:57+01:00 04:02 https://hearthis.at/sevenism/distant-song-naviarhaiku166/
at the limit of audibility
the rare bird
i've just heard of
.

Poem by Jim Kacian https://en.wikipedia.org/wiki/Jim_Kacian

Picture by Mareks Steins https://unsplash.com/@marekssteins

http://www.naviarrecords.com/about/naviar-haiku]]>
at the limit of audibility
the rare bird
i've just heard of
.

Poem by Jim Kacian https://en.wikipedia.org/wiki/Jim_Kacian

Picture by Mareks Steins https://unsplash.com/@marekssteins

http://www.naviarrecords.com/about/naviar-haiku]]> 1246393 no no Sun, 12 Mar 2017 19:31:19 +0100 2017-03-12T19:31:19+01:00 03:13 https://hearthis.at/sevenism/h-o-p-e-l-e-s-s/
isolated - claustrophobic - hope/less

#FREEBASSEL

http://freebassel.org/campaign/events/freebasselday/2017/03/09/freebassel5years/

| |

More on this 271st weekly Disquiet Junto project —

“Prison Sky: Mark the 5th anniversary of open-source software engineer Bassel Khartabil’s detention” — at:

llllllll.co/t/prison-sky-disquiet-junto-project-0271/6877]]>
isolated - claustrophobic - hope/less

#FREEBASSEL

http://freebassel.org/campaign/events/freebasselday/2017/03/09/freebassel5years/

| |

More on this 271st weekly Disquiet Junto project —

“Prison Sky: Mark the 5th anniversary of open-source software engineer Bassel Khartabil’s detention” — at:

llllllll.co/t/prison-sky-disquiet-junto-project-0271/6877]]> 1243409 no no Fri, 10 Mar 2017 18:55:51 +0100 2017-03-10T18:55:51+01:00 03:40 https://hearthis.at/sevenism/lionel-benancie-x-ohm-research-x-7ism-ske126tch-remix-disquiet0270/ i like how they sound.. chickeny-harmonica echoes..
.
http://llllllll.co/t/completed-a-duet-disquiet-junto-project-0270/6765
.]]> i like how they sound.. chickeny-harmonica echoes..
.
http://llllllll.co/t/completed-a-duet-disquiet-junto-project-0270/6765
.]]> 1238704 no no Mon, 06 Mar 2017 13:53:31 +0100 2017-03-06T13:53:31+01:00 04:18 https://hearthis.at/sevenism/ohm-research-sevenism-sketch-mix-disquiet0270/ i picked up what was to hand - a mic and harmonica - and played along with a load of echo n feedback fx loaded.. very easy because @ohm-research 's track was largely rhythm
cba to video. so just imagine me lying on the sofa holding a mic and harmonica looking super lazy
.
More on this 270th weekly Disquiet Junto project, “Just Duet: Record the second half of a duet live” at:

disquiet.com/0270/

More on the Disquiet Junto at:

disquiet.com/junto/

Subscribe to project announcements here:

tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/completed-a-duet-…o-project-0270/6765

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> i picked up what was to hand - a mic and harmonica - and played along with a load of echo n feedback fx loaded.. very easy because @ohm-research 's track was largely rhythm
cba to video. so just imagine me lying on the sofa holding a mic and harmonica looking super lazy
.
More on this 270th weekly Disquiet Junto project, “Just Duet: Record the second half of a duet live” at:

disquiet.com/0270/

More on the Disquiet Junto at:

disquiet.com/junto/

Subscribe to project announcements here:

tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/completed-a-duet-…o-project-0270/6765

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> 1235783 no no Fri, 03 Mar 2017 19:21:17 +0100 2017-03-03T19:21:17+01:00 03:02 https://hearthis.at/sevenism/adverted-attn-naviarhaiku165-/ i avoid adverts, i don't like the manipulation. why force me to watch ads? it gives me a negative impression of the product!
.
these things inspired the track
.

commercial break—
the cat and I
head for the kitchen

William J. Higginson was an American poet, non-fiction author, translator, teacher, and editor. Higginson’s own books include The Haiku Handbook, Wind in the Long Grass (an anthology for children), The Haiku Seasons: Poetry of the Natural World, translations such as Red Fuji: Selected Haiku of Yatsuka Ishihara, and several collections, including Paterson Pieces (poems), Death Is & Approaches to the Edge (poems and essays), and Surfing on Magma (poems). Check out his website for more information.

Poem by William J. Higginson http://www.2hweb.net/wjhigginson

Picture by https://unsplash.com/@paramir]]> i avoid adverts, i don't like the manipulation. why force me to watch ads? it gives me a negative impression of the product!
.
these things inspired the track
.

commercial break—
the cat and I
head for the kitchen

William J. Higginson was an American poet, non-fiction author, translator, teacher, and editor. Higginson’s own books include The Haiku Handbook, Wind in the Long Grass (an anthology for children), The Haiku Seasons: Poetry of the Natural World, translations such as Red Fuji: Selected Haiku of Yatsuka Ishihara, and several collections, including Paterson Pieces (poems), Death Is & Approaches to the Edge (poems and essays), and Surfing on Magma (poems). Check out his website for more information.

Poem by William J. Higginson http://www.2hweb.net/wjhigginson

Picture by https://unsplash.com/@paramir]]> 1236668 no no Sat, 04 Mar 2017 17:45:19 +0100 2017-03-04T17:45:19+01:00 09:15 https://hearthis.at/sevenism/shifting-sands-disquiet0269/ also some humming thru lots of guitar fx

i've made this quite difficult for next week havent i?
..
Disquiet Junto Project 0269: Duet Portion
Record half of a live duet.

Step 1: This week’s Junto will be the first in an occasional series allowing for asynchronous collaboration. You will be recording something with the understanding that it will be unfinished.

Step 2: The plan is for you to record a short and original piece of music, on any instrumentation of your choice, live, with no post-production edits or overdubbing. You can do as many takes as you’d like, but the final recording should be a document of a wholly live performance. Conceive it as something that leaves room for something else — another instrument, performed by another person — to join in.

Step 3: Record a short piece of music, roughly two to three minutes in length, as described in Step 2. If possible, it would be great if you could make a video of your live performance as well.

Step 4: Also be sure, when complete, to make the track downloadable, because it will be used by someone else in a future Junto project.

http://disquiet.com/0269/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/record-half-a-duet-disquiet-junto-project-0269/6652/]]> also some humming thru lots of guitar fx

i've made this quite difficult for next week havent i?
..
Disquiet Junto Project 0269: Duet Portion
Record half of a live duet.

Step 1: This week’s Junto will be the first in an occasional series allowing for asynchronous collaboration. You will be recording something with the understanding that it will be unfinished.

Step 2: The plan is for you to record a short and original piece of music, on any instrumentation of your choice, live, with no post-production edits or overdubbing. You can do as many takes as you’d like, but the final recording should be a document of a wholly live performance. Conceive it as something that leaves room for something else — another instrument, performed by another person — to join in.

Step 3: Record a short piece of music, roughly two to three minutes in length, as described in Step 2. If possible, it would be great if you could make a video of your live performance as well.

Step 4: Also be sure, when complete, to make the track downloadable, because it will be used by someone else in a future Junto project.

http://disquiet.com/0269/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/record-half-a-duet-disquiet-junto-project-0269/6652/]]> 1230242 no no Fri, 24 Feb 2017 22:53:50 +0100 2017-02-24T22:53:50+01:00 04:42 https://hearthis.at/sevenism/behind-discarded-doors-naviarhaiku164/ made this with a huge storm blowing outside rattling the windows!

..

In that empty house,
with broken windows rattling,
a door slams and slams.

This week’s haiku is an evocative poem written by American poet Clement Hoyt. Hoyt started studying haiku and Zen with Nyogen Senzaki in 1936 and became one of the first English-language senryu writers.

Seven days to make music in response to the assigned poem: more info at http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 1st March

Poem by Clement Hoyt http://terebess.hu/english/usa/hoyt.html

Picture by Paco S https://unsplash.com/@leoverdura

TO PARTICIPATE

- Make music in response to the assigned haiku.
- If you're a Soundcloud user, upload the track on Soundcloud and message me privately with the track's URL; alternatively you can send me your composition directly via Dropbox
- Include the assignment number in the title of your track - “Title of your track (naviarhaiku163)”

Please use a Creative Commons license for your track and set it as downloadable if you wish to be included in the podcasts.

For more information visit http://www.naviarrecords.com/about/naviar-haiku]]> made this with a huge storm blowing outside rattling the windows!

..

In that empty house,
with broken windows rattling,
a door slams and slams.

This week’s haiku is an evocative poem written by American poet Clement Hoyt. Hoyt started studying haiku and Zen with Nyogen Senzaki in 1936 and became one of the first English-language senryu writers.

Seven days to make music in response to the assigned poem: more info at http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 1st March

Poem by Clement Hoyt http://terebess.hu/english/usa/hoyt.html

Picture by Paco S https://unsplash.com/@leoverdura

TO PARTICIPATE

- Make music in response to the assigned haiku.
- If you're a Soundcloud user, upload the track on Soundcloud and message me privately with the track's URL; alternatively you can send me your composition directly via Dropbox
- Include the assignment number in the title of your track - “Title of your track (naviarhaiku163)”

Please use a Creative Commons license for your track and set it as downloadable if you wish to be included in the podcasts.

For more information visit http://www.naviarrecords.com/about/naviar-haiku]]> 1226563 no no Thu, 23 Feb 2017 15:01:13 +0100 2017-02-23T15:01:13+01:00 16:34 https://hearthis.at/sevenism/beginning-naviarhaiku163/ slow pulsing silence
..

as petals
fall on moss
-- silence

..
http://naviarlab.tumblr.com/post/157277602108/naviarhaiku163-as-petals

A regular contributor to the Haiku and Renku challenges, Kashyapi just opened a Patreon page at https://www.patreon.com/kashyapi: if you like her poems, consider becoming a patreon and support her and her work, and get some incredible rewards.

Seven days to make music in response to the assigned poem. Enjoy!

DEADLINE: 22nd February

Poem by Kashyapi http://kashyapi.co

Picture by Austin D https://unsplash.com/@adelau1]]> slow pulsing silence
..

as petals
fall on moss
-- silence

..
http://naviarlab.tumblr.com/post/157277602108/naviarhaiku163-as-petals

A regular contributor to the Haiku and Renku challenges, Kashyapi just opened a Patreon page at https://www.patreon.com/kashyapi: if you like her poems, consider becoming a patreon and support her and her work, and get some incredible rewards.

Seven days to make music in response to the assigned poem. Enjoy!

DEADLINE: 22nd February

Poem by Kashyapi http://kashyapi.co

Picture by Austin D https://unsplash.com/@adelau1]]> 1222472 no no Sun, 19 Feb 2017 19:36:34 +0100 2017-02-19T19:36:34+01:00 17:00 https://hearthis.at/sevenism/duck-pond-old-tracks-disquiet0268/
i had my phone recording in my pocket . decreased the volume of walking and treated a little so it sounded like a train chugging.

converted to midi and added a muffled voicelike synth / fx accompaniment.
~~~

http://llllllll.co/t/in-tribute-to-jiro-taniguchi-disquiet-junto-project-0268/6533/2

Disquiet Junto Project 0268: Walking Music
Take a stroll and describe it in sound, paying tribute to the late manga great Jiro Taniguchi.

http://disquiet.com/0268/1

More on the Disquiet Junto at:

http://disquiet.com/junto/1

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/]]>
i had my phone recording in my pocket . decreased the volume of walking and treated a little so it sounded like a train chugging.

converted to midi and added a muffled voicelike synth / fx accompaniment.
~~~

http://llllllll.co/t/in-tribute-to-jiro-taniguchi-disquiet-junto-project-0268/6533/2

Disquiet Junto Project 0268: Walking Music
Take a stroll and describe it in sound, paying tribute to the late manga great Jiro Taniguchi.

http://disquiet.com/0268/1

More on the Disquiet Junto at:

http://disquiet.com/junto/1

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/]]> 1221452 no no Sat, 18 Feb 2017 22:25:31 +0100 2017-02-18T22:25:31+01:00 05:26 https://hearthis.at/sevenism/conic-dub-plus/
only this sample used: http://jasonvincion.com/samples/OSD48.wav
.
1. in audition i stretched the sample and added lots of chorus and convolution reverb,
2. in live i duplicated the track to one i added ritmo oscillate effect (the beat) and the other a wah. i also added six string ambience, ambient 0.1 and neutrino to these.
3. then i used the track from step 1 and ran thru guitar fuzz in audition
4. mixed and mastered in audition.]]>
only this sample used: http://jasonvincion.com/samples/OSD48.wav
.
1. in audition i stretched the sample and added lots of chorus and convolution reverb,
2. in live i duplicated the track to one i added ritmo oscillate effect (the beat) and the other a wah. i also added six string ambience, ambient 0.1 and neutrino to these.
3. then i used the track from step 1 and ran thru guitar fuzz in audition
4. mixed and mastered in audition.]]> 1220939 no no Sat, 18 Feb 2017 12:39:17 +0100 2017-02-18T12:39:17+01:00 05:09 https://hearthis.at/sevenism/peaks-naviarhaiku162/ digitally edited to sound like tape saturation

_^___^___^_
All submissions to Haiku 162: www.naviarrecords.com/2017/02/08/nav…rhaiku162-tape

To participate in the Haiku challenge:
- Make a song in response to the weekly assigned poem (a new poem is published every Wednesday)

- Upload your song on Soundcloud and message me privately with the track's URL (if you don't have Soundcloud or can't message me, visit www.naviarrecords.com/about/naviar-haiku for more options)

- Include the assignment number in the title of your track, for example “Title of your track (naviarhaiku162)”

Your track will be included in Naviar's weekly podcast and monthly compilation. Please set the track as downloadable on Soundcloud and allow others to remix it by using a Creative Commons License.]]> digitally edited to sound like tape saturation

_^___^___^_
All submissions to Haiku 162: www.naviarrecords.com/2017/02/08/nav…rhaiku162-tape

To participate in the Haiku challenge:
- Make a song in response to the weekly assigned poem (a new poem is published every Wednesday)

- Upload your song on Soundcloud and message me privately with the track's URL (if you don't have Soundcloud or can't message me, visit www.naviarrecords.com/about/naviar-haiku for more options)

- Include the assignment number in the title of your track, for example “Title of your track (naviarhaiku162)”

Your track will be included in Naviar's weekly podcast and monthly compilation. Please set the track as downloadable on Soundcloud and allow others to remix it by using a Creative Commons License.]]> 1215149 no no Mon, 13 Feb 2017 16:31:39 +0100 2017-02-13T16:31:39+01:00 02:12 https://hearthis.at/sevenism/metamorphanomic-disquiet0267/
theres some cello trumpet and harmonica samples fed through protoplasm. electronic stuff from crystal vst. midi file generated from fakemusicgenerator.com (de-randomized). lazy/random buttons pressed a lot

..
Disquiet Junto Project 0267: The Metronomic Society
Create a theme song for a fictional organization.

Step 1: There’s a fascinating book from 1988 titled The Metronomic Society. Written by the Michael Young, it is an academic study of the rhythms of human existence, with an emphasis on organization and societal systems. It’s not necessary to read it. It’s just helpful to know where we’re borrowing the term from.

Step 2: Imagine there is an actual group called the Metronomic Society. You might also imagine what they’re up to. Maybe it’s a Man Ray fan club, or a bunch of disgruntled piano tuners, or maybe they explore arcane theories about quantum mechanics. Who knows?

Step 3: Now compose and record a short piece of music — a sound cue, a theme, a sound logo, a jingle — for the Metronomic Society.

More on this 267th weekly Disquiet Junto project, “The Metronomic Society: Create a theme song for a fictional organization”:

http://disquiet.com/0267/

More on the Disquiet Junto at:

http://disquiet.com/junto/2

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/the-metronomic-society-disquiet-junto-project-0267/6449]]>
theres some cello trumpet and harmonica samples fed through protoplasm. electronic stuff from crystal vst. midi file generated from fakemusicgenerator.com (de-randomized). lazy/random buttons pressed a lot

..
Disquiet Junto Project 0267: The Metronomic Society
Create a theme song for a fictional organization.

Step 1: There’s a fascinating book from 1988 titled The Metronomic Society. Written by the Michael Young, it is an academic study of the rhythms of human existence, with an emphasis on organization and societal systems. It’s not necessary to read it. It’s just helpful to know where we’re borrowing the term from.

Step 2: Imagine there is an actual group called the Metronomic Society. You might also imagine what they’re up to. Maybe it’s a Man Ray fan club, or a bunch of disgruntled piano tuners, or maybe they explore arcane theories about quantum mechanics. Who knows?

Step 3: Now compose and record a short piece of music — a sound cue, a theme, a sound logo, a jingle — for the Metronomic Society.

More on this 267th weekly Disquiet Junto project, “The Metronomic Society: Create a theme song for a fictional organization”:

http://disquiet.com/0267/

More on the Disquiet Junto at:

http://disquiet.com/junto/2

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/the-metronomic-society-disquiet-junto-project-0267/6449]]> 1212496 no no Fri, 10 Feb 2017 22:57:40 +0100 2017-02-10T22:57:40+01:00 03:07 https://hearthis.at/sevenism/a-o-u-disquiet0266/
recorded me going ah oh uh. cut out noise. pulled into protoplasm added an arpeggiator so its less cacophonous. recorded while playing around with the octaves.. i like that it goes from that clear sound of my voice to utterly transformed and flutelike. still, it's pretty annoying and normally i'd slather in fx to hide it.

bit of mastering in audition
:
:
:
Disquiet Junto Project 0266: Vocal Cuts
Use segments of your own held vowel to make music.

Step 1: Set up a recording device to properly capture in detail your singing — more specifically, you holding a single vowel for an extended period of time.

Step 2: Practice holding a vowel for a long time, until your voice starts to give a little and the vowel disintegrates. Try “ah” and “oo” and “uh,” in particular. Maybe avoid “ee,” as it can be harsh. Don’t hurt yourself, don’t stress the end — just let it fade out naturally. This isn’t about pushing it until you have to breathe. It’s just about holding it until the vowel comes to a sense of closure.

Step 3: Listen back to the recording. Think about distinct segments within it, moments with differing qualities.

Step 4: Extract those segments and label them accordingly.

Step 5: Record a short piece of music consisting only of the segments from Step 4. You can cut and paste them, and certainly layer them. Try to not do anything to them — filters, effects, etc. — other than occasionally altering volume, as need be. A mono recording is best, too — no stereoscopic play.

Length: The length is up to you, but two to three minutes sounds about right.

Title/Tag: When posting your track, please include “disquiet0266″ in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

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

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

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

More on this 266th weekly Disquiet Junto project, “Vocal Cuts: Use segments of your own held vowel to make music”:

http://disquiet.com/0266/1

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/vocal-cuts-disquiet-junto-project-0266/6350

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

Image associated with this track is by Dean Shareski and used thanks to a Creative Commons license:

flic.kr/p/95EKhx]]>
recorded me going ah oh uh. cut out noise. pulled into protoplasm added an arpeggiator so its less cacophonous. recorded while playing around with the octaves.. i like that it goes from that clear sound of my voice to utterly transformed and flutelike. still, it's pretty annoying and normally i'd slather in fx to hide it.

bit of mastering in audition
:
:
:
Disquiet Junto Project 0266: Vocal Cuts
Use segments of your own held vowel to make music.

Step 1: Set up a recording device to properly capture in detail your singing — more specifically, you holding a single vowel for an extended period of time.

Step 2: Practice holding a vowel for a long time, until your voice starts to give a little and the vowel disintegrates. Try “ah” and “oo” and “uh,” in particular. Maybe avoid “ee,” as it can be harsh. Don’t hurt yourself, don’t stress the end — just let it fade out naturally. This isn’t about pushing it until you have to breathe. It’s just about holding it until the vowel comes to a sense of closure.

Step 3: Listen back to the recording. Think about distinct segments within it, moments with differing qualities.

Step 4: Extract those segments and label them accordingly.

Step 5: Record a short piece of music consisting only of the segments from Step 4. You can cut and paste them, and certainly layer them. Try to not do anything to them — filters, effects, etc. — other than occasionally altering volume, as need be. A mono recording is best, too — no stereoscopic play.

Length: The length is up to you, but two to three minutes sounds about right.

Title/Tag: When posting your track, please include “disquiet0266″ in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

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

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

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

More on this 266th weekly Disquiet Junto project, “Vocal Cuts: Use segments of your own held vowel to make music”:

http://disquiet.com/0266/1

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/vocal-cuts-disquiet-junto-project-0266/6350

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

Image associated with this track is by Dean Shareski and used thanks to a Creative Commons license:

flic.kr/p/95EKhx]]> 1203369 no no Fri, 03 Feb 2017 13:51:53 +0100 2017-02-03T13:51:53+01:00 03:31 https://hearthis.at/sevenism/droplets-disquiet0265/
. hit record and threw my phone in the cutlery draw
. shut and opened the draw a coupla times
. made a drone out of the stretched reverb tails, pitched way down
. used some of the non distorted leftovers for rhythm
. pulled in protoplasm with lots of chorus fx

i forgot to denoise anything but think it's ok
. . .

Disquiet Junto Project 0265: Kitchen Music
Record a piece of music that uses items from just one drawer.

This week's project is domestic, and has natural associations with Erik Satie. Piano is not required — in fact, unless you have an absurdly tiny one, a piano is essentially off limits. The details are below.

Step 1: Choose one drawer or cabinet shelf in your kitchen. If you don’t have a kitchen, then choose a drawer or cabinet shelf elsewhere in your home.

http://llllllll.co/t/kitchen-music-disquiet-junto-project-0265/6244

More on this 265th weekly Disquiet Junto project, “Kitchen Music: Record a piece of music that uses items from just one drawer”:

http://disquiet.com/0265/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/]]>
. hit record and threw my phone in the cutlery draw
. shut and opened the draw a coupla times
. made a drone out of the stretched reverb tails, pitched way down
. used some of the non distorted leftovers for rhythm
. pulled in protoplasm with lots of chorus fx

i forgot to denoise anything but think it's ok
. . .

Disquiet Junto Project 0265: Kitchen Music
Record a piece of music that uses items from just one drawer.

This week's project is domestic, and has natural associations with Erik Satie. Piano is not required — in fact, unless you have an absurdly tiny one, a piano is essentially off limits. The details are below.

Step 1: Choose one drawer or cabinet shelf in your kitchen. If you don’t have a kitchen, then choose a drawer or cabinet shelf elsewhere in your home.

http://llllllll.co/t/kitchen-music-disquiet-junto-project-0265/6244

More on this 265th weekly Disquiet Junto project, “Kitchen Music: Record a piece of music that uses items from just one drawer”:

http://disquiet.com/0265/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/]]> 1195581 no no Fri, 27 Jan 2017 14:18:45 +0100 2017-01-27T14:18:45+01:00 07:54 https://hearthis.at/sevenism/underwater-sunset-naviarhaiku160/ fed thru protoplasm / lots of fx

.
painting the sounds
of swimming—
ocean sunset

All submissions to Haiku 160 www.naviarrecords.com/2017/01/25/nav…ing-the-sounds

Poem by Stephen Addiss http://www.stephenaddiss.com

Picture by Christian Roßwag https://unsplash.com/@chrispic]]> fed thru protoplasm / lots of fx

.
painting the sounds
of swimming—
ocean sunset

All submissions to Haiku 160 www.naviarrecords.com/2017/01/25/nav…ing-the-sounds

Poem by Stephen Addiss http://www.stephenaddiss.com

Picture by Christian Roßwag https://unsplash.com/@chrispic]]> 1195582 no no Thu, 26 Jan 2017 18:30:50 +0100 2017-01-26T18:30:50+01:00 04:55 https://hearthis.at/sevenism/bark-breeze-naviarhaiku159/ empty of life.

||
old thorn tree
the empty weaver bird nests
sway in the breeze

This week’s author is Angelee Deodhar. Following the developement of a life-threatening illness, Indian ophtalmologist Angelee turned to writing as a lifetime and second career.

As always, seven days to make music in response to the assigned poem: more info at http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 25th January

Poem by Angelee Deodhar

Picture by Marco Alessi]]> empty of life.

||
old thorn tree
the empty weaver bird nests
sway in the breeze

This week’s author is Angelee Deodhar. Following the developement of a life-threatening illness, Indian ophtalmologist Angelee turned to writing as a lifetime and second career.

As always, seven days to make music in response to the assigned poem: more info at http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 25th January

Poem by Angelee Deodhar

Picture by Marco Alessi]]> 1189684 no no Mon, 23 Jan 2017 14:31:03 +0100 2017-01-23T14:31:03+01:00 02:06 https://hearthis.at/sevenism/temporal-pulse-disquiet0264/
i got some cello samples and put them thru the protoplasm tsm synth, lots of oscillation, then had dimension expander and crystal reverb automated so they'd get bigger throughout.
pulled into audacity and sliding time stretch applied so gradually speeds up
audition - duplicated track, stereo widened, then crossfaded with previous track to gradually get wider. mastered

....

Disquiet Junto Project 0264: Time Travel
Record a piece of music that plays with the perception of time.

Step 1: Recorded music is, generally speaking, a fixed object. It’s a document. It proceeds linearly, over time. It is, in the terminology of fine art, “time-based.” That said, music has the power to change one’s perception of time. Slowing and speeding tempo alone can alter a listener’s understanding of what is happening. Backward masking, sublimated hints of themes yet to come, the sound of a tape in fast forward mode — those are just a few ways that a composer can suggest that time is not moving linearly. Now, consider for a moment the tools available to give an impression of time doing things other than proceeding in a steady forward motion.

Step 2: Record a short piece of music that takes time travel as its theme, using ideas that resulted from the consideration in Step 1.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0264″ (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

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

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

http://llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

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

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

Deadline: This project’s deadline is 11:59pm wherever you are on Monday, January 23, 2017. This project was posted in the morning, California time, on Thursday, January 19, 2017.

Length: The length is up to you, but two to three minutes sounds about right.

Title/Tag: When posting your track, please include “disquiet0264″ in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

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

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

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

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/]]>
i got some cello samples and put them thru the protoplasm tsm synth, lots of oscillation, then had dimension expander and crystal reverb automated so they'd get bigger throughout.
pulled into audacity and sliding time stretch applied so gradually speeds up
audition - duplicated track, stereo widened, then crossfaded with previous track to gradually get wider. mastered

....

Disquiet Junto Project 0264: Time Travel
Record a piece of music that plays with the perception of time.

Step 1: Recorded music is, generally speaking, a fixed object. It’s a document. It proceeds linearly, over time. It is, in the terminology of fine art, “time-based.” That said, music has the power to change one’s perception of time. Slowing and speeding tempo alone can alter a listener’s understanding of what is happening. Backward masking, sublimated hints of themes yet to come, the sound of a tape in fast forward mode — those are just a few ways that a composer can suggest that time is not moving linearly. Now, consider for a moment the tools available to give an impression of time doing things other than proceeding in a steady forward motion.

Step 2: Record a short piece of music that takes time travel as its theme, using ideas that resulted from the consideration in Step 1.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0264″ (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

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

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

http://llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

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

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

Deadline: This project’s deadline is 11:59pm wherever you are on Monday, January 23, 2017. This project was posted in the morning, California time, on Thursday, January 19, 2017.

Length: The length is up to you, but two to three minutes sounds about right.

Title/Tag: When posting your track, please include “disquiet0264″ in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

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

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

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

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/]]> 1185214 no no Thu, 19 Jan 2017 20:07:33 +0100 2017-01-19T20:07:33+01:00 03:27 https://hearthis.at/sevenism/moth-shadownaviarhaiku158/ .
mad shadows
a moth at the porchlight
I grip a cold key

Poem by Marianne Bluger http://www.neilyworld.com/neilyworld/mbluger

Picture by cjdjkobe https://www.flickr.com/photos/cjdjkobe
.
http://www.naviarrecords.com/2017/01/11/naviarhaiku158-mad-shadows/]]> .
mad shadows
a moth at the porchlight
I grip a cold key

Poem by Marianne Bluger http://www.neilyworld.com/neilyworld/mbluger

Picture by cjdjkobe https://www.flickr.com/photos/cjdjkobe
.
http://www.naviarrecords.com/2017/01/11/naviarhaiku158-mad-shadows/]]> 1179020 no no Sun, 15 Jan 2017 22:03:34 +0100 2017-01-15T22:03:34+01:00 02:24 https://hearthis.at/sevenism/hixory-overture-disquiet0263/ ..
Disquiet Junto Project 0263: Overture Edit

The Assignment: Produce an overture to an existing album.

Step 1: Download the seven tracks from Hixory’s album Lovegraphy, which was released under a Creative Commons license allowing for non-commercial adaptation by Nenormalizm Records in late 2016. You can access the audio here:

https://archive.org/details/Hixory

Step 2: Cull a representative segment from each of the tracks.

Step 3: Create an overture to the album by combining those segments into one standalone piece of music.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0263″ (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

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

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

http://llllllll.co/t/overture-edit-disquiet-junto-project-0263/6092

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

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

Deadline: This project’s deadline is 11:59pm wherever you are on Monday, January 16, 2017. This project was posted in the morning, California time, on Thursday, January 12, 2017.

Length: The length is up to you, but two to three minutes sounds about right.

Title/Tag: When posting your track, please include “disquiet0263” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

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

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

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

More on this 263rd weekly Disquiet Junto project — “Overture Edit: Produce an overture to an existing album”:

http://disquiet.com/0263/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/overture-edit-disquiet-junto-project-0263/6092]]> ..
Disquiet Junto Project 0263: Overture Edit

The Assignment: Produce an overture to an existing album.

Step 1: Download the seven tracks from Hixory’s album Lovegraphy, which was released under a Creative Commons license allowing for non-commercial adaptation by Nenormalizm Records in late 2016. You can access the audio here:

https://archive.org/details/Hixory

Step 2: Cull a representative segment from each of the tracks.

Step 3: Create an overture to the album by combining those segments into one standalone piece of music.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0263″ (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

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

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

http://llllllll.co/t/overture-edit-disquiet-junto-project-0263/6092

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

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

Deadline: This project’s deadline is 11:59pm wherever you are on Monday, January 16, 2017. This project was posted in the morning, California time, on Thursday, January 12, 2017.

Length: The length is up to you, but two to three minutes sounds about right.

Title/Tag: When posting your track, please include “disquiet0263” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

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

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

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

More on this 263rd weekly Disquiet Junto project — “Overture Edit: Produce an overture to an existing album”:

http://disquiet.com/0263/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/overture-edit-disquiet-junto-project-0263/6092]]> 1176752 no no Fri, 13 Jan 2017 21:12:13 +0100 2017-01-13T21:12:13+01:00 04:21 https://hearthis.at/sevenism/dyskinesi/ 1187488 no no Wed, 11 Jan 2017 12:35:00 +0100 2017-01-11T12:35:00+01:00 03:35 https://hearthis.at/sevenism/destination/ using only this sample http://jasonvincion.com/samples/OSD47.wav
and no other audio

made under the influence of lemsip..

in audition i added 7 voice chorus and convolution reverb
i split the file into 3 wav files
these i used as oscillators in the protoplasm tsm pro synth. (live 8 daw) and the following chain: pong texture > izotope vinyl > ddly > neutrino. recorded in audition and mastered.

the coda used the 1st split wav file in protoplasm and a midi file generated from fakemusicgenerator.com which i messed around with, slowed down and eq'd / mastered in audition]]> using only this sample http://jasonvincion.com/samples/OSD47.wav
and no other audio

made under the influence of lemsip..

in audition i added 7 voice chorus and convolution reverb
i split the file into 3 wav files
these i used as oscillators in the protoplasm tsm pro synth. (live 8 daw) and the following chain: pong texture > izotope vinyl > ddly > neutrino. recorded in audition and mastered.

the coda used the 1st split wav file in protoplasm and a midi file generated from fakemusicgenerator.com which i messed around with, slowed down and eq'd / mastered in audition]]> izotope vinyl > ddly > neutrino. recorded in audition and mastered. the coda used the 1st split wav file in protoplasm and a midi file generated from fakemusicgenerator.com which i messed around with, slowed down and eq'd / mastered in audition]]> 1170013 no no Mon, 09 Jan 2017 13:35:11 +0100 2017-01-09T13:35:11+01:00 06:00 https://hearthis.at/sevenism/cie-disquiet0262/
recorded drop clatter and swish for 20 seconds changed the speed to 3 minutes. chorus, convolution reverb. lots of guitar fx. echo, reversing; anything to not make it sound like ice anymore. there was some lovely wooden percussive chimelike sounds made from the slowing down but unfortunately i wasnt in a musical mood!]]>
recorded drop clatter and swish for 20 seconds changed the speed to 3 minutes. chorus, convolution reverb. lots of guitar fx. echo, reversing; anything to not make it sound like ice anymore. there was some lovely wooden percussive chimelike sounds made from the slowing down but unfortunately i wasnt in a musical mood!]]> 1170008 no no Sun, 08 Jan 2017 20:08:42 +0100 2017-01-08T20:08:42+01:00 03:04 https://hearthis.at/sevenism/jetstream-dissipation-naviarhaiku157/ the dark airy feel here, however, strives more for the moon.
.
Clouds come from time to time
and bring to men a chance to rest
from looking at the moon
-Basho

All submissions to Haiku 157 are available at www.naviarrecords.com/2017/01/04/nav…-time-to-time/

To participate in the Haiku challenge:
- Make a song in response to the weekly assigned poem (a new poem is published every Wednesday)

- Upload your song on Soundcloud and message me privately with the track's URL (if you don't have Soundcloud or can't message me, visit www.naviarrecords.com/about/naviar-haiku for more options)

- Include the assignment number in the title of your track, for example “Title of your track (naviarhaiku145)”

Your track will be included in Naviar's weekly podcast and monthly compilation. Please set the track as downloadable on Soundcloud and allow others to remix it by using a Creative Commons License.]]> the dark airy feel here, however, strives more for the moon.
.
Clouds come from time to time
and bring to men a chance to rest
from looking at the moon
-Basho

All submissions to Haiku 157 are available at www.naviarrecords.com/2017/01/04/nav…-time-to-time/

To participate in the Haiku challenge:
- Make a song in response to the weekly assigned poem (a new poem is published every Wednesday)

- Upload your song on Soundcloud and message me privately with the track's URL (if you don't have Soundcloud or can't message me, visit www.naviarrecords.com/about/naviar-haiku for more options)

- Include the assignment number in the title of your track, for example “Title of your track (naviarhaiku145)”

Your track will be included in Naviar's weekly podcast and monthly compilation. Please set the track as downloadable on Soundcloud and allow others to remix it by using a Creative Commons License.]]> 1168560 no no Sat, 07 Jan 2017 19:19:03 +0100 2017-01-07T19:19:03+01:00 02:19 https://hearthis.at/sevenism/effigy-vizn/ https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> 1167566 no no Fri, 06 Jan 2017 18:24:45 +0100 2017-01-06T18:24:45+01:00 05:04 https://hearthis.at/sevenism/mild-and/ https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> 1167567 no no Fri, 06 Jan 2017 18:24:44 +0100 2017-01-06T18:24:44+01:00 03:44 https://hearthis.at/sevenism/scolii/ https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> 1167568 no no Fri, 06 Jan 2017 18:24:43 +0100 2017-01-06T18:24:43+01:00 06:39 https://hearthis.at/sevenism/coastal-reckoning/ https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> 1167569 no no Fri, 06 Jan 2017 18:24:43 +0100 2017-01-06T18:24:43+01:00 03:34 https://hearthis.at/sevenism/fairground-insults/ https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> 1167570 no no Fri, 06 Jan 2017 18:24:42 +0100 2017-01-06T18:24:42+01:00 10:45 https://hearthis.at/sevenism/stirred/ https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> 1167571 no no Fri, 06 Jan 2017 18:24:41 +0100 2017-01-06T18:24:41+01:00 02:12 https://hearthis.at/sevenism/synth-dreams-of-noise-guitar/ https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> 1167572 no no Fri, 06 Jan 2017 18:24:40 +0100 2017-01-06T18:24:40+01:00 04:08 https://hearthis.at/sevenism/in-fauna/ https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> 1167573 no no Fri, 06 Jan 2017 18:24:39 +0100 2017-01-06T18:24:39+01:00 02:03 https://hearthis.at/sevenism/diamond-phase/ https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> 1167574 no no Fri, 06 Jan 2017 18:24:38 +0100 2017-01-06T18:24:38+01:00 06:11 https://hearthis.at/sevenism/baleen-biopulse/ https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> 1167575 no no Fri, 06 Jan 2017 18:24:37 +0100 2017-01-06T18:24:37+01:00 12:52 https://hearthis.at/sevenism/suitability-matrice/ https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> https://sevenism.bandcamp.com/album/vel-r-spl
https://sevenism.bandcamp.com/album/scintilla-and-shade
https://sevenism.bandcamp.com/album/autumn-breath

it's weird to me that we have this linear cultural narrative that the year was bad.
things happened. some people struggled, some flourished.]]> 1167577 no no Fri, 06 Jan 2017 18:24:36 +0100 2017-01-06T18:24:36+01:00 06:00 https://hearthis.at/sevenism/5242016-disquiet0261/ The Assignment: Create a sonic diary of the past year with a dozen five-second segments.
http://disquiet.com/0261/

::
i tend to read sandman each xmas, theres a depth to it where i can always reflect on the year in a different way. reading about a dream of a meal of 50 courses and over 200 dishes i thought that was a nice synchronicity: applying it to weekly fragments and over 200 seconds

i searched for all the flac files ive done from 2016 - this was over 800 but doesnt represent stuff ive saved as mp3 wav ogg etc i've been prolific and that's the main thing i wanted to get across. i work alot with flow and improv at all levels of music making and how meaning emerges over the course of many pieces. so it made sense to 'choose' random pieces and random sections.

i set to record in audacity and pulled everything from january into vlc and had it on shuffle playing ~4 seconds of 4 random tracks. then the same with feb, march etc. truncated silence. pulled into audition for a bit of mastering. the nature of this process meant it was nigh on impossible to note the track names.

one of the tracks at the start is the audio journal from 2015 which is a nice reiteration. there's some collabs in here too from WÜST scott lawlor and audio obscura
ive had the pleasure of working with some great artists this year.]]> The Assignment: Create a sonic diary of the past year with a dozen five-second segments.
http://disquiet.com/0261/

::
i tend to read sandman each xmas, theres a depth to it where i can always reflect on the year in a different way. reading about a dream of a meal of 50 courses and over 200 dishes i thought that was a nice synchronicity: applying it to weekly fragments and over 200 seconds

i searched for all the flac files ive done from 2016 - this was over 800 but doesnt represent stuff ive saved as mp3 wav ogg etc i've been prolific and that's the main thing i wanted to get across. i work alot with flow and improv at all levels of music making and how meaning emerges over the course of many pieces. so it made sense to 'choose' random pieces and random sections.

i set to record in audacity and pulled everything from january into vlc and had it on shuffle playing ~4 seconds of 4 random tracks. then the same with feb, march etc. truncated silence. pulled into audition for a bit of mastering. the nature of this process meant it was nigh on impossible to note the track names.

one of the tracks at the start is the audio journal from 2015 which is a nice reiteration. there's some collabs in here too from WÜST scott lawlor and audio obscura
ive had the pleasure of working with some great artists this year.]]> 1161964 no no Fri, 30 Dec 2016 14:35:07 +0100 2016-12-30T14:35:07+01:00 04:37 https://hearthis.at/sevenism/perpetual-winternew/
a long wintrous drone. and i mean l o n g..

the sense of never ending coldness. things never changing.]]>
a long wintrous drone. and i mean l o n g..

the sense of never ending coldness. things never changing.]]> 1144611 no no Sat, 17 Dec 2016 22:50:01 +0100 2016-12-17T22:50:01+01:00 41:32 https://hearthis.at/sevenism/distant-desolate-naviarhaiku154/ still desolation
glanced peaks

image databent in notepad++

^ ^
A distant mountain
Seen in the sunlight:
A desolate field

This week’s haiku was written by Takahama Kyoshi, a Japanese poet active during the Showa period in Japan and one of the closest disciples of Masaoka Shiki. Enjoy!

DEADLINE: 21st December

Poem by Takahama Kyoshi http://terebess.hu/english/haiku/takahama.html

Picture by Erik Waider https://unsplash.com/@northlandscapes

TO PARTICIPATE

- Make music in response to the assigned haiku.
- If you're a Soundcloud user, upload the track on Soundcloud and message me privately with the track's URL; alternatively you can send me your composition directly via Dropbox
- Include the assignment number in the title of your track - “Title of your track (naviarhaiku154)”

Please use a Creative Commons license for your track and set it as downloadable if you wish to be included in the podcasts.

For more information visit http://www.naviarrecords.com/about/naviar-haiku]]> still desolation
glanced peaks

image databent in notepad++

^ ^
A distant mountain
Seen in the sunlight:
A desolate field

This week’s haiku was written by Takahama Kyoshi, a Japanese poet active during the Showa period in Japan and one of the closest disciples of Masaoka Shiki. Enjoy!

DEADLINE: 21st December

Poem by Takahama Kyoshi http://terebess.hu/english/haiku/takahama.html

Picture by Erik Waider https://unsplash.com/@northlandscapes

TO PARTICIPATE

- Make music in response to the assigned haiku.
- If you're a Soundcloud user, upload the track on Soundcloud and message me privately with the track's URL; alternatively you can send me your composition directly via Dropbox
- Include the assignment number in the title of your track - “Title of your track (naviarhaiku154)”

Please use a Creative Commons license for your track and set it as downloadable if you wish to be included in the podcasts.

For more information visit http://www.naviarrecords.com/about/naviar-haiku]]> 1144284 no no Sat, 17 Dec 2016 13:10:51 +0100 2016-12-17T13:10:51+01:00 05:39 https://hearthis.at/sevenism/spectral-dirge-disquiet0259/
“Max was pondering the important issue of how petrogylphs differed from hieroglyphs when the radio halted its roll at the very far end of the electronic dial. After a brief silence, the weak signal transmitted indistinct sounds, like whispers, intermingled with an odd chanting that faded in and out like a spectral dirge. Intrigued by this strange combination, and hoping for a broadcast of a lonely Indian powwow, Max turned up the volume, but the higher it went, the softer the voice and chant became, going silent. There was no apparent signal, but the radio scan was still stopped, locked in on something.”

i recently rediscovered the crystal softsynth. i mutated and bred some patches then randomized until i got something that approximated the above description. fiddled with the modular sends a little. recorded live while messing about and increasing the noise while reducing the tonal sounds. in post i just faded in from start to end.

the above story is from this collection http://perpetualpublishing.com/product/lost-signals/
the image is a detail of the cover.]]>
“Max was pondering the important issue of how petrogylphs differed from hieroglyphs when the radio halted its roll at the very far end of the electronic dial. After a brief silence, the weak signal transmitted indistinct sounds, like whispers, intermingled with an odd chanting that faded in and out like a spectral dirge. Intrigued by this strange combination, and hoping for a broadcast of a lonely Indian powwow, Max turned up the volume, but the higher it went, the softer the voice and chant became, going silent. There was no apparent signal, but the radio scan was still stopped, locked in on something.”

i recently rediscovered the crystal softsynth. i mutated and bred some patches then randomized until i got something that approximated the above description. fiddled with the modular sends a little. recorded live while messing about and increasing the noise while reducing the tonal sounds. in post i just faded in from start to end.

the above story is from this collection http://perpetualpublishing.com/product/lost-signals/
the image is a detail of the cover.]]> 1144285 no no Fri, 16 Dec 2016 14:23:01 +0100 2016-12-16T14:23:01+01:00 02:02 https://hearthis.at/sevenism/near-miss/ .

made only with these samples
https://soundcloud.com/glenn-sogge/sets/glenns-sample-challenge-3-an-audio-visual-collaboration-with-boson-spin
all processing in audition]]> .

made only with these samples
https://soundcloud.com/glenn-sogge/sets/glenns-sample-challenge-3-an-audio-visual-collaboration-with-boson-spin
all processing in audition]]> 1139718 no no Tue, 13 Dec 2016 13:17:44 +0100 2016-12-13T13:17:44+01:00 02:03 https://hearthis.at/sevenism/a-world-of-one-naviarhaiku153/
more convolution rvrb, less bass, hiss wind
gradually louder coldness

..
Winter solitude —
In a world of one color
the sound of wind.

A winter poem written by the greatest master of haiku, Matsuo Basho.

“Change resides in what seemed static being. There may be a physiological explanation for “winter solitude.” The sun doesn’t shine as much, certain chemicals don’t get produced, we feel down. Any such explanation does injustice to “solitude.” Your loneliness is not another’s: we’re all different. We’re lonely inasmuch we are individuals. That solitude, like winter itself, has seeds of change within. The sound of wind betokens a world with many colors and the communication of the poem itself.”

Ashok Karra (full article here)

DEADLINE: 14th December

Poem by Matsuo Basho https://en.wikipedia.org/wiki/Matsuo_Basho

Picture by Caleb George http://www.caleb-morris.com

TO PARTICIPATE

- Make music in response to the assigned haiku.
- If you're a Soundcloud user, upload the track on Soundcloud and message me privately with the track's URL; alternatively you can send me your composition directly via Dropbox
- Include the assignment number in the title of your track, for example “Title of your track (naviarhaiku153)”

Please use a Creative Commons license for your track and set it as downloadable if you wish to be included in the weekly podcast.

For more information visit http://www.naviarrecords.com/about/naviar-haiku]]>
more convolution rvrb, less bass, hiss wind
gradually louder coldness

..
Winter solitude —
In a world of one color
the sound of wind.

A winter poem written by the greatest master of haiku, Matsuo Basho.

“Change resides in what seemed static being. There may be a physiological explanation for “winter solitude.” The sun doesn’t shine as much, certain chemicals don’t get produced, we feel down. Any such explanation does injustice to “solitude.” Your loneliness is not another’s: we’re all different. We’re lonely inasmuch we are individuals. That solitude, like winter itself, has seeds of change within. The sound of wind betokens a world with many colors and the communication of the poem itself.”

Ashok Karra (full article here)

DEADLINE: 14th December

Poem by Matsuo Basho https://en.wikipedia.org/wiki/Matsuo_Basho

Picture by Caleb George http://www.caleb-morris.com

TO PARTICIPATE

- Make music in response to the assigned haiku.
- If you're a Soundcloud user, upload the track on Soundcloud and message me privately with the track's URL; alternatively you can send me your composition directly via Dropbox
- Include the assignment number in the title of your track, for example “Title of your track (naviarhaiku153)”

Please use a Creative Commons license for your track and set it as downloadable if you wish to be included in the weekly podcast.

For more information visit http://www.naviarrecords.com/about/naviar-haiku]]> 1139720 no no Mon, 12 Dec 2016 12:54:32 +0100 2016-12-12T12:54:32+01:00 05:48 https://hearthis.at/sevenism/did-you-see/ for glenn's sample challenge 1

-got a randomized midi file and used a non-random part of it
-one track used protoplasm with randomized settings
-one track run thru waldorf nave arp n other fx
-mastered and messed with in audition

-no other sounds were harmed in the making of this piece]]> for glenn's sample challenge 1

-got a randomized midi file and used a non-random part of it
-one track used protoplasm with randomized settings
-one track run thru waldorf nave arp n other fx
-mastered and messed with in audition

-no other sounds were harmed in the making of this piece]]> 1137772 no no Sat, 10 Dec 2016 19:17:50 +0100 2016-12-10T19:17:50+01:00 05:25 https://hearthis.at/sevenism/deepest-unspoken-disquiet0258/
i wanted to express this feeling. i chose my mountain dulcimer as sound source. the instrument contains for me the bipolar sense of weather from US film/tv tropes of it either being freezing snow or californian sun. also a reference to political foreboding (the dulcimer comes from the german zither)

i recorded the dulcimer close mic'd thru lots of guitar fx, playing desolate to warm
mangled this with lots of icy reverb and echo, to get the sense of winter echoing.
..
Disquiet Junto Project 0258: Sonic Climate
Express your local weather in sound
http://llllllll.co/t/disquiet-junto-0258-sonic-climate/5632]]>
i wanted to express this feeling. i chose my mountain dulcimer as sound source. the instrument contains for me the bipolar sense of weather from US film/tv tropes of it either being freezing snow or californian sun. also a reference to political foreboding (the dulcimer comes from the german zither)

i recorded the dulcimer close mic'd thru lots of guitar fx, playing desolate to warm
mangled this with lots of icy reverb and echo, to get the sense of winter echoing.
..
Disquiet Junto Project 0258: Sonic Climate
Express your local weather in sound
http://llllllll.co/t/disquiet-junto-0258-sonic-climate/5632]]> 1137773 no no Fri, 09 Dec 2016 13:38:17 +0100 2016-12-09T13:38:17+01:00 05:50 https://hearthis.at/sevenism/apoplectic-consuming-disquiet0257/ Noisevember ended yesterday, but why let the calendar get in the way of a good time? For this week’s project, make some noise.]]> Noisevember ended yesterday, but why let the calendar get in the way of a good time? For this week’s project, make some noise.]]> 1126651 no no Thu, 01 Dec 2016 22:46:14 +0100 2016-12-01T22:46:14+01:00 01:40 https://hearthis.at/sevenism/still-flame-naviarhaiku151/ vid https://www.youtube.com/watch?v=MRYf9fjo8XA
..

Stillness
sand sifts through the roots
of a fallen tree

The author of the 151st Haiku challenge is Cor Van den Heuvel. Although he is considered as one of America’s leading haiku poets, Van Den Heuvel is best known as the editor of The Haiku Anthology, generally considered the definitive collection of American and Canadian haiku.

DEADLINE: 30th November

Poem by Cor van den Heuvel

Picture by Marta Pawlik

TO PARTICIPATE

- Make music in response to the assigned haiku.
- If you're a Soundcloud user, upload the track on Soundcloud and message me privately with the track's URL; alternatively you can send me your composition directly via Dropbox
- Include the assignment number in the title of your track, for example “Title of your track (naviarhaiku151)”

Please use a Creative Commons license for your track and set it as downloadable if you wish to be included in the weekly podcast.

For more information visit http://www.naviarrecords.com/about/naviar-haiku]]> vid https://www.youtube.com/watch?v=MRYf9fjo8XA
..

Stillness
sand sifts through the roots
of a fallen tree

The author of the 151st Haiku challenge is Cor Van den Heuvel. Although he is considered as one of America’s leading haiku poets, Van Den Heuvel is best known as the editor of The Haiku Anthology, generally considered the definitive collection of American and Canadian haiku.

DEADLINE: 30th November

Poem by Cor van den Heuvel

Picture by Marta Pawlik

TO PARTICIPATE

- Make music in response to the assigned haiku.
- If you're a Soundcloud user, upload the track on Soundcloud and message me privately with the track's URL; alternatively you can send me your composition directly via Dropbox
- Include the assignment number in the title of your track, for example “Title of your track (naviarhaiku151)”

Please use a Creative Commons license for your track and set it as downloadable if you wish to be included in the weekly podcast.

For more information visit http://www.naviarrecords.com/about/naviar-haiku]]> 1124260 no no Tue, 29 Nov 2016 12:21:51 +0100 2016-11-29T12:21:51+01:00 05:47 https://hearthis.at/sevenism/siskin-or-green-finch-disquiet0256/ i thought i'd make it sound like a banjo but it's more xylophone crossed with harp i think. beat is just from incidental sounds in the recording
ambient is from reverb tails of pluck- stretched, and also i fed that into protoplasm for the outro.. no other sounds were added!

done in music maker, audacity and audition .. oh and live too!

title is coz we were trying to identify birds in the garden from the recorded room and the calls kind of influenced this.

http://llllllll.co/t/disquiet-junto-project-0256-music-in-place/5482/2
Disquiet Junto Project 0256: Music in Place
Record a short piece of music using the sounds around you.]]> i thought i'd make it sound like a banjo but it's more xylophone crossed with harp i think. beat is just from incidental sounds in the recording
ambient is from reverb tails of pluck- stretched, and also i fed that into protoplasm for the outro.. no other sounds were added!

done in music maker, audacity and audition .. oh and live too!

title is coz we were trying to identify birds in the garden from the recorded room and the calls kind of influenced this.

http://llllllll.co/t/disquiet-junto-project-0256-music-in-place/5482/2
Disquiet Junto Project 0256: Music in Place
Record a short piece of music using the sounds around you.]]> 1124261 no no Mon, 28 Nov 2016 23:42:33 +0100 2016-11-28T23:42:33+01:00 02:57 https://hearthis.at/sevenism/sense-of-an-ending/
"create an ambient track using only one sample"
the sample is https://soundcloud.com/andy_synk/osd46-sample

i wanted to accentuate the strings elements .. it ended up darker than expected.

1. audition - made stereo, 800% longer, convolution reverb, 7 voice chorus, echo
2. audacity - screechy bits cut out, echo. paulstretched a couple of sections added ~1:35 minutes repeated
duplicate track 1 octave higher reversed echo
duplicate track 2 octaves lower, stereo field narrowed
3. snippet of track 1 pulled into protoplasm synth at -2, -1 and 1 octaves difference. ambience.1 dream acoustic guitar and wide chorus added. (the pulsing sound)
4. audacity - 1:15-1:30 track 1 pstretched x5 added ~3 minute mark. last bit reversed and repeated.
5. track mastered in audition]]>
"create an ambient track using only one sample"
the sample is https://soundcloud.com/andy_synk/osd46-sample

i wanted to accentuate the strings elements .. it ended up darker than expected.

1. audition - made stereo, 800% longer, convolution reverb, 7 voice chorus, echo
2. audacity - screechy bits cut out, echo. paulstretched a couple of sections added ~1:35 minutes repeated
duplicate track 1 octave higher reversed echo
duplicate track 2 octaves lower, stereo field narrowed
3. snippet of track 1 pulled into protoplasm synth at -2, -1 and 1 octaves difference. ambience.1 dream acoustic guitar and wide chorus added. (the pulsing sound)
4. audacity - 1:15-1:30 track 1 pstretched x5 added ~3 minute mark. last bit reversed and repeated.
5. track mastered in audition]]> 1119355 no no Sat, 26 Nov 2016 16:12:18 +0100 2016-11-26T16:12:18+01:00 04:39 https://hearthis.at/sevenism/and-on-naviarhaiku150/ the prayer is a deserate plea
the hum is a constant repetitive noise
the fan, opressive:
the pointless movement of warm air

..
silent prayer—
the quiet humming
of the ceiling fan

DEADLINE: 23rd November

Poem by Lee Gurga http://www.brooksbookshaiku.com/haikupoets/gurga.html

Picture by Dustin Larimer https://flic.kr/p/dCgjvL

TO PARTICIPATE

- Make music in response to the assigned haiku.
- If you're a Soundcloud user, upload the track on Soundcloud and message me privately with the track's URL; alternatively you can send me your composition directly via Dropbox
- Include the assignment number in the title of your track - “Title of your track (naviarhaiku150)”

Please use a Creative Commons license for your track and set it as downloadable should you wish to be included in the podcasts.

For more information visit http://www.naviarrecords.com/about/naviar-haiku]]> the prayer is a deserate plea
the hum is a constant repetitive noise
the fan, opressive:
the pointless movement of warm air

..
silent prayer—
the quiet humming
of the ceiling fan

DEADLINE: 23rd November

Poem by Lee Gurga http://www.brooksbookshaiku.com/haikupoets/gurga.html

Picture by Dustin Larimer https://flic.kr/p/dCgjvL

TO PARTICIPATE

- Make music in response to the assigned haiku.
- If you're a Soundcloud user, upload the track on Soundcloud and message me privately with the track's URL; alternatively you can send me your composition directly via Dropbox
- Include the assignment number in the title of your track - “Title of your track (naviarhaiku150)”

Please use a Creative Commons license for your track and set it as downloadable should you wish to be included in the podcasts.

For more information visit http://www.naviarrecords.com/about/naviar-haiku]]> 1119356 no no Mon, 21 Nov 2016 17:05:35 +0100 2016-11-21T17:05:35+01:00 03:06 https://hearthis.at/sevenism/aether-disquiet255/
i went to san francisco and saw alcatraz over the bay. remembering the cool sea air and choppy waves influenced the sound of this, especially the fx
.
*ok maybe coz the closest thing i have to a banjo is a uke
.
More on this 255th weekly Disquiet Junto project — “Capone’s Ghost: What does the banjo music of the fabled criminal sound like?” — at:

disquiet.com/0255/

More on the Disquiet Junto at:

disquiet.com/junto/

Subscribe to project announcements here:

tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/capones-ghost-disquiet-junto-project-0255/]]>
i went to san francisco and saw alcatraz over the bay. remembering the cool sea air and choppy waves influenced the sound of this, especially the fx
.
*ok maybe coz the closest thing i have to a banjo is a uke
.
More on this 255th weekly Disquiet Junto project — “Capone’s Ghost: What does the banjo music of the fabled criminal sound like?” — at:

disquiet.com/0255/

More on the Disquiet Junto at:

disquiet.com/junto/

Subscribe to project announcements here:

tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/capones-ghost-disquiet-junto-project-0255/]]> 1110829 no no Thu, 17 Nov 2016 22:46:46 +0100 2016-11-17T22:46:46+01:00 04:00 https://hearthis.at/sevenism/nox-intempesta-leaf-echo-renku9/
hypnotic fluctuations
liquid flow
and glacial washes

..
I can see the stones
On the bottom fluctuate
Through the clear water.

Frozen in the ice
A maple leaf

A poem from one of the great haiku masters, Masaoka Shiki, to inspire new collaborative music.

Two weeks to remix a track or collaborate with another musician and make music in response to the assigned renku poem: more info at http://www.naviarrecords.com/about/renku

DEADLINE: 16th November

Poem by Masaoka Shiki

Picture by James Song

- Make music in response to the assigned poem and in collaboration with one or more artists.
- Upload your collaboration to Naviar’s Dropbox account
– When you upload your entry, include the names of the artists involved in the composition in the title and include "Renku9" in the title of your track.
- Please use a Creative Commons license for your entry

For more information visit http://www.naviarrecords.com/about/renku]]>
hypnotic fluctuations
liquid flow
and glacial washes

..
I can see the stones
On the bottom fluctuate
Through the clear water.

Frozen in the ice
A maple leaf

A poem from one of the great haiku masters, Masaoka Shiki, to inspire new collaborative music.

Two weeks to remix a track or collaborate with another musician and make music in response to the assigned renku poem: more info at http://www.naviarrecords.com/about/renku

DEADLINE: 16th November

Poem by Masaoka Shiki

Picture by James Song

- Make music in response to the assigned poem and in collaboration with one or more artists.
- Upload your collaboration to Naviar’s Dropbox account
– When you upload your entry, include the names of the artists involved in the composition in the title and include "Renku9" in the title of your track.
- Please use a Creative Commons license for your entry

For more information visit http://www.naviarrecords.com/about/renku]]> 1110830 no no Tue, 15 Nov 2016 23:26:25 +0100 2016-11-15T23:26:25+01:00 20:22 https://hearthis.at/sevenism/kerguelen-islands-naviarhaiku149/ with the earth expelling anger
spirit unbroken
..
i read the haiku as if the earth was angry at us.
i was inspired by kerguelen islands: called Desolation Islands in french, these are very isolated, in the middle of nowhere in the indian ocean.

highly modified sawtooth wave
sealion calls in the background

....

from http://www.naviarrecords.com/2016/11/09/naviarhaiku149-let-us-be-one/ :

"For this week’s Haiku challenge I’ve chosen a poem by Sonia Sanchez, an African-American poet generally associated with the Black Arts Movement.

Here’s how Yoshinobu Hakutani describes Sanchez’s works in his essay “Cross-cultural visions of African America: From Spatial Narrative to Jazz Haiku”

“Some of Sanchez’s haiku like this one have an affinity with the Zen concept of mu (nothingness). This state of nothingness is devoid of all thoughts and emotions that are derived from human subjectivity and egotism and contrary to the conscious or unconscious truth represented by nature. An enlightened person is liberated from the selfcentered worldview, convention, or received opinion that lacks fairness and justice.”

Seven days to participate in the Haiku music challenge: more info at http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 16th November

Poem by Sonia Sanchez

Picture by CAMIO"]]> with the earth expelling anger
spirit unbroken
..
i read the haiku as if the earth was angry at us.
i was inspired by kerguelen islands: called Desolation Islands in french, these are very isolated, in the middle of nowhere in the indian ocean.

highly modified sawtooth wave
sealion calls in the background

....

from http://www.naviarrecords.com/2016/11/09/naviarhaiku149-let-us-be-one/ :

"For this week’s Haiku challenge I’ve chosen a poem by Sonia Sanchez, an African-American poet generally associated with the Black Arts Movement.

Here’s how Yoshinobu Hakutani describes Sanchez’s works in his essay “Cross-cultural visions of African America: From Spatial Narrative to Jazz Haiku”

“Some of Sanchez’s haiku like this one have an affinity with the Zen concept of mu (nothingness). This state of nothingness is devoid of all thoughts and emotions that are derived from human subjectivity and egotism and contrary to the conscious or unconscious truth represented by nature. An enlightened person is liberated from the selfcentered worldview, convention, or received opinion that lacks fairness and justice.”

Seven days to participate in the Haiku music challenge: more info at http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 16th November

Poem by Sonia Sanchez

Picture by CAMIO"]]> 1107492 no no Tue, 15 Nov 2016 13:57:10 +0100 2016-11-15T13:57:10+01:00 02:50 https://hearthis.at/sevenism/ikjoyce-sevenism-frozen-sunrise-winter-dawn-mix/
i expanded on the idea, even more still and cold.

lots of quiet details and resolves only in the last few minutes really.]]>
i expanded on the idea, even more still and cold.

lots of quiet details and resolves only in the last few minutes really.]]> 1105347 no no Sun, 13 Nov 2016 13:58:04 +0100 2016-11-13T13:58:04+01:00 21:01 https://hearthis.at/sevenism/blue-sky-in-a-cold-world-disquiet0254/ then dimension expander > neutrino

then just played and adjusted the octaves of the samples live

pulled the recording into audition and eq'd / mastered.
..
Disquiet Junto Project 0254: Fog and Steam
Make music from two provided samples.

Fog Horn: http://www.freesound.org/people/schaarsen/sounds/69663/

Train Whistle: http://www.freesound.org/people/ecodios/sounds/119963/

Project discussion takes place on llllllll.co:
llllllll.co/t/music-of-fog-and-steam-disquiet-junto-project-0254/]]> then dimension expander > neutrino

then just played and adjusted the octaves of the samples live

pulled the recording into audition and eq'd / mastered.
..
Disquiet Junto Project 0254: Fog and Steam
Make music from two provided samples.

Fog Horn: http://www.freesound.org/people/schaarsen/sounds/69663/

Train Whistle: http://www.freesound.org/people/ecodios/sounds/119963/

Project discussion takes place on llllllll.co:
llllllll.co/t/music-of-fog-and-steam-disquiet-junto-project-0254/]]> then dimension expander > neutrino then just played and adjusted the octaves of the samples live pulled the recording into audition and eq'd / mastered. .. Disquiet Junto Project 0254: Fog and Steam Make music from two provided samples. Fog Horn: http://www.freesound.org/people/schaarsen/sounds/69663/ Train Whistle: http://www.freesound.org/people/ecodios/sounds/119963/ Project discussion takes place on llllllll.co: llllllll.co/t/music-of-fog-and-steam-disquiet-junto-project-0254/]]> 1103481 no no Fri, 11 Nov 2016 14:45:05 +0100 2016-11-11T14:45:05+01:00 07:46 https://hearthis.at/sevenism/synkrotron-sevenism-time-dilated-mix/
i've blurred @synkrotron 's guitar a little and detuned it slightly]]>
i've blurred @synkrotron 's guitar a little and detuned it slightly]]> 1103482 no no Thu, 10 Nov 2016 14:47:51 +0100 2016-11-10T14:47:51+01:00 05:59 https://hearthis.at/sevenism/glenn-sogge-sevenism-memories-and-loss/
wanted to give it a vague lost searching feel]]>
wanted to give it a vague lost searching feel]]> 1105346 no no Thu, 10 Nov 2016 13:26:45 +0100 2016-11-10T13:26:45+01:00 17:37 https://hearthis.at/sevenism/appear-in-fog-naviarhaiku148/ solo piano : clouded embedded cleared

.... ....... . ... . . . .
A city parking space
appears and disappears
in fog

This week’s haiku was written by Marianna Monaco: you can read more of her poems at http://terebess.hu/english/usa/monaco.html

Seven days to upload music in response to the assigned poem: more info at http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 9th November

Poem by Marianna Monaco

Picture by Patrick Tomasso]]> solo piano : clouded embedded cleared

.... ....... . ... . . . .
A city parking space
appears and disappears
in fog

This week’s haiku was written by Marianna Monaco: you can read more of her poems at http://terebess.hu/english/usa/monaco.html

Seven days to upload music in response to the assigned poem: more info at http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 9th November

Poem by Marianna Monaco

Picture by Patrick Tomasso]]> 1098820 no no Sun, 06 Nov 2016 21:49:21 +0100 2016-11-06T21:49:21+01:00 02:30 https://hearthis.at/sevenism/silent-doorbell-disquiet0253/
'how would you know, you don't do the cooking'

really judgmental and rude. i managed to keep quiet and shortly after she scampered off.

so that's the inspiration here:
the best doorbell is a silent doorbell.
i recorded my doorbell speaker being quiet. and done some processing in audition. what's actually captured is traffic and fireworks.

i think it'd be fun to have a doorbell that captures indoors sounds and is very difficult to work out that it's a doorbell.

..

http://llllllll.co/t/make-a-doorbell-disquiet-junto-project-0253/5220/2
Disquiet Junto Project 0253: Doorbell Rehab
Record some welcome music.]]>
'how would you know, you don't do the cooking'

really judgmental and rude. i managed to keep quiet and shortly after she scampered off.

so that's the inspiration here:
the best doorbell is a silent doorbell.
i recorded my doorbell speaker being quiet. and done some processing in audition. what's actually captured is traffic and fireworks.

i think it'd be fun to have a doorbell that captures indoors sounds and is very difficult to work out that it's a doorbell.

..

http://llllllll.co/t/make-a-doorbell-disquiet-junto-project-0253/5220/2
Disquiet Junto Project 0253: Doorbell Rehab
Record some welcome music.]]> 1098821 no no Fri, 04 Nov 2016 21:20:31 +0100 2016-11-04T21:20:31+01:00 01:02 https://hearthis.at/sevenism/boson-spin-sevenism-ellucid-dream/
another great track to mix!]]>
another great track to mix!]]> 1093600 no no Tue, 01 Nov 2016 22:17:45 +0100 2016-11-01T22:17:45+01:00 17:07 https://hearthis.at/sevenism/boson-spin-synkrotron-glenn-sogge-sevenism-solar-flare-renku8/ https://soundcloud.com/boson_spin/the-pulse-of-the-sun-renku8-my-remix-of-a-synkrotronglenn-sogge-collaboration
https://soundcloud.com/synkrotron/sunpulsing-renku8-a-glenn-soggesynkrotron-collaboration?in=naviar-records/sets/renku-8

@boson_spin @synkrotron @glenn-sogge

found out the other day i'm lucky enough to have access to adobe audition through work, so.. having a play with that!]]> https://soundcloud.com/boson_spin/the-pulse-of-the-sun-renku8-my-remix-of-a-synkrotronglenn-sogge-collaboration
https://soundcloud.com/synkrotron/sunpulsing-renku8-a-glenn-soggesynkrotron-collaboration?in=naviar-records/sets/renku-8

@boson_spin @synkrotron @glenn-sogge

found out the other day i'm lucky enough to have access to adobe audition through work, so.. having a play with that!]]> 1090441 no no Mon, 31 Oct 2016 15:53:19 +0100 2016-10-31T15:53:19+01:00 07:12 https://hearthis.at/sevenism/sevenism-ambientremixtwo-naviar-mix/
0.00 ikjoyce - A Gentle Wave Of Starlight (NaviarHaiku137) post.mix
5.34 ian haygreen - Mandira Ghanti (Naviarhaiku130) floating mandala
12.03 Thoribass - Evening Sky Far From Fireworks (naviarhaiku140) aether5 mix
15.02 Bassling - Valla Beach By Moonlight (Naviarhaiku132) twostretch
18.11 earthborn visions - cascade (naviarhaiku134) robot orchestra
21.52 Yum Haruki - into deep (naviarhaiku131) fallen mix
25.13 Flat Stone - Solitude (naviarhaiku135) lone chorus
29.04 Night Note - insomnia - Railway of ghosts (NaviarHaiku139) silent chaos
33.38 Glenn Sogge - Scattered Ghosts (Naviarhaiku146) to ashes mix
38.28 tuonela - Lost mountain (Naviarhaiku130) misted mix
44.28 Benn DeMole - Insomnia in D (the line, on a string)(NaviarHaiku139) gracenotes
48.40 sevenism - coriolis (blurred mix)]]>
0.00 ikjoyce - A Gentle Wave Of Starlight (NaviarHaiku137) post.mix
5.34 ian haygreen - Mandira Ghanti (Naviarhaiku130) floating mandala
12.03 Thoribass - Evening Sky Far From Fireworks (naviarhaiku140) aether5 mix
15.02 Bassling - Valla Beach By Moonlight (Naviarhaiku132) twostretch
18.11 earthborn visions - cascade (naviarhaiku134) robot orchestra
21.52 Yum Haruki - into deep (naviarhaiku131) fallen mix
25.13 Flat Stone - Solitude (naviarhaiku135) lone chorus
29.04 Night Note - insomnia - Railway of ghosts (NaviarHaiku139) silent chaos
33.38 Glenn Sogge - Scattered Ghosts (Naviarhaiku146) to ashes mix
38.28 tuonela - Lost mountain (Naviarhaiku130) misted mix
44.28 Benn DeMole - Insomnia in D (the line, on a string)(NaviarHaiku139) gracenotes
48.40 sevenism - coriolis (blurred mix)]]> 1090110 no no Sun, 30 Oct 2016 14:29:07 +0100 2016-10-30T14:29:07+01:00 55:38 https://hearthis.at/sevenism/boson-spin-sevenism-emerald-shoal/ forgot to look at the bpm ah well!

your turn]]> forgot to look at the bpm ah well!

your turn]]> 1087470 no no Sat, 29 Oct 2016 12:19:41 +0200 2016-10-29T12:19:41+02:00 07:18 https://hearthis.at/sevenism/solar-rays-aibohphobia-mix-disquiet0252/
an audio palindrome remix for disquiet

inspired by the palindrome:

'drawn I sit; serene rest is inward'

..
http://llllllll.co/t/make-a-sonic-palindrome-disquiet-junto-0252/5128
Disquiet Junto Project 0252: Sonic Palindrome
Make music that sounds the same backwards and forwards.]]>
an audio palindrome remix for disquiet

inspired by the palindrome:

'drawn I sit; serene rest is inward'

..
http://llllllll.co/t/make-a-sonic-palindrome-disquiet-junto-0252/5128
Disquiet Junto Project 0252: Sonic Palindrome
Make music that sounds the same backwards and forwards.]]> 1086836 no no Fri, 28 Oct 2016 22:23:06 +0200 2016-10-28T22:23:06+02:00 07:11 https://hearthis.at/sevenism/shadow-flow-naviarhaiku146/ .

Shadow ghosts play tag
Over the scattered starlight
The river is wide.
.

http://www.naviarrecords.com/2016/10/19/naviarhaiku146-shadow-ghosts-play-tag/

this poem is part of a haiku trilogy entitled Wabash Moon. You can find most of his poems at http://www.poemhunter.com/terry-l-young/poems Other works of Terry L. Young which I recommend are Indochine, A Haiku Trilogy and Mekong Memories

DEADLINE: 26th October

Poem by Terry L. Young

Picture by Martin Sattler]]> .

Shadow ghosts play tag
Over the scattered starlight
The river is wide.
.

http://www.naviarrecords.com/2016/10/19/naviarhaiku146-shadow-ghosts-play-tag/

this poem is part of a haiku trilogy entitled Wabash Moon. You can find most of his poems at http://www.poemhunter.com/terry-l-young/poems Other works of Terry L. Young which I recommend are Indochine, A Haiku Trilogy and Mekong Memories

DEADLINE: 26th October

Poem by Terry L. Young

Picture by Martin Sattler]]> 1086837 no no Tue, 25 Oct 2016 17:36:54 +0200 2016-10-25T17:36:54+02:00 07:19 https://hearthis.at/sevenism/boson-spin-sevenism-balalaikas-robot-concert-anagrammic-mix/ https://soundcloud.com/boson_spin/collab-base-track]]> https://soundcloud.com/boson_spin/collab-base-track]]> 1080850 no no Mon, 24 Oct 2016 16:32:47 +0200 2016-10-24T16:32:47+02:00 07:17 https://hearthis.at/sevenism/ohm-research-missa-pro-infantibus-sevenism-mix-disquiet0251/
1 ran the track through the protoplasm synth and various other fx
2 ran the track thru the mangle (crossfaded a paulstretched duplicate too)
3 added some white noise (babies apparently like white noise, but i think parents can too)

Disquiet Junto Project 0251: Soothing Sounds for Parents
Remix some music for infants with parents in mind.
http://llllllll.co/t/soothing-sounds-for-parents-disquiet-junto-0251/5033]]>
1 ran the track through the protoplasm synth and various other fx
2 ran the track thru the mangle (crossfaded a paulstretched duplicate too)
3 added some white noise (babies apparently like white noise, but i think parents can too)

Disquiet Junto Project 0251: Soothing Sounds for Parents
Remix some music for infants with parents in mind.
http://llllllll.co/t/soothing-sounds-for-parents-disquiet-junto-0251/5033]]> 1080641 no no Fri, 21 Oct 2016 21:31:22 +0200 2016-10-21T21:31:22+02:00 10:10 https://hearthis.at/sevenism/get-back-safely/ http://www.ambientonline.org/forum/showthread.php?4884-One-Sample-Dare-45

only made from one sample
https://soundcloud.com/davedorgan/pasted-audio-1-trimmed-1

in live 8 i ran the sample as 3 oscillators at dfferent octaves thru the protoplasm tsm synth.
this was routed thru podfarm2 with the following chain:
class a15 amp > analog square chorus > analog chorus > sine chorus > random chorus > echo platter > ping pong delay > reverse delay
then thru ddly delay and neutrino
i played the sample as one note and pushed other keys a bit throughout
recorded in audacity a bit of eq'ing at 2.5khz and 3.15khz, amplified +4db]]> http://www.ambientonline.org/forum/showthread.php?4884-One-Sample-Dare-45

only made from one sample
https://soundcloud.com/davedorgan/pasted-audio-1-trimmed-1

in live 8 i ran the sample as 3 oscillators at dfferent octaves thru the protoplasm tsm synth.
this was routed thru podfarm2 with the following chain:
class a15 amp > analog square chorus > analog chorus > sine chorus > random chorus > echo platter > ping pong delay > reverse delay
then thru ddly delay and neutrino
i played the sample as one note and pushed other keys a bit throughout
recorded in audacity a bit of eq'ing at 2.5khz and 3.15khz, amplified +4db]]> analog square chorus > analog chorus > sine chorus > random chorus > echo platter > ping pong delay > reverse delay then thru ddly delay and neutrino i played the sample as one note and pushed other keys a bit throughout recorded in audacity a bit of eq'ing at 2.5khz and 3.15khz, amplified +4db]]> 1076407 no no Fri, 21 Oct 2016 16:46:17 +0200 2016-10-21T16:46:17+02:00 07:02 https://hearthis.at/sevenism/samentta-onmyd-cassette-comp-cddl/ 1164106 no no Thu, 05 Jan 2017 14:07:00 +0100 2017-01-05T14:07:00+01:00 07:30 https://hearthis.at/sevenism/zucchini-mindset-madsenmegamix/
each note a track. I'll spend more time naming them than making it. incidentally I played four notes for five minutes then stretched then stretched again. part of semi random meditations v2 although I haven't releassed v1 yet.

is it a mix? dont see why not. the spectral smoothing means two notes bleed into each other sometimes three. and at this speed they're tracks not notes: it's tracks mixed automatically.]]>
each note a track. I'll spend more time naming them than making it. incidentally I played four notes for five minutes then stretched then stretched again. part of semi random meditations v2 although I haven't releassed v1 yet.

is it a mix? dont see why not. the spectral smoothing means two notes bleed into each other sometimes three. and at this speed they're tracks not notes: it's tracks mixed automatically.]]> 1144665 no no Thu, 11 Jun 2015 23:31:44 +0200 2015-06-11T23:31:44+02:00 2:58:31 https://hearthis.at/sevenism/shattered-naviarhaiku145/ quick late entry
sun dispersed like shattered glass

/ / / /
City streets ablaze;
reflected sun fragmented,
setting on all sides.

DEADLINE: 19th October

Poem by Ian Joyce

Picture by Scott Webb

- Make music in response to the assigned haiku.
- If you're a Soundcloud user, upload the track on Soundcloud and message me privately the track's URL; alternatively you can send me your composition directly via Dropbox
- Include the assignment number in the title of your track, for example “Title of your track (naviarhaiku145)”

For more information visit http://www.naviarrecords.com/about/naviar-haiku]]> quick late entry
sun dispersed like shattered glass

/ / / /
City streets ablaze;
reflected sun fragmented,
setting on all sides.

DEADLINE: 19th October

Poem by Ian Joyce

Picture by Scott Webb

- Make music in response to the assigned haiku.
- If you're a Soundcloud user, upload the track on Soundcloud and message me privately the track's URL; alternatively you can send me your composition directly via Dropbox
- Include the assignment number in the title of your track, for example “Title of your track (naviarhaiku145)”

For more information visit http://www.naviarrecords.com/about/naviar-haiku]]> 1072656 no no Wed, 19 Oct 2016 18:11:21 +0200 2016-10-19T18:11:21+02:00 03:14 https://hearthis.at/sevenism/minorca-nature-reserve-disquiet0250/
Recorded outside our apartment you can hear the waves and wildlife. There's a protected nature reserve, marsh land, where we are.]]>
Recorded outside our apartment you can hear the waves and wildlife. There's a protected nature reserve, marsh land, where we are.]]> 1072658 no no Sun, 16 Oct 2016 14:02:33 +0200 2016-10-16T14:02:33+02:00 01:40 https://hearthis.at/sevenism/saltwater-42-mix-disquiet0249/ basically when you duplicate a tab that is playing a bandcamp track it plays it at a slight delay and i wanted to see what that would sound like
i played a simple 2 note phrase over and over with not too many fx but 3 different oscillators
in bandcamp i'd play one duplicate the tab wait for that to start playing and duplicate again over the course of ~3.5 minutes
i wanted to get up to 80 tabs but only made it to 42 (the previous attempts were in the 30s)
weirdly when it got to 7 or 8 tabs open it would hang trying to find a socket but then once it had it would get thru the next 30 no hassle

. . ............... ...... ..... ... ....... . .
http://llllllll.co/t/happy-birthday-steve-reich-disquiet-junto-project-0249/4847

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

Major thanks to Neil Stringfellow for proposing and helping to craft this project.

Project Steps:

Step 1: October 3 marked the 80th birthday of composer Steve Reich. Prepare to record a tribute to him.

Step 2: Select a short segment of sound or music that can be looped and, per Reich’s own technique, “phased.” Fortunately, the song “Happy Birthday” has entered the public domain. Consider using it.

Step 3: Take the segment from Step 2 and play it on repeat, layering the loop with slightly different timing to create a phasing effect. Play around with this, editing the loops until you have some successful or interesting sounds/accidents.]]> basically when you duplicate a tab that is playing a bandcamp track it plays it at a slight delay and i wanted to see what that would sound like
i played a simple 2 note phrase over and over with not too many fx but 3 different oscillators
in bandcamp i'd play one duplicate the tab wait for that to start playing and duplicate again over the course of ~3.5 minutes
i wanted to get up to 80 tabs but only made it to 42 (the previous attempts were in the 30s)
weirdly when it got to 7 or 8 tabs open it would hang trying to find a socket but then once it had it would get thru the next 30 no hassle

. . ............... ...... ..... ... ....... . .
http://llllllll.co/t/happy-birthday-steve-reich-disquiet-junto-project-0249/4847

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

Major thanks to Neil Stringfellow for proposing and helping to craft this project.

Project Steps:

Step 1: October 3 marked the 80th birthday of composer Steve Reich. Prepare to record a tribute to him.

Step 2: Select a short segment of sound or music that can be looped and, per Reich’s own technique, “phased.” Fortunately, the song “Happy Birthday” has entered the public domain. Consider using it.

Step 3: Take the segment from Step 2 and play it on repeat, layering the loop with slightly different timing to create a phasing effect. Play around with this, editing the loops until you have some successful or interesting sounds/accidents.]]> 1060202 no no Thu, 06 Oct 2016 19:31:10 +0200 2016-10-06T19:31:10+02:00 03:57 https://hearthis.at/sevenism/shifting-chasm-6wo/
mixes of intros of

insub.org/insub44
impulsivehabitat.com/releases/...es/ihabp001.htm
archive.org/details/alg-set05-zraerza
.
> http://llllllll.co/t/disquiet-junto-project-0244-euro-mixin/4361/4]]>
mixes of intros of

insub.org/insub44
impulsivehabitat.com/releases/...es/ihabp001.htm
archive.org/details/alg-set05-zraerza
.
> http://llllllll.co/t/disquiet-junto-project-0244-euro-mixin/4361/4]]> http://llllllll.co/t/disquiet-junto-project-0244-euro-mixin/4361/4]]> 1072659 no no Thu, 01 Sep 2016 22:54:30 +0200 2016-09-01T22:54:30+02:00 08:32 https://hearthis.at/sevenism/blade-edge-disquiet0243/
full soundtrack: https://hearthis.at/sevenism/7ism-blade-edge/
https://sevenism.bandcamp.com/album/blade-edge

http://llllllll.co/t/disquiet-junto-project-0243-synth-trial/4288/14]]>
full soundtrack: https://hearthis.at/sevenism/7ism-blade-edge/
https://sevenism.bandcamp.com/album/blade-edge

http://llllllll.co/t/disquiet-junto-project-0243-synth-trial/4288/14]]> 1072660 no no Fri, 26 Aug 2016 19:49:53 +0200 2016-08-26T19:49:53+02:00 08:15 https://hearthis.at/sevenism/meteor-shower-naviarhaiku137/
meteor shower
a gentle wave
wets our sandals

DEADLINE: 24th August

Poem by Michael Dylan Welch

Picture by James Wheeler

Make music in response to the assigned haiku.
If you're a Soundcloud user, upload the track on Soundcloud and message me privately the track's URL; alternatively you can send me your composition directly via Dropbox
Include the assignment number in the title of your track, for example “Title of your track (naviarhaiku137)”

For more information visit naviarrecords.com/about/naviar-haiku]]>
meteor shower
a gentle wave
wets our sandals

DEADLINE: 24th August

Poem by Michael Dylan Welch

Picture by James Wheeler

Make music in response to the assigned haiku.
If you're a Soundcloud user, upload the track on Soundcloud and message me privately the track's URL; alternatively you can send me your composition directly via Dropbox
Include the assignment number in the title of your track, for example “Title of your track (naviarhaiku137)”

For more information visit naviarrecords.com/about/naviar-haiku]]> 1072662 no no Tue, 23 Aug 2016 13:40:21 +0200 2016-08-23T13:40:21+02:00 03:14 https://hearthis.at/sevenism/slowmotion-plasma-naviarhaiku143/ slow plasma rise
lightning spike distortion

(protoplasm>podfarm2(amp, chorus, delay, echo)>dimension expander>ddly>neutrino)

⚡⚡⚡

watching the lightning
backlighting the summer clouds
moist air enveloping

DEADLINE: 05th October

Poem by Glenn Sogge

Picture by Marc Wieland

- Make music in response to the assigned haiku.

- Include the assignment number in the title of your track, for example “Title of your track (naviarhaiku143)”

For more information visit http://www.naviarrecords.com/about/naviar-haiku]]> slow plasma rise
lightning spike distortion

(protoplasm>podfarm2(amp, chorus, delay, echo)>dimension expander>ddly>neutrino)

⚡⚡⚡

watching the lightning
backlighting the summer clouds
moist air enveloping

DEADLINE: 05th October

Poem by Glenn Sogge

Picture by Marc Wieland

- Make music in response to the assigned haiku.

- Include the assignment number in the title of your track, for example “Title of your track (naviarhaiku143)”

For more information visit http://www.naviarrecords.com/about/naviar-haiku]]> podfarm2(amp, chorus, delay, echo)>dimension expander>ddly>neutrino) ⚡⚡⚡ watching the lightning backlighting the summer clouds moist air enveloping DEADLINE: 05th October Poem by Glenn Sogge Picture by Marc Wieland - Make music in response to the assigned haiku. - Include the assignment number in the title of your track, for example “Title of your track (naviarhaiku143)” For more information visit http://www.naviarrecords.com/about/naviar-haiku]]> 1049392 no no Sat, 01 Oct 2016 14:42:42 +0200 2016-10-01T14:42:42+02:00 13:04 https://hearthis.at/sevenism/galactic-orbit-disquiet0248/ then i went through and recorded a 'tick' every so often (i didnt listen to all of it)
then blurred it into itself

http://llllllll.co/t/music-for-the-galactic-tick-disquiet-junto-project-0248/4744

Disquiet Junto Project 0248: Galactic Tick
Celebrate the new celestial holiday in music.

Project Steps:

Step 1: Read up on the Galactic Tick, a new proposed holiday exploring, as described by Popular Mechanics, “how people’s perceptions would change if they really realized the one fixed point in their celestial understanding, the mighty sun, was also in flux.”

http://www.popularmechanics.com/space/deep-space/news/a22492/galactic-tick-day-september-29/8

http://galactictick.com/2

Step 2: Devise a short piece of music in celebration of the Galactic Tick. Perhaps you’ll explore the distance of 225 million years, which is how often the Earth fully circles the center of the Milky Way. Perhaps you’ll find cosmic meaning in 1/129,600,000, which is the “centi-arcsecond” employed by the Galactic Tick planners to make the period of time more human-comprehensible. Perhaps you’ll find meaning in 633.7, which is the number of days between celebrations of the Galactic Tick here on Earth, or 1.74, which is the number of years.]]> then i went through and recorded a 'tick' every so often (i didnt listen to all of it)
then blurred it into itself

http://llllllll.co/t/music-for-the-galactic-tick-disquiet-junto-project-0248/4744

Disquiet Junto Project 0248: Galactic Tick
Celebrate the new celestial holiday in music.

Project Steps:

Step 1: Read up on the Galactic Tick, a new proposed holiday exploring, as described by Popular Mechanics, “how people’s perceptions would change if they really realized the one fixed point in their celestial understanding, the mighty sun, was also in flux.”

http://www.popularmechanics.com/space/deep-space/news/a22492/galactic-tick-day-september-29/8

http://galactictick.com/2

Step 2: Devise a short piece of music in celebration of the Galactic Tick. Perhaps you’ll explore the distance of 225 million years, which is how often the Earth fully circles the center of the Milky Way. Perhaps you’ll find cosmic meaning in 1/129,600,000, which is the “centi-arcsecond” employed by the Galactic Tick planners to make the period of time more human-comprehensible. Perhaps you’ll find meaning in 633.7, which is the number of days between celebrations of the Galactic Tick here on Earth, or 1.74, which is the number of years.]]> 1048448 no no Fri, 30 Sep 2016 19:59:06 +0200 2016-09-30T19:59:06+02:00 03:34 https://hearthis.at/sevenism/shakuhachi-d-r-i-f-t-naviarhaiku142/
.............. . . .

The haiku of the week was written by Sôen Nakagawa, a key figure in the transmission of Zen Buddhism from Japan to the Western world.

The shakuhachi is a Japanese end-blown flute that was originally introduced from China into Japan in the 8th century. If you’re curious to hear how it sounds, check out this video: https://www.youtube.com/watch?v=f7s-wXZWT5o

Seven days to make music in response to the assigned haiku poem. To participate, visit http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 28th September

Poem by Sôen Nakagawa

Picture by Anne James]]>
.............. . . .

The haiku of the week was written by Sôen Nakagawa, a key figure in the transmission of Zen Buddhism from Japan to the Western world.

The shakuhachi is a Japanese end-blown flute that was originally introduced from China into Japan in the 8th century. If you’re curious to hear how it sounds, check out this video: https://www.youtube.com/watch?v=f7s-wXZWT5o

Seven days to make music in response to the assigned haiku poem. To participate, visit http://www.naviarrecords.com/about/naviar-haiku

DEADLINE: 28th September

Poem by Sôen Nakagawa

Picture by Anne James]]> 1043551 no no Mon, 26 Sep 2016 22:08:12 +0200 2016-09-26T22:08:12+02:00 03:07 https://hearthis.at/sevenism/nonspheric-slowdance-disquiet0245/
the picture got me think of oscillators and i thought i'd plunder a track off that album. had them on random until it came to something that i felt would fit (fortunately didnt take too long)

i'm only on an old copy of audacity here so i used the tremolo and paulstretch as an oscillator, and in a duplicated track had some echo at 3/4 speed of that. 'course adding echo to ambient drone doesnt do an awful lot

more project details:
http://llllllll.co/t/a-cartoon-graphic-score-disquiet-junto-project-0247/4647/2]]>
the picture got me think of oscillators and i thought i'd plunder a track off that album. had them on random until it came to something that i felt would fit (fortunately didnt take too long)

i'm only on an old copy of audacity here so i used the tremolo and paulstretch as an oscillator, and in a duplicated track had some echo at 3/4 speed of that. 'course adding echo to ambient drone doesnt do an awful lot

more project details:
http://llllllll.co/t/a-cartoon-graphic-score-disquiet-junto-project-0247/4647/2]]> 1042994 no no Mon, 26 Sep 2016 14:38:33 +0200 2016-09-26T14:38:33+02:00 07:50 https://hearthis.at/sevenism/unapologetic-pavement-XFz/ 1052749 no no Mon, 03 Oct 2016 18:23:06 +0200 2016-10-03T18:23:06+02:00 00:12 https://hearthis.at/sevenism/unworldly20clue/
m]]>
m]]> 1052729 no no Mon, 03 Oct 2016 18:02:12 +0200 2016-10-03T18:02:12+02:00 01:48 https://hearthis.at/sevenism/transonic20double/ 1052719 no no Mon, 03 Oct 2016 17:54:42 +0200 2016-10-03T17:54:42+02:00 00:58 https://hearthis.at/sevenism/unsneaky20force/ 1052724 no no Mon, 03 Oct 2016 17:59:27 +0200 2016-10-03T17:59:27+02:00 01:06 https://hearthis.at/sevenism/toothless20effort/ 1052714 no no Mon, 03 Oct 2016 17:51:22 +0200 2016-10-03T17:51:22+02:00 01:15 https://hearthis.at/sevenism/tectonic20solo/ 1052712 no no Mon, 03 Oct 2016 17:50:08 +0200 2016-10-03T17:50:08+02:00 00:56 https://hearthis.at/sevenism/sveltest20reading/ https://archive.org/download/sevenismWavenet777/sveltest%20reading.mp3]]> https://archive.org/download/sevenismWavenet777/sveltest%20reading.mp3]]> 1052709 no no Mon, 03 Oct 2016 17:48:15 +0200 2016-10-03T17:48:15+02:00 02:02 https://hearthis.at/sevenism/pluperfect20ball/ 1052706 no no Mon, 03 Oct 2016 17:45:01 +0200 2016-10-03T17:45:01+02:00 01:23 https://hearthis.at/sevenism/photopathic20may/ 1052700 no no Mon, 03 Oct 2016 17:43:07 +0200 2016-10-03T17:43:07+02:00 02:11 https://hearthis.at/sevenism/photic20art/ 1052697 no no Mon, 03 Oct 2016 17:41:28 +0200 2016-10-03T17:41:28+02:00 01:50 https://hearthis.at/sevenism/moldering20academic/ 1052694 no no Mon, 03 Oct 2016 17:38:41 +0200 2016-10-03T17:38:41+02:00 01:15 https://hearthis.at/sevenism/minacious20demonstration/ 1052693 no no Mon, 03 Oct 2016 17:35:55 +0200 2016-10-03T17:35:55+02:00 02:29 https://hearthis.at/sevenism/fuscous20yellow/ 1052689 no no Mon, 03 Oct 2016 17:33:58 +0200 2016-10-03T17:33:58+02:00 00:55 https://hearthis.at/sevenism/cussed20regular/ 1052686 no no Mon, 03 Oct 2016 17:30:29 +0200 2016-10-03T17:30:29+02:00 02:29 https://hearthis.at/sevenism/avian20remote/ 1052679 no no Mon, 03 Oct 2016 17:25:31 +0200 2016-10-03T17:25:31+02:00 01:38 https://hearthis.at/sevenism/voiceless-objection/
@sevenism]]>
@sevenism]]> 1052651 no no Mon, 03 Oct 2016 16:59:30 +0200 2016-10-03T16:59:30+02:00 01:23 https://hearthis.at/sevenism/gerontological-mild/
@sevenism]]>
@sevenism]]> 1052647 no no Mon, 03 Oct 2016 16:57:14 +0200 2016-10-03T16:57:14+02:00 01:03 https://hearthis.at/sevenism/copulatory-film/
@sevenism]]>
@sevenism]]> 1052646 no no Mon, 03 Oct 2016 16:55:48 +0200 2016-10-03T16:55:48+02:00 01:58 https://hearthis.at/sevenism/abutting-misunderstanding/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051457 no no Mon, 26 Sep 2016 22:22:15 +0200 2016-09-26T22:22:15+02:00 02:00 https://hearthis.at/sevenism/acanthaceous-pair/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051458 no no Mon, 26 Sep 2016 22:22:14 +0200 2016-09-26T22:22:14+02:00 02:29 https://hearthis.at/sevenism/accumulative-sufficient/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051459 no no Mon, 26 Sep 2016 22:22:12 +0200 2016-09-26T22:22:12+02:00 01:15 https://hearthis.at/sevenism/acerb-underneath/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051460 no no Mon, 26 Sep 2016 22:22:11 +0200 2016-09-26T22:22:11+02:00 01:55 https://hearthis.at/sevenism/acetous-revealing/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051461 no no Mon, 26 Sep 2016 22:22:10 +0200 2016-09-26T22:22:10+02:00 01:50 https://hearthis.at/sevenism/acinaciform-resource/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051462 no no Mon, 26 Sep 2016 22:22:08 +0200 2016-09-26T22:22:08+02:00 01:50 https://hearthis.at/sevenism/acred-experiment/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051463 no no Mon, 26 Sep 2016 22:22:07 +0200 2016-09-26T22:22:07+02:00 01:15 https://hearthis.at/sevenism/actinozoan-price/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051464 no no Mon, 26 Sep 2016 22:22:06 +0200 2016-09-26T22:22:06+02:00 01:12 https://hearthis.at/sevenism/actionable-bill/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051465 no no Mon, 26 Sep 2016 22:22:05 +0200 2016-09-26T22:22:05+02:00 01:44 https://hearthis.at/sevenism/addle-test/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051466 no no Mon, 26 Sep 2016 22:22:05 +0200 2016-09-26T22:22:05+02:00 01:02 https://hearthis.at/sevenism/aeromantic-plus/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051467 no no Mon, 26 Sep 2016 22:22:04 +0200 2016-09-26T22:22:04+02:00 02:11 https://hearthis.at/sevenism/aerostatic-clock/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051468 no no Mon, 26 Sep 2016 22:22:03 +0200 2016-09-26T22:22:03+02:00 01:50 https://hearthis.at/sevenism/aforethought-preference/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051469 no no Mon, 26 Sep 2016 22:22:02 +0200 2016-09-26T22:22:02+02:00 01:53 https://hearthis.at/sevenism/aforethought-table/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051470 no no Mon, 26 Sep 2016 22:22:01 +0200 2016-09-26T22:22:01+02:00 02:06 https://hearthis.at/sevenism/agape-dear/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051471 no no Mon, 26 Sep 2016 22:21:59 +0200 2016-09-26T22:21:59+02:00 01:44 https://hearthis.at/sevenism/agitation/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051472 no no Mon, 26 Sep 2016 22:21:58 +0200 2016-09-26T22:21:58+02:00 02:05 https://hearthis.at/sevenism/aglitter-cutting/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051473 no no Mon, 26 Sep 2016 22:21:57 +0200 2016-09-26T22:21:57+02:00 01:45 https://hearthis.at/sevenism/agonistic-small/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051474 no no Mon, 26 Sep 2016 22:21:56 +0200 2016-09-26T22:21:56+02:00 01:42 https://hearthis.at/sevenism/airlike-opposite/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051475 no no Mon, 26 Sep 2016 22:21:55 +0200 2016-09-26T22:21:55+02:00 02:29 https://hearthis.at/sevenism/alary-fine/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051476 no no Mon, 26 Sep 2016 22:21:54 +0200 2016-09-26T22:21:54+02:00 00:13 https://hearthis.at/sevenism/altricial-constant/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051477 no no Mon, 26 Sep 2016 22:21:53 +0200 2016-09-26T22:21:53+02:00 01:50 https://hearthis.at/sevenism/amphibolous-labor/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051478 no no Mon, 26 Sep 2016 22:21:52 +0200 2016-09-26T22:21:52+02:00 01:40 https://hearthis.at/sevenism/amphiprostyle-impact/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051479 no no Mon, 26 Sep 2016 22:21:51 +0200 2016-09-26T22:21:51+02:00 01:15 https://hearthis.at/sevenism/amygdaloid-bet/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051480 no no Mon, 26 Sep 2016 22:21:50 +0200 2016-09-26T22:21:50+02:00 00:55 https://hearthis.at/sevenism/androgenic-light/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051481 no no Mon, 26 Sep 2016 22:21:49 +0200 2016-09-26T22:21:49+02:00 01:02 https://hearthis.at/sevenism/anorexic-air/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051482 no no Mon, 26 Sep 2016 22:21:48 +0200 2016-09-26T22:21:48+02:00 02:07 https://hearthis.at/sevenism/anthelmintic-compromise/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051483 no no Mon, 26 Sep 2016 22:21:46 +0200 2016-09-26T22:21:46+02:00 01:40 https://hearthis.at/sevenism/antipyretic-phenomenon/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051484 no no Mon, 26 Sep 2016 22:21:46 +0200 2016-09-26T22:21:46+02:00 01:50 https://hearthis.at/sevenism/antisplitting-reality/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051485 no no Mon, 26 Sep 2016 22:21:44 +0200 2016-09-26T22:21:44+02:00 01:07 https://hearthis.at/sevenism/apatetic-strategy/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051486 no no Mon, 26 Sep 2016 22:21:43 +0200 2016-09-26T22:21:43+02:00 00:58 https://hearthis.at/sevenism/apian-future/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051487 no no Mon, 26 Sep 2016 22:21:42 +0200 2016-09-26T22:21:42+02:00 00:55 https://hearthis.at/sevenism/apiculate-board/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051488 no no Mon, 26 Sep 2016 22:21:41 +0200 2016-09-26T22:21:41+02:00 01:42 https://hearthis.at/sevenism/apodal-experience/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051489 no no Mon, 26 Sep 2016 22:21:40 +0200 2016-09-26T22:21:40+02:00 01:33 https://hearthis.at/sevenism/arbitral-bringing/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051491 no no Mon, 26 Sep 2016 22:21:39 +0200 2016-09-26T22:21:39+02:00 01:42 https://hearthis.at/sevenism/arboreal-setting/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051492 no no Mon, 26 Sep 2016 22:21:38 +0200 2016-09-26T22:21:38+02:00 01:15 https://hearthis.at/sevenism/arcifinious-activity/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051493 no no Mon, 26 Sep 2016 22:21:37 +0200 2016-09-26T22:21:37+02:00 00:52 https://hearthis.at/sevenism/arsenical-circulation/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051494 no no Mon, 26 Sep 2016 22:21:36 +0200 2016-09-26T22:21:36+02:00 01:15 https://hearthis.at/sevenism/arthrodial-view/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051495 no no Mon, 26 Sep 2016 22:21:35 +0200 2016-09-26T22:21:35+02:00 01:07 https://hearthis.at/sevenism/ascertainable-fun/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051496 no no Mon, 26 Sep 2016 22:21:34 +0200 2016-09-26T22:21:34+02:00 01:15 https://hearthis.at/sevenism/aseptic-brown/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051497 no no Mon, 26 Sep 2016 22:21:33 +0200 2016-09-26T22:21:33+02:00 01:38 https://hearthis.at/sevenism/aspectual-tin/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051498 no no Mon, 26 Sep 2016 22:21:32 +0200 2016-09-26T22:21:32+02:00 01:38 https://hearthis.at/sevenism/asquint-access/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051499 no no Mon, 26 Sep 2016 22:21:31 +0200 2016-09-26T22:21:31+02:00 01:15 https://hearthis.at/sevenism/assignable-advantage/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051500 no no Mon, 26 Sep 2016 22:21:30 +0200 2016-09-26T22:21:30+02:00 01:44 https://hearthis.at/sevenism/asteriated-map/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051501 no no Mon, 26 Sep 2016 22:21:29 +0200 2016-09-26T22:21:29+02:00 01:42 https://hearthis.at/sevenism/astir-fleet/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051502 no no Mon, 26 Sep 2016 22:21:28 +0200 2016-09-26T22:21:28+02:00 01:57 https://hearthis.at/sevenism/atmophile-antiseptic/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051503 no no Mon, 26 Sep 2016 22:21:27 +0200 2016-09-26T22:21:27+02:00 02:05 https://hearthis.at/sevenism/attenuated-you/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051504 no no Mon, 26 Sep 2016 22:21:26 +0200 2016-09-26T22:21:26+02:00 01:15 https://hearthis.at/sevenism/auriculate-free/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051505 no no Mon, 26 Sep 2016 22:21:25 +0200 2016-09-26T22:21:25+02:00 01:38 https://hearthis.at/sevenism/azotic-feature/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051506 no no Mon, 26 Sep 2016 22:21:23 +0200 2016-09-26T22:21:23+02:00 01:15 https://hearthis.at/sevenism/backswept-floor/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051507 no no Mon, 26 Sep 2016 22:21:22 +0200 2016-09-26T22:21:22+02:00 00:55 https://hearthis.at/sevenism/balsamic-character/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051508 no no Mon, 26 Sep 2016 22:21:21 +0200 2016-09-26T22:21:21+02:00 01:02 https://hearthis.at/sevenism/bantamweight-proof/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051509 no no Mon, 26 Sep 2016 22:21:20 +0200 2016-09-26T22:21:20+02:00 01:44 https://hearthis.at/sevenism/barmy-hospital/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051510 no no Mon, 26 Sep 2016 22:21:19 +0200 2016-09-26T22:21:19+02:00 01:16 https://hearthis.at/sevenism/basaltic-metal/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051581 no no Mon, 26 Sep 2016 22:20:09 +0200 2016-09-26T22:20:09+02:00 01:02 https://hearthis.at/sevenism/beastliest-integral/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051511 no no Mon, 26 Sep 2016 22:21:18 +0200 2016-09-26T22:21:18+02:00 01:02 https://hearthis.at/sevenism/beastly-joining/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051512 no no Mon, 26 Sep 2016 22:21:17 +0200 2016-09-26T22:21:17+02:00 01:15 https://hearthis.at/sevenism/beatific-industry/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051513 no no Mon, 26 Sep 2016 22:21:16 +0200 2016-09-26T22:21:16+02:00 02:06 https://hearthis.at/sevenism/bedecked-description/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051514 no no Mon, 26 Sep 2016 22:21:15 +0200 2016-09-26T22:21:15+02:00 01:47 https://hearthis.at/sevenism/behindhand-view/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051515 no no Mon, 26 Sep 2016 22:21:13 +0200 2016-09-26T22:21:13+02:00 01:02 https://hearthis.at/sevenism/biform-routine/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051516 no no Mon, 26 Sep 2016 22:21:12 +0200 2016-09-26T22:21:12+02:00 01:41 https://hearthis.at/sevenism/bignoniaceous-reason/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051517 no no Mon, 26 Sep 2016 22:21:11 +0200 2016-09-26T22:21:11+02:00 01:41 https://hearthis.at/sevenism/bimonthly-experiment/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051518 no no Mon, 26 Sep 2016 22:21:10 +0200 2016-09-26T22:21:10+02:00 02:55 https://hearthis.at/sevenism/binocular-rationale/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051519 no no Mon, 26 Sep 2016 22:21:09 +0200 2016-09-26T22:21:09+02:00 01:56 https://hearthis.at/sevenism/bipartite-train/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051520 no no Mon, 26 Sep 2016 22:21:08 +0200 2016-09-26T22:21:08+02:00 01:23 https://hearthis.at/sevenism/biquadratic-sun/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051521 no no Mon, 26 Sep 2016 22:21:07 +0200 2016-09-26T22:21:07+02:00 01:15 https://hearthis.at/sevenism/bloated-till/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051522 no no Mon, 26 Sep 2016 22:21:06 +0200 2016-09-26T22:21:06+02:00 01:15 https://hearthis.at/sevenism/bloodsucking-see/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051523 no no Mon, 26 Sep 2016 22:21:05 +0200 2016-09-26T22:21:05+02:00 00:55 https://hearthis.at/sevenism/bodiless-transfer/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051524 no no Mon, 26 Sep 2016 22:21:03 +0200 2016-09-26T22:21:03+02:00 01:34 https://hearthis.at/sevenism/bolivian-agency/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051526 no no Mon, 26 Sep 2016 22:21:02 +0200 2016-09-26T22:21:02+02:00 02:12 https://hearthis.at/sevenism/bolshevik-leach/
@sevenism]]>
@sevenism]]> 1052239 no no Wed, 28 Sep 2016 18:53:39 +0200 2016-09-28T18:53:39+02:00 00:58 https://hearthis.at/sevenism/botchy-detecting/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051529 no no Mon, 26 Sep 2016 22:21:01 +0200 2016-09-26T22:21:01+02:00 01:39 https://hearthis.at/sevenism/bountyless-sentence/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051530 no no Mon, 26 Sep 2016 22:21:00 +0200 2016-09-26T22:21:00+02:00 02:11 https://hearthis.at/sevenism/brachiopod-grand/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051531 no no Mon, 26 Sep 2016 22:20:59 +0200 2016-09-26T22:20:59+02:00 01:31 https://hearthis.at/sevenism/brimful-drive/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051532 no no Mon, 26 Sep 2016 22:20:58 +0200 2016-09-26T22:20:58+02:00 02:08 https://hearthis.at/sevenism/brothellike-table/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051533 no no Mon, 26 Sep 2016 22:20:57 +0200 2016-09-26T22:20:57+02:00 01:07 https://hearthis.at/sevenism/bulbaceous-coughing/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051534 no no Mon, 26 Sep 2016 22:20:56 +0200 2016-09-26T22:20:56+02:00 01:02 https://hearthis.at/sevenism/butyraceous-scan/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051535 no no Mon, 26 Sep 2016 22:20:55 +0200 2016-09-26T22:20:55+02:00 00:55 https://hearthis.at/sevenism/calcific-summary/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051536 no no Mon, 26 Sep 2016 22:20:54 +0200 2016-09-26T22:20:54+02:00 01:40 https://hearthis.at/sevenism/caloric-cursor/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051537 no no Mon, 26 Sep 2016 22:20:53 +0200 2016-09-26T22:20:53+02:00 01:38 https://hearthis.at/sevenism/campanulaceous-plug/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051538 no no Mon, 26 Sep 2016 22:20:51 +0200 2016-09-26T22:20:51+02:00 01:42 https://hearthis.at/sevenism/candescent-who/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051539 no no Mon, 26 Sep 2016 22:20:49 +0200 2016-09-26T22:20:49+02:00 01:15 https://hearthis.at/sevenism/cankerous-lead/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051540 no no Mon, 26 Sep 2016 22:20:48 +0200 2016-09-26T22:20:48+02:00 01:44 https://hearthis.at/sevenism/cantoral-preserve/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051541 no no Mon, 26 Sep 2016 22:20:47 +0200 2016-09-26T22:20:47+02:00 01:07 https://hearthis.at/sevenism/carbolated-point/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051542 no no Mon, 26 Sep 2016 22:20:47 +0200 2016-09-26T22:20:47+02:00 01:50 https://hearthis.at/sevenism/carduaceous-mechanic/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051543 no no Mon, 26 Sep 2016 22:20:46 +0200 2016-09-26T22:20:46+02:00 00:55 https://hearthis.at/sevenism/carinate-lead/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051544 no no Mon, 26 Sep 2016 22:20:45 +0200 2016-09-26T22:20:45+02:00 01:40 https://hearthis.at/sevenism/carpophagous-input/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051546 no no Mon, 26 Sep 2016 22:20:42 +0200 2016-09-26T22:20:42+02:00 00:55 https://hearthis.at/sevenism/caseous-wheel/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051547 no no Mon, 26 Sep 2016 22:20:40 +0200 2016-09-26T22:20:40+02:00 01:51 https://hearthis.at/sevenism/castlelike-oblivion/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051548 no no Mon, 26 Sep 2016 22:20:39 +0200 2016-09-26T22:20:39+02:00 02:05 https://hearthis.at/sevenism/catacaustic-nowhere/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051550 no no Mon, 26 Sep 2016 22:20:38 +0200 2016-09-26T22:20:38+02:00 01:16 https://hearthis.at/sevenism/catatonic-construct/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051582 no no Mon, 26 Sep 2016 22:20:08 +0200 2016-09-26T22:20:08+02:00 01:15 https://hearthis.at/sevenism/catfooted-storage/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051551 no no Mon, 26 Sep 2016 22:20:36 +0200 2016-09-26T22:20:36+02:00 02:11 https://hearthis.at/sevenism/cathartic-freedom/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051553 no no Mon, 26 Sep 2016 22:20:35 +0200 2016-09-26T22:20:35+02:00 01:02 https://hearthis.at/sevenism/celluloid-water/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051554 no no Mon, 26 Sep 2016 22:20:34 +0200 2016-09-26T22:20:34+02:00 01:44 https://hearthis.at/sevenism/censureless-fraction/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051555 no no Mon, 26 Sep 2016 22:20:34 +0200 2016-09-26T22:20:34+02:00 02:11 https://hearthis.at/sevenism/cephalic-prediction/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051556 no no Mon, 26 Sep 2016 22:20:32 +0200 2016-09-26T22:20:32+02:00 01:57 https://hearthis.at/sevenism/cerise-mark/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051558 no no Mon, 26 Sep 2016 22:20:31 +0200 2016-09-26T22:20:31+02:00 01:15 https://hearthis.at/sevenism/cervine-comparing/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051559 no no Mon, 26 Sep 2016 22:20:30 +0200 2016-09-26T22:20:30+02:00 00:13 https://hearthis.at/sevenism/chasseur-planet/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051560 no no Mon, 26 Sep 2016 22:20:29 +0200 2016-09-26T22:20:29+02:00 00:55 https://hearthis.at/sevenism/choreographic-park/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051561 no no Mon, 26 Sep 2016 22:20:28 +0200 2016-09-26T22:20:28+02:00 01:44 https://hearthis.at/sevenism/christlike-bank/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051562 no no Mon, 26 Sep 2016 22:20:27 +0200 2016-09-26T22:20:27+02:00 01:07 https://hearthis.at/sevenism/chromatoid-absence/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051563 no no Mon, 26 Sep 2016 22:20:26 +0200 2016-09-26T22:20:26+02:00 02:13 https://hearthis.at/sevenism/chromogenic-close/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051564 no no Mon, 26 Sep 2016 22:20:25 +0200 2016-09-26T22:20:25+02:00 00:55 https://hearthis.at/sevenism/chromogenic-planet/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051565 no no Mon, 26 Sep 2016 22:20:24 +0200 2016-09-26T22:20:24+02:00 00:55 https://hearthis.at/sevenism/churchy-leaf/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051566 no no Mon, 26 Sep 2016 22:20:23 +0200 2016-09-26T22:20:23+02:00 02:15 https://hearthis.at/sevenism/cinnamoyl-extreme/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051567 no no Mon, 26 Sep 2016 22:20:22 +0200 2016-09-26T22:20:22+02:00 02:11 https://hearthis.at/sevenism/circumlocutory-acting/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051568 no no Mon, 26 Sep 2016 22:20:21 +0200 2016-09-26T22:20:21+02:00 00:55 https://hearthis.at/sevenism/circumvention/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051569 no no Mon, 26 Sep 2016 22:20:20 +0200 2016-09-26T22:20:20+02:00 02:05 https://hearthis.at/sevenism/classifiable-lie/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051570 no no Mon, 26 Sep 2016 22:20:19 +0200 2016-09-26T22:20:19+02:00 02:04 https://hearthis.at/sevenism/clastic-factor/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051571 no no Mon, 26 Sep 2016 22:20:18 +0200 2016-09-26T22:20:18+02:00 01:45 https://hearthis.at/sevenism/claviform-trunk/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051572 no no Mon, 26 Sep 2016 22:20:17 +0200 2016-09-26T22:20:17+02:00 00:55 https://hearthis.at/sevenism/cliquish-hanging/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051574 no no Mon, 26 Sep 2016 22:20:16 +0200 2016-09-26T22:20:16+02:00 00:41 https://hearthis.at/sevenism/closemouthed-father/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051575 no no Mon, 26 Sep 2016 22:20:15 +0200 2016-09-26T22:20:15+02:00 02:03 https://hearthis.at/sevenism/cogitable-french/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051576 no no Mon, 26 Sep 2016 22:20:14 +0200 2016-09-26T22:20:14+02:00 02:05 https://hearthis.at/sevenism/columelliform-movie/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051577 no no Mon, 26 Sep 2016 22:20:12 +0200 2016-09-26T22:20:12+02:00 00:13 https://hearthis.at/sevenism/compartmental-bracket/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051578 no no Mon, 26 Sep 2016 22:20:11 +0200 2016-09-26T22:20:11+02:00 00:55 https://hearthis.at/sevenism/compunctionless-unit/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051579 no no Mon, 26 Sep 2016 22:20:10 +0200 2016-09-26T22:20:10+02:00 02:10 https://hearthis.at/sevenism/conchoidal-driving/
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]>
i wanted to do 777 tracks in 1 day but this proved tricky. it took 2 days, which i think is pretty good. i didnt leave it running over night. i was always there to monitor what was going on every couple of hours at least

i used mainly hg fortune synths, podfarm, paulstretch, s/ izotope stuff and a mouse recorder. so there's an element of me playing usually and standardized fades, adjustments and saves

i like it when the mouse recorder goes wrong and the output is completely unexpected

titles are randomly generated but commonness of the words was adjusted when the synth was changed or vastly different fx used. so there is a complex meaning of the titles at a macro level. [ i like working at a macro level where the individual pieces become insignificant when considered in a vast forest .]

best listened to on shuffle. about 21 hours of music i think

image attribution: By AW-Energy Oy - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=22885204]]> 1051580 no no Mon, 26 Sep 2016 22:20:09 +0200 2016-09-26T22:20:09+02:00 01:37 https://hearthis.at/sevenism/confessional-chance/ 1051603 no no Mon, 26 Sep 2016 23:36:18 +0200 2016-09-26T23:36:18+02:00 00:52 https://hearthis.at/sevenism/congregational-calculation/ 1051604 no no Mon, 26 Sep 2016 23:36:16 +0200 2016-09-26T23:36:16+02:00 02:39 https://hearthis.at/sevenism/conic-so/ 1051605 no no Mon, 26 Sep 2016 23:36:15 +0200 2016-09-26T23:36:15+02:00 01:15 https://hearthis.at/sevenism/connatural-latest/ 1051606 no no Mon, 26 Sep 2016 23:36:14 +0200 2016-09-26T23:36:14+02:00 01:40 https://hearthis.at/sevenism/consolingly-build/ 1051607 no no Mon, 26 Sep 2016 23:36:13 +0200 2016-09-26T23:36:13+02:00 01:03 https://hearthis.at/sevenism/constipated-ill/ 1051608 no no Mon, 26 Sep 2016 23:36:12 +0200 2016-09-26T23:36:12+02:00 01:15 https://hearthis.at/sevenism/continuative-borrowing/ 1051609 no no Mon, 26 Sep 2016 23:36:11 +0200 2016-09-26T23:36:11+02:00 01:43 https://hearthis.at/sevenism/contused-formal/ 1051610 no no Mon, 26 Sep 2016 23:36:10 +0200 2016-09-26T23:36:10+02:00 02:02 https://hearthis.at/sevenism/conventionalized-punctuation/
@sevenism]]>
@sevenism]]> 1052240 no no Wed, 28 Sep 2016 18:53:38 +0200 2016-09-28T18:53:38+02:00 01:19 https://hearthis.at/sevenism/conversable-bill/ 1051611 no no Mon, 26 Sep 2016 23:36:09 +0200 2016-09-26T23:36:09+02:00 01:41 https://hearthis.at/sevenism/convivial-all/ 1051612 no no Mon, 26 Sep 2016 23:36:08 +0200 2016-09-26T23:36:08+02:00 01:15 https://hearthis.at/sevenism/convivial-discount/ 1051614 no no Mon, 26 Sep 2016 23:36:08 +0200 2016-09-26T23:36:08+02:00 02:08 https://hearthis.at/sevenism/copernican-programming/ 1051615 no no Mon, 26 Sep 2016 23:36:07 +0200 2016-09-26T23:36:07+02:00 01:05 https://hearthis.at/sevenism/coppiced-will/ 1051616 no no Mon, 26 Sep 2016 23:36:06 +0200 2016-09-26T23:36:06+02:00 01:02 https://hearthis.at/sevenism/cosmological-altogether/ 1051617 no no Mon, 26 Sep 2016 23:36:05 +0200 2016-09-26T23:36:05+02:00 01:15 https://hearthis.at/sevenism/counterirritant-stage/ 1051618 no no Mon, 26 Sep 2016 23:36:03 +0200 2016-09-26T23:36:03+02:00 01:42 https://hearthis.at/sevenism/countrified-vessel/ 1051619 no no Mon, 26 Sep 2016 23:36:02 +0200 2016-09-26T23:36:02+02:00 01:59 https://hearthis.at/sevenism/courtly-reach/ 1051620 no no Mon, 26 Sep 2016 23:36:02 +0200 2016-09-26T23:36:02+02:00 01:15 https://hearthis.at/sevenism/crabwise-quarter/ 1051621 no no Mon, 26 Sep 2016 23:36:01 +0200 2016-09-26T23:36:01+02:00 01:42 https://hearthis.at/sevenism/cracklier-divide/ 1051622 no no Mon, 26 Sep 2016 23:36:00 +0200 2016-09-26T23:36:00+02:00 01:15 https://hearthis.at/sevenism/crocked-talk/ 1051623 no no Mon, 26 Sep 2016 23:35:59 +0200 2016-09-26T23:35:59+02:00 01:02 https://hearthis.at/sevenism/cubital-sample/ 1051624 no no Mon, 26 Sep 2016 23:35:58 +0200 2016-09-26T23:35:58+02:00 01:49 https://hearthis.at/sevenism/curlier-range/ 1051625 no no Mon, 26 Sep 2016 23:35:57 +0200 2016-09-26T23:35:57+02:00 02:06 https://hearthis.at/sevenism/curule-collecting/ 1051626 no no Mon, 26 Sep 2016 23:35:56 +0200 2016-09-26T23:35:56+02:00 01:15 https://hearthis.at/sevenism/custodial-watch/ 1051627 no no Mon, 26 Sep 2016 23:35:55 +0200 2016-09-26T23:35:55+02:00 01:38 https://hearthis.at/sevenism/cutty-fault/ 1051628 no no Mon, 26 Sep 2016 23:35:55 +0200 2016-09-26T23:35:55+02:00 01:42 https://hearthis.at/sevenism/cutty-hand/ 1051629 no no Mon, 26 Sep 2016 23:35:54 +0200 2016-09-26T23:35:54+02:00 02:51 https://hearthis.at/sevenism/cycloid-qualifying/
@sevenism]]>
@sevenism]]> 1052244 no no Mon, 03 Oct 2016 13:08:27 +0200 2016-10-03T13:08:27+02:00 01:34 https://hearthis.at/sevenism/cyclonic-format/ 1051630 no no Mon, 26 Sep 2016 23:35:53 +0200 2016-09-26T23:35:53+02:00 02:07 https://hearthis.at/sevenism/cyclostome-mere/ 1051631 no no Mon, 26 Sep 2016 23:35:52 +0200 2016-09-26T23:35:52+02:00 01:49 https://hearthis.at/sevenism/dactylic-latest/ 1051632 no no Mon, 26 Sep 2016 23:35:51 +0200 2016-09-26T23:35:51+02:00 01:15 https://hearthis.at/sevenism/declamatory-responsible/ 1051633 no no Mon, 26 Sep 2016 23:35:51 +0200 2016-09-26T23:35:51+02:00 00:52 https://hearthis.at/sevenism/decolorant-part/ 1051634 no no Mon, 26 Sep 2016 23:35:50 +0200 2016-09-26T23:35:50+02:00 01:30 https://hearthis.at/sevenism/dehumanized-wasting/ 1051635 no no Mon, 26 Sep 2016 23:35:49 +0200 2016-09-26T23:35:49+02:00 01:23 https://hearthis.at/sevenism/deism-solving/ 1051636 no no Mon, 26 Sep 2016 23:35:48 +0200 2016-09-26T23:35:48+02:00 01:44 https://hearthis.at/sevenism/deltaic-keen/ 1051637 no no Mon, 26 Sep 2016 23:35:47 +0200 2016-09-26T23:35:47+02:00 01:15 https://hearthis.at/sevenism/depreciatory-run/ 1051638 no no Mon, 26 Sep 2016 23:35:46 +0200 2016-09-26T23:35:46+02:00 01:50 https://hearthis.at/sevenism/depressive-self/ 1051639 no no Mon, 26 Sep 2016 23:35:45 +0200 2016-09-26T23:35:45+02:00 02:10 https://hearthis.at/sevenism/depurative-mix/ 1051640 no no Mon, 26 Sep 2016 23:35:44 +0200 2016-09-26T23:35:44+02:00 01:15 https://hearthis.at/sevenism/desensitized-confidentiality/ 1051641 no no Mon, 26 Sep 2016 23:35:43 +0200 2016-09-26T23:35:43+02:00 01:51 https://hearthis.at/sevenism/desiderative-regret/ 1051642 no no Mon, 26 Sep 2016 23:35:42 +0200 2016-09-26T23:35:42+02:00 00:55 https://hearthis.at/sevenism/diadelphous-card/ 1051643 no no Mon, 26 Sep 2016 23:35:40 +0200 2016-09-26T23:35:40+02:00 00:55 https://hearthis.at/sevenism/dichroic-typing/ 1051644 no no Mon, 26 Sep 2016 23:35:39 +0200 2016-09-26T23:35:39+02:00 01:27 https://hearthis.at/sevenism/dickey-memory/ 1051645 no no Mon, 26 Sep 2016 23:35:39 +0200 2016-09-26T23:35:39+02:00 01:23 https://hearthis.at/sevenism/diclinous-causing/ 1051646 no no Mon, 26 Sep 2016 23:35:38 +0200 2016-09-26T23:35:38+02:00 01:41 https://hearthis.at/sevenism/didymous-you/ 1051647 no no Mon, 26 Sep 2016 23:35:37 +0200 2016-09-26T23:35:37+02:00 02:24 https://hearthis.at/sevenism/diffident-bracket/ 1051648 no no Mon, 26 Sep 2016 23:35:36 +0200 2016-09-26T23:35:36+02:00 02:07 https://hearthis.at/sevenism/diluvial-absence/ 1051649 no no Mon, 26 Sep 2016 23:35:35 +0200 2016-09-26T23:35:35+02:00 01:50 https://hearthis.at/sevenism/dimerous-contribution/ 1051650 no no Mon, 26 Sep 2016 23:35:34 +0200 2016-09-26T23:35:34+02:00 02:52 https://hearthis.at/sevenism/diminuendo-reserve/ 1051651 no no Mon, 26 Sep 2016 23:35:33 +0200 2016-09-26T23:35:33+02:00 02:02 https://hearthis.at/sevenism/dineric-decision/ 1051652 no no Mon, 26 Sep 2016 23:35:32 +0200 2016-09-26T23:35:32+02:00 01:15 https://hearthis.at/sevenism/dipterocarpaceous-serving/ 1051653 no no Mon, 26 Sep 2016 23:35:32 +0200 2016-09-26T23:35:32+02:00 01:46 https://hearthis.at/sevenism/discretional-get/ 1051654 no no Mon, 26 Sep 2016 23:35:30 +0200 2016-09-26T23:35:30+02:00 01:41 https://hearthis.at/sevenism/disembarkation/ 1051655 no no Mon, 26 Sep 2016 23:35:29 +0200 2016-09-26T23:35:29+02:00 01:05 https://hearthis.at/sevenism/disepalous-composition/ 1051656 no no Mon, 26 Sep 2016 23:35:28 +0200 2016-09-26T23:35:28+02:00 01:50 https://hearthis.at/sevenism/disintegration/ 1051657 no no Mon, 26 Sep 2016 23:35:27 +0200 2016-09-26T23:35:27+02:00 02:05 https://hearthis.at/sevenism/dispermous-ought/ 1051658 no no Mon, 26 Sep 2016 23:35:26 +0200 2016-09-26T23:35:26+02:00 02:10 https://hearthis.at/sevenism/dissatisfactory-thousand/ 1051659 no no Mon, 26 Sep 2016 23:35:25 +0200 2016-09-26T23:35:25+02:00 02:30 https://hearthis.at/sevenism/distichous-solid/ 1051660 no no Mon, 26 Sep 2016 23:35:24 +0200 2016-09-26T23:35:24+02:00 01:42 https://hearthis.at/sevenism/doctrinal-implement/ 1051661 no no Mon, 26 Sep 2016 23:35:23 +0200 2016-09-26T23:35:23+02:00 01:15 https://hearthis.at/sevenism/doddered-protest/ 1051662 no no Mon, 26 Sep 2016 23:35:22 +0200 2016-09-26T23:35:22+02:00 02:06 https://hearthis.at/sevenism/doloroso-fraction/ 1051663 no no Mon, 26 Sep 2016 23:35:20 +0200 2016-09-26T23:35:20+02:00 01:30 https://hearthis.at/sevenism/domiciliary-bed/ 1051664 no no Mon, 26 Sep 2016 23:35:19 +0200 2016-09-26T23:35:19+02:00 00:55 https://hearthis.at/sevenism/dotty-receiving/ 1051665 no no Mon, 26 Sep 2016 23:35:18 +0200 2016-09-26T23:35:18+02:00 02:36 https://hearthis.at/sevenism/doughtier-hydrogen/ 1051666 no no Mon, 26 Sep 2016 23:35:17 +0200 2016-09-26T23:35:17+02:00 02:07 https://hearthis.at/sevenism/dowie-construct/ 1051667 no no Mon, 26 Sep 2016 23:35:15 +0200 2016-09-26T23:35:15+02:00 01:15 https://hearthis.at/sevenism/downbeat-inch/ 1051668 no no Mon, 26 Sep 2016 23:35:14 +0200 2016-09-26T23:35:14+02:00 01:15 https://hearthis.at/sevenism/downwind-dry/ 1051669 no no Mon, 26 Sep 2016 23:35:13 +0200 2016-09-26T23:35:13+02:00 02:06 https://hearthis.at/sevenism/dumpish-fitting/ 1051670 no no Mon, 26 Sep 2016 23:35:12 +0200 2016-09-26T23:35:12+02:00 00:55 https://hearthis.at/sevenism/duodenary-editing/ 1051671 no no Mon, 26 Sep 2016 23:35:11 +0200 2016-09-26T23:35:11+02:00 01:42 https://hearthis.at/sevenism/duple-anything/ 1051672 no no Mon, 26 Sep 2016 23:35:10 +0200 2016-09-26T23:35:10+02:00 01:04 https://hearthis.at/sevenism/duteous-mystery/ 1051673 no no Mon, 26 Sep 2016 23:35:09 +0200 2016-09-26T23:35:09+02:00 01:59 https://hearthis.at/sevenism/easeful-county/ 1051674 no no Mon, 26 Sep 2016 23:35:08 +0200 2016-09-26T23:35:08+02:00 02:29 https://hearthis.at/sevenism/ebon-administration/ 1051675 no no Mon, 26 Sep 2016 23:35:07 +0200 2016-09-26T23:35:07+02:00 02:29 https://hearthis.at/sevenism/effervescing-impossible/ 1051676 no no Mon, 26 Sep 2016 23:35:06 +0200 2016-09-26T23:35:06+02:00 01:15 https://hearthis.at/sevenism/eggshell-rest/ 1051677 no no Mon, 26 Sep 2016 23:35:05 +0200 2016-09-26T23:35:05+02:00 01:44 https://hearthis.at/sevenism/electroplate-firm/ 1051679 no no Mon, 26 Sep 2016 23:35:04 +0200 2016-09-26T23:35:04+02:00 02:07 https://hearthis.at/sevenism/emasculated-prime/ 1051680 no no Mon, 26 Sep 2016 23:35:03 +0200 2016-09-26T23:35:03+02:00 01:44