Fri, 03 Apr 2026 19:39:47 +0200 https://hearthis.at/yqvxfnwb/ en-EN contact@hearthis.at contact@hearthis.at https://hearthis.at/yqvxfnwb/ https://img.hearthis.at/8/1/8/_/uploads/dummy/user/w1400_h1400_q70_ptrue_v2_----cropped_user_00818.png no no https://hearthis.at/yqvxfnwb/disquiet0157-icemusic2015/ for the 157th Disquiet Junto project — “Record the sound of ice in a glass and make something of it.”

stirred up from ice cubes recorded by https://soundcloud.com/random-coil -- danke!

2012: https://soundcloud.com/all-n4tural/coiled-ice

2013: https://soundcloud.com/all-junto/manster-hardcore-gamelan-cow

2014: oh nooo, i sat out.



More on this 157th Disquiet Junto project — “Record the sound of ice in a glass and make something of it.” — at:

http://disquiet.com/2015/01/01/disquiet0157-icemusic2015/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/]]> for the 157th Disquiet Junto project — “Record the sound of ice in a glass and make something of it.”

stirred up from ice cubes recorded by https://soundcloud.com/random-coil -- danke!

2012: https://soundcloud.com/all-n4tural/coiled-ice

2013: https://soundcloud.com/all-junto/manster-hardcore-gamelan-cow

2014: oh nooo, i sat out.



More on this 157th Disquiet Junto project — “Record the sound of ice in a glass and make something of it.” — at:

http://disquiet.com/2015/01/01/disquiet0157-icemusic2015/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/]]> 751498 no no Mon, 05 Jan 2015 20:12:25 +0100 2015-01-05T20:12:25+01:00 2:21 https://hearthis.at/yqvxfnwb/disquiet0155-mixmatch/
using:
https://soundcloud.com/yellow-salamandr-4-1/yellow-salamandr-4-waiting

https://soundcloud.com/colab/waiting-a-yellow-salamander-re-hash

-- thanks!

four players are playing tiny pieces of the two tracks in unison.
they've found a groove they like returning to; it's at the beginning, the end, and couple other places.

in between, they explore one tenth of both files together.
"let's explore the third tenth for a while," they might say:
~players.do{|p,i| ~doublefracfrom.(p, 0.3, num: 4)};

http://sccode.org/1-4Rs

More on this 155th Disquiet Junto project — “Take a track and its remix and meld them into something new” — at:

http://disquiet.com/2014/12/18/disquiet0155-mixmatch/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/]]>
using:
https://soundcloud.com/yellow-salamandr-4-1/yellow-salamandr-4-waiting

https://soundcloud.com/colab/waiting-a-yellow-salamander-re-hash

-- thanks!

four players are playing tiny pieces of the two tracks in unison.
they've found a groove they like returning to; it's at the beginning, the end, and couple other places.

in between, they explore one tenth of both files together.
"let's explore the third tenth for a while," they might say:
~players.do{|p,i| ~doublefracfrom.(p, 0.3, num: 4)};

http://sccode.org/1-4Rs

More on this 155th Disquiet Junto project — “Take a track and its remix and meld them into something new” — at:

http://disquiet.com/2014/12/18/disquiet0155-mixmatch/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/]]> 751499 no no Mon, 22 Dec 2014 21:03:11 +0100 2014-12-22T21:03:11+01:00 3:40 https://hearthis.at/yqvxfnwb/disquiet0154-grooveunlocked/ https://soundcloud.com/tom-anderson-18/louvre-grok-disquiet0153-groovelock
https://soundcloud.com/random-coil/rip-ze-papers-disquiet0153-groovelock

thanks!


More on this 154th Disquiet Junto project — “Create a track from two locked grooves” — at:

http://disquiet.com/2014/12/11/disquiet0154-grooveunlocked/

More on the Disquiet Junto at:

disquiet.com/junto

Join the Disquiet Junto at:

soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

disquiet.com/forums/

Image associated with this project by Risa:

flic.kr/p/7SVf4L]]> https://soundcloud.com/tom-anderson-18/louvre-grok-disquiet0153-groovelock
https://soundcloud.com/random-coil/rip-ze-papers-disquiet0153-groovelock

thanks!


More on this 154th Disquiet Junto project — “Create a track from two locked grooves” — at:

http://disquiet.com/2014/12/11/disquiet0154-grooveunlocked/

More on the Disquiet Junto at:

disquiet.com/junto

Join the Disquiet Junto at:

soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

disquiet.com/forums/

Image associated with this project by Risa:

flic.kr/p/7SVf4L]]> 751500 no no Mon, 15 Dec 2014 19:44:30 +0100 2014-12-15T19:44:30+01:00 2:00 https://hearthis.at/yqvxfnwb/acousmaloop-2014-disquiet0153-groovelock/
http://sccode.org/1-4Rs

_____________


Disquiet Junto Project 0153: Groove Lock
The Assignment: Record a short sound intended to be set on repeat.

SoundCloud recently introduced the ability for a track to be looped on the website. That is, the listener can hit a button (details at disquiet.com/QVvCF) and the track will play over and over. This week’s project will make use of that feature. This week’s project will also, I should note, inform next week’s project. But you can do next week’s without doing this week’s, and vice-versa.

Step 1: Record a short, original piece of music/sound of between roughly 3 and 9 seconds intended to be set on repeat.

Step 2: Upload the finished track to the Disquiet Junto group on SoundCloud.

Step 3: Listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Length: Your finished work should be between roughly 3 and 9 seconds long.

Deadline: This assignment was made in the evening, California time, on Thursday, December 4, with 11:59pm on the following Monday, December 8, 2014, as the deadline.

Upload: Please when posting your track on SoundCloud, only upload one track for this assignment, and 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.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0153-groovelock” in the title of your track, and as a tag for your track.

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, please be sure to include this information:

More on this 153rd Disquiet Junto project — “Record a short sound intended to be set on repeat” — at:

http://disquiet.com/2014/12/04/disquiet0153-groovelock/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/
]]>
http://sccode.org/1-4Rs

_____________


Disquiet Junto Project 0153: Groove Lock
The Assignment: Record a short sound intended to be set on repeat.

SoundCloud recently introduced the ability for a track to be looped on the website. That is, the listener can hit a button (details at disquiet.com/QVvCF) and the track will play over and over. This week’s project will make use of that feature. This week’s project will also, I should note, inform next week’s project. But you can do next week’s without doing this week’s, and vice-versa.

Step 1: Record a short, original piece of music/sound of between roughly 3 and 9 seconds intended to be set on repeat.

Step 2: Upload the finished track to the Disquiet Junto group on SoundCloud.

Step 3: Listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Length: Your finished work should be between roughly 3 and 9 seconds long.

Deadline: This assignment was made in the evening, California time, on Thursday, December 4, with 11:59pm on the following Monday, December 8, 2014, as the deadline.

Upload: Please when posting your track on SoundCloud, only upload one track for this assignment, and 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.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0153-groovelock” in the title of your track, and as a tag for your track.

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, please be sure to include this information:

More on this 153rd Disquiet Junto project — “Record a short sound intended to be set on repeat” — at:

http://disquiet.com/2014/12/04/disquiet0153-groovelock/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/
]]> 751501 no no Mon, 08 Dec 2014 12:49:23 +0100 2014-12-08T12:49:23+01:00 0:08 https://hearthis.at/yqvxfnwb/hey-now/

http://sccode.org/1-4Rs

]]>

http://sccode.org/1-4Rs

]]> 751502 no no Sun, 02 Jun 2013 15:37:42 +0200 2013-06-02T15:37:42+02:00 4:40 https://hearthis.at/yqvxfnwb/endless-nofi/
RIP Jeffrey Melton from Indiana, United States
http://www.legacy.com/obituaries/fortwayne/obituary.aspx?page=lifestory&pid=163988588#fbLoggedOut


.
.

made from
http://soundcloud.com/nofi/unwndiir-v-02r
http://soundcloud.com/nofi/testing-devices-v-01r
http://soundcloud.com/nofi/spliintr-v-02r
http://soundcloud.com/nofi/over-dub-v-02r
http://soundcloud.com/nofi/number-none-v-01r
http://soundcloud.com/nofi/midnight-run-v-01r
http://soundcloud.com/nofi/bit-flipp-v-01r
http://soundcloud.com/nofi/antipode-v-02
http://soundcloud.com/nofi/theoretician-v-02r
http://soundcloud.com/nofi/polymath-v-01r
http://soundcloud.com/nofi/papa-ghede-v-02r
http://soundcloud.com/nofi/dirty-math-v-03r
http://soundcloud.com/nofi/dark-lord-v-01r
http://soundcloud.com/nofi/concept-club-v01r
http://soundcloud.com/nofi/clickr-v-01r

.
.
.
.





http://sccode.org/1-4Rs
]]>
RIP Jeffrey Melton from Indiana, United States
http://www.legacy.com/obituaries/fortwayne/obituary.aspx?page=lifestory&pid=163988588#fbLoggedOut


.
.

made from
http://soundcloud.com/nofi/unwndiir-v-02r
http://soundcloud.com/nofi/testing-devices-v-01r
http://soundcloud.com/nofi/spliintr-v-02r
http://soundcloud.com/nofi/over-dub-v-02r
http://soundcloud.com/nofi/number-none-v-01r
http://soundcloud.com/nofi/midnight-run-v-01r
http://soundcloud.com/nofi/bit-flipp-v-01r
http://soundcloud.com/nofi/antipode-v-02
http://soundcloud.com/nofi/theoretician-v-02r
http://soundcloud.com/nofi/polymath-v-01r
http://soundcloud.com/nofi/papa-ghede-v-02r
http://soundcloud.com/nofi/dirty-math-v-03r
http://soundcloud.com/nofi/dark-lord-v-01r
http://soundcloud.com/nofi/concept-club-v01r
http://soundcloud.com/nofi/clickr-v-01r

.
.
.
.





http://sccode.org/1-4Rs
]]> 751503 no no Thu, 04 Apr 2013 14:34:15 +0200 2013-04-04T14:34:15+02:00 30:17 https://hearthis.at/yqvxfnwb/what-song/ Instr.new("StreichWalker", { |buf,rate=1, dur=0.1, pos = 0.1, amp = 0.9, trigr = 64, randoffset = 0.01, flange = 1 |
_____var clk, pan, chain;
_____clk = Impulse.kr(256);
_____pos = pos + TRand.kr(0, randoffset, clk);
_____Mix.new ([TGrains.ar(2, // numChannels
_______________ clk, // trigger
_______________ buf, _____// bufnum
_______________ //rate, // rate
_______________ rate + TRand.kr(flange/(-1000), flange/1000, clk), // this is going in a flanger direction, sorta
_______________ pos, // centerPos
_______________ dur, // dur
_______________ TRand.kr(-1,1, clk), //pan, // pan
_______________ amp), // amp
__________ ]);
});
);

(
SynthDef(\clusterboom, {| out = 0, freq=55, dur=1, amp=1|
_____Out.ar(
__________out,
__________Splay.ar({SinOsc.ar(exprand(freq-(freq/128),freq+(freq/128)),0,0.1)}!33)
_______________* EnvGen.kr(Env.perc,1,1,0,dur,2)
_______________* amp
__________)
}).add;
);

1.do{|i| ~streicherList = ~streicherList.add(~streichCh.play(Instr.at("StreichWalker")));};


(
~baseamp.isNil.if {~baseamp = 1};
~waitroot.isNil.if {~waitroot = 1};
~direction.isNil.if {~direction = 1};
~jumpPosition = 0;
~cleanBufNum.isNil.if {~cleanBufNum = 0} {(~cleanBufNum > (~buffers.size - 1)).if {~cleanBufNum = 0}};
(
~rateChooser.notNil.if {~rateChooser.pause};
~rateChooser.free;
//~rateChooser = Task({inf.do{~rate = [1/32,1,1,1].choose;0.1.wait;};});
//~rateChooser = Task({inf.do{~rate = [1/32,22/24,22/24].choose;0.1.wait;};});
~rateChooser = Task({inf.do{~rate = [1/32,1/16,1/8, 1,1,1,1,1,1].choose;(~waitroot/8).wait;};});
//~rateChooser = Task({inf.do{~rate = [1/32,1/16,1/8,1/4, 1].choose;(~waitroot/8).wait;};});
~rateChooser.play;
);
(
~rateSetter.notNil.if {~rateSetter.pause};
~rateSetter.free;
//~rateSetter = Task({inf.do{~streicherList.choose.synth.set(\rate, ~rate);(~waitroot/4).wait;};});
~rateSetter = Task({inf.do{~streicherList.choose.synth.set(\rate, ~rate);(~waitroot/8).wait;};});
~rateSetter.play;
);
(
~posChooser.notNil.if {~posChooser.pause};
~posChooser.free;
//~posChooser = Task({inf.do{~jumpPosition = ~buffers[~cleanBufNum].duration.rand;0.1.wait;};});
//~posChooser = Task({inf.do{~jumpPosition = (~jumpPosition + 0.001)%(~buffers[~cleanBufNum].duration);0.001.wait;};});
~posChooser = Task({inf.do{~jumpPosition = (~jumpPosition + (0.01 * ~direction));(~waitroot/64).wait;};});
//~posChooser = Task({inf.do{~jumpPosition = (~jumpPosition - 0.01);(~waitroot/8).wait;};});
~posChooser.play;
);
(
~posSetter.notNil.if {~posSetter.pause};
~posSetter.free;
~posSetter = Task({inf.do{~streicherList.choose.synth.set(\pos, ~jumpPosition); (~waitroot/32).wait;};});
// thought this might get rid of the clicks, but no:
/*
~posSetter = Task({inf.do{
var chosen = ~streicherList.choose.synth;
chosen.set(\amp, 0);
chosen.set(\pos, ~jumpPosition);
chosen.set(\amp, ~baseamp);
(~waitroot/32).wait;
};});
*/
~posSetter.play;
);

(
~bufSetter.notNil.if {~bufSetter.pause};
~bufSetter.free;
//~bufSetter = Task({inf.do{~streicherList.choose.synth.set(\buf, ~buffers[~cleanBufNum]);0.5.wait;};});
~bufSetter = Task({inf.do{~streicherList.choose.synth.set(\buf, ~buffers[~cleanBufNum].bufnum + 1);(~waitroot/2).wait;};});
//~bufSetter = Task({inf.do{~streicherList.choose.synth.set(\buf, ~rectoBuffer.bufnum + 1);0.5.wait;};});
~bufSetter.play;
);
(
~randominterference.notNil.if {~randominterference.pause};
~randominterference.free;
~randominterference = Task({inf.do{~streicherList.choose.synth.set(\pos, 33.0.rand); (~waitroot/2).wait;};});
~randominterference.play;
);

(
~lag.isNil.if {~lag = 1/8};
~lagger.notNil.if {~lagger.pause};
~lagger.free;
~lagger = Task({inf.do{~streicherList.choose.synth.set(\pos, ~jumpPosition - ~lag); (~waitroot/8).wait;};});
~lagger.play;
);

)
(
~bufSetter.notNil.if {~bufSetter.pause};
~bufSetter.free;
~bufSetter = Task({inf.do{
_____~streicherList.choose.synth.set(\buf, [
__________//~buffers.choose.bufnum,
__________~buffers[~cleanBufNum].bufnum,
__________~liveBuf.bufnum].choose
_____+0);
_____(~waitroot/16).wait;};});
~bufSetter.play;
)

(
~silences.isNil.if {~silences = [1/8,1/4,1/2]};
~bassmidis.isNil.if {~bassmidis = [9,21,22]};
~boom_p.isNil.if {~boom_p = false};
~bass.isNil.if {~bass = 15.midicps};
~boomamp.isNil.if {~boomamp = 4 };
~boomdur.isNil.if {~boomdur = 1/2 };
~boomcoin.isNil.if {~boomcoin = 1/2 };
~silencer.notNil.if {~silencer.pause};
~silencer.free;
~silencer = Task({inf.do{
_____~streichCh.preSends.first.level_(0,false,false);
_____~streicherList.do{|i| i.synth.set(\amp, 0);};
_____(~silences.choose * ~waitroot).wait;
_____if (~boom_p && 0.75.coin) {
__________0.25.coin.if {~bass = ~bassmidis.choose.midicps};
__________~longClickCh.play('clusterboom', ['freq', ~bass, 'amp', ~boomamp, 'dur', ~boomdur * [1,1,1,4].choose]);
_____};
_____0.25.coin.if {
__________~reverbCh.mute(true);
__________((1/8)* ~waitroot).wait;
__________~reverbCh.mute(false);
_____};
_____~streichCh.preSends.first.level_(0.1,false,false);
_____~streicherList.do{|i| i.synth.set(\amp, ~baseamp);};
_____(~silences.choose * ~waitroot).wait;
};});
~silencer.play;
);





_______________________________________________________________________________
pic: http://www.flickr.com/photos/jstar/2826035495/in/faves-48773669@N02 ]]> Instr.new("StreichWalker", { |buf,rate=1, dur=0.1, pos = 0.1, amp = 0.9, trigr = 64, randoffset = 0.01, flange = 1 |
_____var clk, pan, chain;
_____clk = Impulse.kr(256);
_____pos = pos + TRand.kr(0, randoffset, clk);
_____Mix.new ([TGrains.ar(2, // numChannels
_______________ clk, // trigger
_______________ buf, _____// bufnum
_______________ //rate, // rate
_______________ rate + TRand.kr(flange/(-1000), flange/1000, clk), // this is going in a flanger direction, sorta
_______________ pos, // centerPos
_______________ dur, // dur
_______________ TRand.kr(-1,1, clk), //pan, // pan
_______________ amp), // amp
__________ ]);
});
);

(
SynthDef(\clusterboom, {| out = 0, freq=55, dur=1, amp=1|
_____Out.ar(
__________out,
__________Splay.ar({SinOsc.ar(exprand(freq-(freq/128),freq+(freq/128)),0,0.1)}!33)
_______________* EnvGen.kr(Env.perc,1,1,0,dur,2)
_______________* amp
__________)
}).add;
);

1.do{|i| ~streicherList = ~streicherList.add(~streichCh.play(Instr.at("StreichWalker")));};


(
~baseamp.isNil.if {~baseamp = 1};
~waitroot.isNil.if {~waitroot = 1};
~direction.isNil.if {~direction = 1};
~jumpPosition = 0;
~cleanBufNum.isNil.if {~cleanBufNum = 0} {(~cleanBufNum > (~buffers.size - 1)).if {~cleanBufNum = 0}};
(
~rateChooser.notNil.if {~rateChooser.pause};
~rateChooser.free;
//~rateChooser = Task({inf.do{~rate = [1/32,1,1,1].choose;0.1.wait;};});
//~rateChooser = Task({inf.do{~rate = [1/32,22/24,22/24].choose;0.1.wait;};});
~rateChooser = Task({inf.do{~rate = [1/32,1/16,1/8, 1,1,1,1,1,1].choose;(~waitroot/8).wait;};});
//~rateChooser = Task({inf.do{~rate = [1/32,1/16,1/8,1/4, 1].choose;(~waitroot/8).wait;};});
~rateChooser.play;
);
(
~rateSetter.notNil.if {~rateSetter.pause};
~rateSetter.free;
//~rateSetter = Task({inf.do{~streicherList.choose.synth.set(\rate, ~rate);(~waitroot/4).wait;};});
~rateSetter = Task({inf.do{~streicherList.choose.synth.set(\rate, ~rate);(~waitroot/8).wait;};});
~rateSetter.play;
);
(
~posChooser.notNil.if {~posChooser.pause};
~posChooser.free;
//~posChooser = Task({inf.do{~jumpPosition = ~buffers[~cleanBufNum].duration.rand;0.1.wait;};});
//~posChooser = Task({inf.do{~jumpPosition = (~jumpPosition + 0.001)%(~buffers[~cleanBufNum].duration);0.001.wait;};});
~posChooser = Task({inf.do{~jumpPosition = (~jumpPosition + (0.01 * ~direction));(~waitroot/64).wait;};});
//~posChooser = Task({inf.do{~jumpPosition = (~jumpPosition - 0.01);(~waitroot/8).wait;};});
~posChooser.play;
);
(
~posSetter.notNil.if {~posSetter.pause};
~posSetter.free;
~posSetter = Task({inf.do{~streicherList.choose.synth.set(\pos, ~jumpPosition); (~waitroot/32).wait;};});
// thought this might get rid of the clicks, but no:
/*
~posSetter = Task({inf.do{
var chosen = ~streicherList.choose.synth;
chosen.set(\amp, 0);
chosen.set(\pos, ~jumpPosition);
chosen.set(\amp, ~baseamp);
(~waitroot/32).wait;
};});
*/
~posSetter.play;
);

(
~bufSetter.notNil.if {~bufSetter.pause};
~bufSetter.free;
//~bufSetter = Task({inf.do{~streicherList.choose.synth.set(\buf, ~buffers[~cleanBufNum]);0.5.wait;};});
~bufSetter = Task({inf.do{~streicherList.choose.synth.set(\buf, ~buffers[~cleanBufNum].bufnum + 1);(~waitroot/2).wait;};});
//~bufSetter = Task({inf.do{~streicherList.choose.synth.set(\buf, ~rectoBuffer.bufnum + 1);0.5.wait;};});
~bufSetter.play;
);
(
~randominterference.notNil.if {~randominterference.pause};
~randominterference.free;
~randominterference = Task({inf.do{~streicherList.choose.synth.set(\pos, 33.0.rand); (~waitroot/2).wait;};});
~randominterference.play;
);

(
~lag.isNil.if {~lag = 1/8};
~lagger.notNil.if {~lagger.pause};
~lagger.free;
~lagger = Task({inf.do{~streicherList.choose.synth.set(\pos, ~jumpPosition - ~lag); (~waitroot/8).wait;};});
~lagger.play;
);

)
(
~bufSetter.notNil.if {~bufSetter.pause};
~bufSetter.free;
~bufSetter = Task({inf.do{
_____~streicherList.choose.synth.set(\buf, [
__________//~buffers.choose.bufnum,
__________~buffers[~cleanBufNum].bufnum,
__________~liveBuf.bufnum].choose
_____+0);
_____(~waitroot/16).wait;};});
~bufSetter.play;
)

(
~silences.isNil.if {~silences = [1/8,1/4,1/2]};
~bassmidis.isNil.if {~bassmidis = [9,21,22]};
~boom_p.isNil.if {~boom_p = false};
~bass.isNil.if {~bass = 15.midicps};
~boomamp.isNil.if {~boomamp = 4 };
~boomdur.isNil.if {~boomdur = 1/2 };
~boomcoin.isNil.if {~boomcoin = 1/2 };
~silencer.notNil.if {~silencer.pause};
~silencer.free;
~silencer = Task({inf.do{
_____~streichCh.preSends.first.level_(0,false,false);
_____~streicherList.do{|i| i.synth.set(\amp, 0);};
_____(~silences.choose * ~waitroot).wait;
_____if (~boom_p && 0.75.coin) {
__________0.25.coin.if {~bass = ~bassmidis.choose.midicps};
__________~longClickCh.play('clusterboom', ['freq', ~bass, 'amp', ~boomamp, 'dur', ~boomdur * [1,1,1,4].choose]);
_____};
_____0.25.coin.if {
__________~reverbCh.mute(true);
__________((1/8)* ~waitroot).wait;
__________~reverbCh.mute(false);
_____};
_____~streichCh.preSends.first.level_(0.1,false,false);
_____~streicherList.do{|i| i.synth.set(\amp, ~baseamp);};
_____(~silences.choose * ~waitroot).wait;
};});
~silencer.play;
);





_______________________________________________________________________________
pic: http://www.flickr.com/photos/jstar/2826035495/in/faves-48773669@N02 ]]> (~buffers.size - 1)).if {~cleanBufNum = 0}}; ( ~rateChooser.notNil.if {~rateChooser.pause}; ~rateChooser.free; //~rateChooser = Task({inf.do{~rate = [1/32,1,1,1].choose;0.1.wait;};}); //~rateChooser = Task({inf.do{~rate = [1/32,22/24,22/24].choose;0.1.wait;};}); ~rateChooser = Task({inf.do{~rate = [1/32,1/16,1/8, 1,1,1,1,1,1].choose;(~waitroot/8).wait;};}); //~rateChooser = Task({inf.do{~rate = [1/32,1/16,1/8,1/4, 1].choose;(~waitroot/8).wait;};}); ~rateChooser.play; ); ( ~rateSetter.notNil.if {~rateSetter.pause}; ~rateSetter.free; //~rateSetter = Task({inf.do{~streicherList.choose.synth.set(\rate, ~rate);(~waitroot/4).wait;};}); ~rateSetter = Task({inf.do{~streicherList.choose.synth.set(\rate, ~rate);(~waitroot/8).wait;};}); ~rateSetter.play; ); ( ~posChooser.notNil.if {~posChooser.pause}; ~posChooser.free; //~posChooser = Task({inf.do{~jumpPosition = ~buffers[~cleanBufNum].duration.rand;0.1.wait;};}); //~posChooser = Task({inf.do{~jumpPosition = (~jumpPosition + 0.001)%(~buffers[~cleanBufNum].duration);0.001.wait;};}); ~posChooser = Task({inf.do{~jumpPosition = (~jumpPosition + (0.01 * ~direction));(~waitroot/64).wait;};}); //~posChooser = Task({inf.do{~jumpPosition = (~jumpPosition - 0.01);(~waitroot/8).wait;};}); ~posChooser.play; ); ( ~posSetter.notNil.if {~posSetter.pause}; ~posSetter.free; ~posSetter = Task({inf.do{~streicherList.choose.synth.set(\pos, ~jumpPosition); (~waitroot/32).wait;};}); // thought this might get rid of the clicks, but no: /* ~posSetter = Task({inf.do{ var chosen = ~streicherList.choose.synth; chosen.set(\amp, 0); chosen.set(\pos, ~jumpPosition); chosen.set(\amp, ~baseamp); (~waitroot/32).wait; };}); */ ~posSetter.play; ); ( ~bufSetter.notNil.if {~bufSetter.pause}; ~bufSetter.free; //~bufSetter = Task({inf.do{~streicherList.choose.synth.set(\buf, ~buffers[~cleanBufNum]);0.5.wait;};}); ~bufSetter = Task({inf.do{~streicherList.choose.synth.set(\buf, ~buffers[~cleanBufNum].bufnum + 1);(~waitroot/2).wait;};}); //~bufSetter = Task({inf.do{~streicherList.choose.synth.set(\buf, ~rectoBuffer.bufnum + 1);0.5.wait;};}); ~bufSetter.play; ); ( ~randominterference.notNil.if {~randominterference.pause}; ~randominterference.free; ~randominterference = Task({inf.do{~streicherList.choose.synth.set(\pos, 33.0.rand); (~waitroot/2).wait;};}); ~randominterference.play; ); ( ~lag.isNil.if {~lag = 1/8}; ~lagger.notNil.if {~lagger.pause}; ~lagger.free; ~lagger = Task({inf.do{~streicherList.choose.synth.set(\pos, ~jumpPosition - ~lag); (~waitroot/8).wait;};}); ~lagger.play; ); ) ( ~bufSetter.notNil.if {~bufSetter.pause}; ~bufSetter.free; ~bufSetter = Task({inf.do{ _____~streicherList.choose.synth.set(\buf, [ _____]]> 751504 no no Thu, 21 Feb 2013 16:08:38 +0100 2013-02-21T16:08:38+01:00 5:14 https://hearthis.at/yqvxfnwb/echolab-all-n4tural-v00003b-ecuthang-and-plattenspieler/
quartz composer: echolab.de
supercollider: @all-n4tural


https://vimeo.com/55444467


samples used
- soundcloud.com/ecut/aeolian-hang-of-ecut-free -- thanks again, again, @ecut!
- soundcloud.com/random-coil/all-n4tural-random-coil-i-don // soundcloud.com/all-n4tural/random-coil-all-n4tural-my
]]>
quartz composer: echolab.de
supercollider: @all-n4tural


https://vimeo.com/55444467


samples used
- soundcloud.com/ecut/aeolian-hang-of-ecut-free -- thanks again, again, @ecut!
- soundcloud.com/random-coil/all-n4tural-random-coil-i-don // soundcloud.com/all-n4tural/random-coil-all-n4tural-my
]]> 751505 no no Thu, 10 Jan 2013 14:21:38 +0100 2013-01-10T14:21:38+01:00 6:27 https://hearthis.at/yqvxfnwb/broken-bongo-ocean-disquiet0052-bumpcc/
i used the first 20 seconds of all three, because it didn't seem fair to the Bongo otherwise.

thanks to Bump Foot label and the artists for an enjoyable sunday afternoon and series of mistakes and misunderstandings between brain, fingers and supercollider that led here.

1. The first 20 seconds of "Bongo" off the Aguas Tonicas album Los Desposeídos: http://archive.org/download/foot212/foot212_09-aguas_tonicas-bongo.mp3
2. "Broken Robots" off the Gridline album Red Music: http://archive.org/download/foot211/foot211_03-gridline-broken_robots.mp3
3. "The Cat in the Ocean" off the Pics Frunk album Low Voltage: http://archive.org/download/foot206/foot206_01-pics_frunk-the_cat_in_the_ocean.mp3

This Disquiet Junto project was done as a celebration of the efforts of the Bump Foot netlabel, and to support its employment of licenses that allow for derivative works. These Junto netlabel remix projects are intended to promote reworking as itself a means of music distribution. This track is comprised of three pieces of music, all originally released on Bump Foot: "Bongo" off the Aguas Tonicas album titled Los Desposeídos, "Broken Robots" off the Gridline album titled Red Music, and "The Cat in the Ocean" off the Pics Frunk album titled Low Voltage. More on the Bump Foot netlabel, and the original versions of these tracks, at http://www.bumpfoot.net

More on this 52nd Disquiet Junto project at: http://disquiet.com/2012/12/27/disquiet0052-bumpcc

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


_____________________________
pic: http://www.bumpfoot.net]]>
i used the first 20 seconds of all three, because it didn't seem fair to the Bongo otherwise.

thanks to Bump Foot label and the artists for an enjoyable sunday afternoon and series of mistakes and misunderstandings between brain, fingers and supercollider that led here.

1. The first 20 seconds of "Bongo" off the Aguas Tonicas album Los Desposeídos: http://archive.org/download/foot212/foot212_09-aguas_tonicas-bongo.mp3
2. "Broken Robots" off the Gridline album Red Music: http://archive.org/download/foot211/foot211_03-gridline-broken_robots.mp3
3. "The Cat in the Ocean" off the Pics Frunk album Low Voltage: http://archive.org/download/foot206/foot206_01-pics_frunk-the_cat_in_the_ocean.mp3

This Disquiet Junto project was done as a celebration of the efforts of the Bump Foot netlabel, and to support its employment of licenses that allow for derivative works. These Junto netlabel remix projects are intended to promote reworking as itself a means of music distribution. This track is comprised of three pieces of music, all originally released on Bump Foot: "Bongo" off the Aguas Tonicas album titled Los Desposeídos, "Broken Robots" off the Gridline album titled Red Music, and "The Cat in the Ocean" off the Pics Frunk album titled Low Voltage. More on the Bump Foot netlabel, and the original versions of these tracks, at http://www.bumpfoot.net

More on this 52nd Disquiet Junto project at: http://disquiet.com/2012/12/27/disquiet0052-bumpcc

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


_____________________________
pic: http://www.bumpfoot.net]]> 751506 no no Mon, 31 Dec 2012 09:40:05 +0100 2012-12-31T09:40:05+01:00 3:56 https://hearthis.at/yqvxfnwb/trnte-all-n4tural-reutels-en-keulen-na-kerstmis-hymnal/
So this is me howling at the moon mother of godawful why do i need to suffer this are we not in the 21st century psalm 69.

]]>
So this is me howling at the moon mother of godawful why do i need to suffer this are we not in the 21st century psalm 69.

]]> 751507 no no Sat, 29 Dec 2012 00:04:59 +0100 2012-12-29T00:04:59+01:00 1:06 https://hearthis.at/yqvxfnwb/junto-till-you-drop-disquiet0050-morsebeat/

"Junto till you drop"

→ (http://morsecode.scphillips.com/jtranslator.html) (thanks!)

⇒ ".--- ..- -. - --- / - .. .-.. .-.. / -.-- --- ..- / -.. .-. --- .--."

→ (
     ~morsedurs = { |morsestring|
          var durs;
          morsestring.do{|x|
               durs = durs.add(switch (x.asString,
                    ".", {1/16},
                    "-", {1/8},
                    " ", {1/4},
                    "/", {1/4}, {} ));
          };
          durs;
     };
)

⇒ [ 1/16, 1/8, 1/8, 1/8, 1/4, 1/16, 1/16, 1/8, 1/4, 1/8, 1/16, 1/4, 1/8, 1/4, 1/8, 1/8, 1/8, 1/4, 1/4, 1/4, 1/8, 1/4, 1/16, 1/16, 1/4, 1/16, 1/8, 1/16, 1/16, 1/4, 1/16, 1/8, 1/16, 1/16, 1/4, 1/4, 1/4, 1/8, 1/16, 1/8, 1/8, 1/4, 1/8, 1/8, 1/8, 1/4, 1/16, 1/16, 1/8, 1/4, 1/4, 1/4, 1/8, 1/16, 1/16, 1/4, 1/16, 1/8, 1/16, 1/4, 1/8, 1/8, 1/8, 1/4, 1/16, 1/8, 1/8, 1/16 ]

Those are my beats (for aesthetic reasons i ended up adding a \stretch of 2, so everything's twice as long; bar length 2 * 9.8125 seconds).

There are two voices playing these beats:

↻ turntable sounds recorded with http://soundcloud.com/random-coil (for Junto # 33 & 1/3) (http://soundcloud.com/all-n4tural/random-coil-all-n4tural-my // http://soundcloud.com/random-coil/all-n4tural-random-coil-i-don )

↻ http://soundcloud.com/ecut/aeolian-hang-of-ecut-free -- impossible to count the countless hours of fun this recording has provided me. thanks, http://soundcloud.com/ecut !


Disquiet Junto Project 0050: -…….–.-..-…-
This week’s project explores Morse Code for its rhythmic content. The instructions are as follows: Select a word or phrase. Encode that word or phrase by the Morse method. Record a rhythmic foundation in which the dash is represented by a long beat and the dot by a brief one. Use that rhythmic foundation as a loop for the length of your track, at the speed you desire — speed can vary over the length of the recording. Record accompanying drone/melodic material that takes the underlying rhythm as its compositional foundation.

More on this 50th Disquiet Junto project at: http://disquiet.com/2012/12/13/disquiet0050-morsebeat

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

"Junto till you drop"

→ (http://morsecode.scphillips.com/jtranslator.html) (thanks!)

⇒ ".--- ..- -. - --- / - .. .-.. .-.. / -.-- --- ..- / -.. .-. --- .--."

→ (
     ~morsedurs = { |morsestring|
          var durs;
          morsestring.do{|x|
               durs = durs.add(switch (x.asString,
                    ".", {1/16},
                    "-", {1/8},
                    " ", {1/4},
                    "/", {1/4}, {} ));
          };
          durs;
     };
)

⇒ [ 1/16, 1/8, 1/8, 1/8, 1/4, 1/16, 1/16, 1/8, 1/4, 1/8, 1/16, 1/4, 1/8, 1/4, 1/8, 1/8, 1/8, 1/4, 1/4, 1/4, 1/8, 1/4, 1/16, 1/16, 1/4, 1/16, 1/8, 1/16, 1/16, 1/4, 1/16, 1/8, 1/16, 1/16, 1/4, 1/4, 1/4, 1/8, 1/16, 1/8, 1/8, 1/4, 1/8, 1/8, 1/8, 1/4, 1/16, 1/16, 1/8, 1/4, 1/4, 1/4, 1/8, 1/16, 1/16, 1/4, 1/16, 1/8, 1/16, 1/4, 1/8, 1/8, 1/8, 1/4, 1/16, 1/8, 1/8, 1/16 ]

Those are my beats (for aesthetic reasons i ended up adding a \stretch of 2, so everything's twice as long; bar length 2 * 9.8125 seconds).

There are two voices playing these beats:

↻ turntable sounds recorded with http://soundcloud.com/random-coil (for Junto # 33 & 1/3) (http://soundcloud.com/all-n4tural/random-coil-all-n4tural-my // http://soundcloud.com/random-coil/all-n4tural-random-coil-i-don )

↻ http://soundcloud.com/ecut/aeolian-hang-of-ecut-free -- impossible to count the countless hours of fun this recording has provided me. thanks, http://soundcloud.com/ecut !


Disquiet Junto Project 0050: -…….–.-..-…-
This week’s project explores Morse Code for its rhythmic content. The instructions are as follows: Select a word or phrase. Encode that word or phrase by the Morse method. Record a rhythmic foundation in which the dash is represented by a long beat and the dot by a brief one. Use that rhythmic foundation as a loop for the length of your track, at the speed you desire — speed can vary over the length of the recording. Record accompanying drone/melodic material that takes the underlying rhythm as its compositional foundation.

More on this 50th Disquiet Junto project at: http://disquiet.com/2012/12/13/disquiet0050-morsebeat

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto ]]> 751508 no no Fri, 14 Dec 2012 18:55:54 +0100 2012-12-14T18:55:54+01:00 2:00 https://hearthis.at/yqvxfnwb/echolab-all-n4tural-disquiet0048-libertederive/
please see video, it's at least half of the fun: http://vimeo.com/54617039

for Disquiet Junto #48: Fraternité, Dérivé (disquiet.com/2012/11/29/disquiet0048-libertederive )


sources used:
“Unloop Hullaballoo” off The Fleet’s Lit Up by Alex Charles and Richard Sanderson
http://threelegsduck.bandcamp.com/album/the-fleets-lit-up
“Etude” off Emosphere by !Kung
http://threelegsduck.bandcamp.com/album/emosphere
“04:54AM” off Four AM at Dusk Jérôme Poirier
http://threelegsduck.bandcamp.com/album/four-am-at-dusk ]]>
please see video, it's at least half of the fun: http://vimeo.com/54617039

for Disquiet Junto #48: Fraternité, Dérivé (disquiet.com/2012/11/29/disquiet0048-libertederive )


sources used:
“Unloop Hullaballoo” off The Fleet’s Lit Up by Alex Charles and Richard Sanderson
http://threelegsduck.bandcamp.com/album/the-fleets-lit-up
“Etude” off Emosphere by !Kung
http://threelegsduck.bandcamp.com/album/emosphere
“04:54AM” off Four AM at Dusk Jérôme Poirier
http://threelegsduck.bandcamp.com/album/four-am-at-dusk ]]> 751509 no no Sun, 02 Dec 2012 15:47:25 +0100 2012-12-02T15:47:25+01:00 2:47 https://hearthis.at/yqvxfnwb/yuko-n4tural-haikus/
fixed rhythmic syllables applied to moving sets of sounds



turntable sounds from http://soundcloud.com/all-n4tural/random-coil-all-n4tural-my // http://soundcloud.com/random-coil/all-n4tural-random-coil-i-don]]>
fixed rhythmic syllables applied to moving sets of sounds



turntable sounds from http://soundcloud.com/all-n4tural/random-coil-all-n4tural-my // http://soundcloud.com/random-coil/all-n4tural-random-coil-i-don]]> 751510 no no Thu, 08 Nov 2012 08:54:58 +0100 2012-11-08T08:54:58+01:00 3:43 https://hearthis.at/yqvxfnwb/arvo-in-the-storm-disquiet0044-sandy2012/
i fought with this week's instructions for days, because the provided recordings aren't very dramatic, basically white noise -- no disrespect to Michael Raphael, of course; they are bona fide field recordings from someone who was there during the storm.

i ended up revisiting the approach and code i used in http://soundcloud.com/all-n4tural/arvo-on-the-beach: to carve a melody out of the whiteness. so again, we have a bank of filters tuned to frequencies inspired by Arvo Pärt's Fratres, an idea in turn inspired by Christian Carrière ( http://soundcloud.com/interceiving )'s very cool no-input rendition: http://vimeo.com/30074885.

These filters are applied to straight playback of both field recordings; no sounds or other effects added.



The source audio from the 2012 storm Sandy was documented by Michael Raphael, an SFX recordist who maintains the field recording blog Fieldsepulchra athttp://sepulchra.com/blog. His sound effects can be found at Rabbit Ears Audio, http://rabbitearsaudio.com.

More on this 44th Disquiet Junto project at: http://disquiet.com/2012/11/01/disquiet0044-sandy2012

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


_______________
pic: http://dl.dropbox.com/u/89161013/2012-10-21%2014.16.34.jpg it so happens i was standing on Long Beach just a week before Sandy hit. i was thinking, not of a storm, but in a more general global warming vein, how exposed these miles and miles of houses are, if the sea level were to rise just a couple of inches. ]]>
i fought with this week's instructions for days, because the provided recordings aren't very dramatic, basically white noise -- no disrespect to Michael Raphael, of course; they are bona fide field recordings from someone who was there during the storm.

i ended up revisiting the approach and code i used in http://soundcloud.com/all-n4tural/arvo-on-the-beach: to carve a melody out of the whiteness. so again, we have a bank of filters tuned to frequencies inspired by Arvo Pärt's Fratres, an idea in turn inspired by Christian Carrière ( http://soundcloud.com/interceiving )'s very cool no-input rendition: http://vimeo.com/30074885.

These filters are applied to straight playback of both field recordings; no sounds or other effects added.



The source audio from the 2012 storm Sandy was documented by Michael Raphael, an SFX recordist who maintains the field recording blog Fieldsepulchra athttp://sepulchra.com/blog. His sound effects can be found at Rabbit Ears Audio, http://rabbitearsaudio.com.

More on this 44th Disquiet Junto project at: http://disquiet.com/2012/11/01/disquiet0044-sandy2012

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


_______________
pic: http://dl.dropbox.com/u/89161013/2012-10-21%2014.16.34.jpg it so happens i was standing on Long Beach just a week before Sandy hit. i was thinking, not of a storm, but in a more general global warming vein, how exposed these miles and miles of houses are, if the sea level were to rise just a couple of inches. ]]> 751511 no no Sun, 04 Nov 2012 17:21:33 +0100 2012-11-04T17:21:33+01:00 2:38 https://hearthis.at/yqvxfnwb/worldwide-razzledazzle-shopping-machine-disquiet0043-dazzledmachine/
i think i used all of them:) http://soundcloud.com/search?q%5Bfulltext%5D=disquiet0037

http://soundcloud.com/lem-herlihy/post-disquiet0037
http://soundcloud.com/steveburnett/beforeclosing-disquiet0037
http://soundcloud.com/cnco/changing-floors-disquiet0037-1
http://soundcloud.com/all-n4tural/nonthaburi-market-disquiet0037
http://soundcloud.com/vanwinkletunes/disquiet0037-asrealasitgets1
http://soundcloud.com/benjamindauer/h-street-nw-disquiet0037-asrealasitgets1
http://soundcloud.com/demilit/dm-mall-comb-disquiet-junto
http://soundcloud.com/michel-banabila/akihabara-denki-gai
http://soundcloud.com/tuonela-1/rumbling-past-the-deli
http://soundcloud.com/naotko/shibuya-noren-gai-tokyo-sep-15
http://soundcloud.com/random-coil/buying-a-plastic-tray-obi
http://soundcloud.com/zedkah/john-lewis-westfield-stratford
http://soundcloud.com/thereflectors/bloomingdales-ascension
http://soundcloud.com/super-miracle-dream-team/ascension-macys-escalator
http://soundcloud.com/echosonic/scala-at-st-michael
http://soundcloud.com/markrushtoncom/central-discount-120915
http://soundcloud.com/sighup/cashiers-loblaws-st-clair-ave
http://soundcloud.com/jmmy-kpple/retail-space-transect-140912
http://soundcloud.com/charlie_grant/at-the-end-of-the-day
http://soundcloud.com/emmahendrix/deep-in-the-w-holefoods
http://soundcloud.com/vuzhmusic/apple-store-twenty-ninth
http://soundcloud.com/bigpause/westfield-stratford-having-a
http://soundcloud.com/dizzybanjo/macys-nyc-feb-2011
http://soundcloud.com/justin-buckley/its-a-brand-at-bauhaus
http://soundcloud.com/ken-mistove/target-simi-valley-ca-09-14-12
http://soundcloud.com/dead_wood/primark-big-sizes-only

process: i threw them all in a big brown bag and let supercollider pick which one to play when for how long. my instructions were mainly to use the durations [1/8, 1/4, 1/2, 1, 2, 4] seconds. the code is similar to this here: http://sccode.org/1-4Rs. i let sc generate a couple-tenthousand versions and picked the one i liked best. decisions, decisions.

my people are working with Maya Arulpragasam's to do the vocals. i am filled with hopeful anticipation.


Disquiet Junto Project 0043: Dazzled Machine
The Assignment: Make mechanical roars from the sound of a retail space.


This Disquiet Junto project was done in association with the exhibit As Real as It Gets, organized by Rob Walker at the gallery Apex Art in Manhattan (November 15 – December 22, 2012): http://apexart.org/exhibitions/walker.php

More on this 43rd Disquiet Junto project at: http://disquiet.com/2012/10/25/disquiet0043-dazzledmachine

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



___________________________________________________________
pic: http://www.flickr.com/photos/jdhancock/4509591701/ ]]>
i think i used all of them:) http://soundcloud.com/search?q%5Bfulltext%5D=disquiet0037

http://soundcloud.com/lem-herlihy/post-disquiet0037
http://soundcloud.com/steveburnett/beforeclosing-disquiet0037
http://soundcloud.com/cnco/changing-floors-disquiet0037-1
http://soundcloud.com/all-n4tural/nonthaburi-market-disquiet0037
http://soundcloud.com/vanwinkletunes/disquiet0037-asrealasitgets1
http://soundcloud.com/benjamindauer/h-street-nw-disquiet0037-asrealasitgets1
http://soundcloud.com/demilit/dm-mall-comb-disquiet-junto
http://soundcloud.com/michel-banabila/akihabara-denki-gai
http://soundcloud.com/tuonela-1/rumbling-past-the-deli
http://soundcloud.com/naotko/shibuya-noren-gai-tokyo-sep-15
http://soundcloud.com/random-coil/buying-a-plastic-tray-obi
http://soundcloud.com/zedkah/john-lewis-westfield-stratford
http://soundcloud.com/thereflectors/bloomingdales-ascension
http://soundcloud.com/super-miracle-dream-team/ascension-macys-escalator
http://soundcloud.com/echosonic/scala-at-st-michael
http://soundcloud.com/markrushtoncom/central-discount-120915
http://soundcloud.com/sighup/cashiers-loblaws-st-clair-ave
http://soundcloud.com/jmmy-kpple/retail-space-transect-140912
http://soundcloud.com/charlie_grant/at-the-end-of-the-day
http://soundcloud.com/emmahendrix/deep-in-the-w-holefoods
http://soundcloud.com/vuzhmusic/apple-store-twenty-ninth
http://soundcloud.com/bigpause/westfield-stratford-having-a
http://soundcloud.com/dizzybanjo/macys-nyc-feb-2011
http://soundcloud.com/justin-buckley/its-a-brand-at-bauhaus
http://soundcloud.com/ken-mistove/target-simi-valley-ca-09-14-12
http://soundcloud.com/dead_wood/primark-big-sizes-only

process: i threw them all in a big brown bag and let supercollider pick which one to play when for how long. my instructions were mainly to use the durations [1/8, 1/4, 1/2, 1, 2, 4] seconds. the code is similar to this here: http://sccode.org/1-4Rs. i let sc generate a couple-tenthousand versions and picked the one i liked best. decisions, decisions.

my people are working with Maya Arulpragasam's to do the vocals. i am filled with hopeful anticipation.


Disquiet Junto Project 0043: Dazzled Machine
The Assignment: Make mechanical roars from the sound of a retail space.


This Disquiet Junto project was done in association with the exhibit As Real as It Gets, organized by Rob Walker at the gallery Apex Art in Manhattan (November 15 – December 22, 2012): http://apexart.org/exhibitions/walker.php

More on this 43rd Disquiet Junto project at: http://disquiet.com/2012/10/25/disquiet0043-dazzledmachine

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



___________________________________________________________
pic: http://www.flickr.com/photos/jdhancock/4509591701/ ]]> 751512 no no Mon, 29 Oct 2012 13:56:19 +0100 2012-10-29T13:56:19+01:00 3:57 https://hearthis.at/yqvxfnwb/constant-blues-acapella-rmx/
http://soundcloud.com/troente/constant-blues-todd-tuttle-tr

http://soundcloud.com/all-n4tural/troente-and-todd-tuttle-w-all




see http://sccode.org/1-4Rs if interested in code

]]>
http://soundcloud.com/troente/constant-blues-todd-tuttle-tr

http://soundcloud.com/all-n4tural/troente-and-todd-tuttle-w-all




see http://sccode.org/1-4Rs if interested in code

]]> 751513 no no Thu, 25 Oct 2012 16:18:23 +0200 2012-10-25T16:18:23+02:00 2:53 https://hearthis.at/yqvxfnwb/constant-blues-trnte-todd-tuttle-w-all-n4tural/
http://soundcloud.com/troente/constant-blues-todd-tuttle-tr]]>
http://soundcloud.com/troente/constant-blues-todd-tuttle-tr]]> 751514 no no Thu, 25 Oct 2012 00:00:05 +0200 2012-10-25T00:00:05+02:00 3:50 https://hearthis.at/yqvxfnwb/grooving-with-a-pict-revisited/
using, with thanks:

     Metal and Wood Movements.wav by laribum
     file can side.wav by THE_bizniss
     01557 metal creaks.wav by Robinhood76
     01553 metal box close.wav by Robinhood76
     screeching train.wav by cognito perceptu
     metalScreech.wav by spukkin
     screech01.wav by Pooleside
     gate_1.wav by jaava73
     Metal squeaking chair.wav by Razzvio


another case of endless futzing around, because i really like what's happening at times, but it doesn't really meet what i had in mind for "dirty minimalism". initially i'd been going more for a dirty version of http://soundcloud.com/all-n4tural/rflct-disquiet0010-reflect, but then all these other things happened. o well.


Disquiet Junto Project 0041: Dirty Minimalism
All Disquiet Junto projects employ constraint as a means to stimulate creativity and productivity. Sometimes this means limiting oneself to specific source material, other times to a conceptual approach, and there's always the additional constraint of time: the deadline is approximately four days, depending on your time zone.

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

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

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

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

Deadline: Monday, October 15, at 11:59pm wherever you are.

Length: Your finished work should be between 2 and 4 minutes in length.

More on this 41st Disquiet Junto project at: http://disquiet.com/2012/10/11/disquiet0041-dirtyminimalism

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

]]>
using, with thanks:

     Metal and Wood Movements.wav by laribum
     file can side.wav by THE_bizniss
     01557 metal creaks.wav by Robinhood76
     01553 metal box close.wav by Robinhood76
     screeching train.wav by cognito perceptu
     metalScreech.wav by spukkin
     screech01.wav by Pooleside
     gate_1.wav by jaava73
     Metal squeaking chair.wav by Razzvio


another case of endless futzing around, because i really like what's happening at times, but it doesn't really meet what i had in mind for "dirty minimalism". initially i'd been going more for a dirty version of http://soundcloud.com/all-n4tural/rflct-disquiet0010-reflect, but then all these other things happened. o well.


Disquiet Junto Project 0041: Dirty Minimalism
All Disquiet Junto projects employ constraint as a means to stimulate creativity and productivity. Sometimes this means limiting oneself to specific source material, other times to a conceptual approach, and there's always the additional constraint of time: the deadline is approximately four days, depending on your time zone.

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

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

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

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

Deadline: Monday, October 15, at 11:59pm wherever you are.

Length: Your finished work should be between 2 and 4 minutes in length.

More on this 41st Disquiet Junto project at: http://disquiet.com/2012/10/11/disquiet0041-dirtyminimalism

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

]]> 751516 no no Sun, 14 Oct 2012 14:57:36 +0200 2012-10-14T14:57:36+02:00 3:57 https://hearthis.at/yqvxfnwb/blissful-not-ending-always-bending-name-for-nothing-disquiet0040-kirschnerplus1/ based on Kenneth Kirschner, "June 5, 2012 - iii" (http://shskh.com/www/ )

added my voice, some raindrops, and rhythmic down-tuned cuts of the original.



a flagrant
a blissfull
a continuing saga of cold black-lipped wonton violence

wu-tang
suzy wongful neglijays
castabout for sailing ships
tortilla on rye

wu-tang
wongful
a flagrant a blissful
a tumescent putrid quagmire of "soul"

go it, dug it, been there, self-contained & jaundiced
not -- just not -- happening, anymore

flagrant, blissful not-ending
always bending
name-for-nothing

                Säntis, February 26, 2000



Disquiet Junto Project 0040: Music + 1

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

More on this 40th Disquiet Junto project at: http://disquiet.com/2012/10/04/disquiet0040-kirschnerplus1

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

More on Kenneth Kirschner at: http://www.kennethkirschner.com
]]> based on Kenneth Kirschner, "June 5, 2012 - iii" (http://shskh.com/www/ )

added my voice, some raindrops, and rhythmic down-tuned cuts of the original.



a flagrant
a blissfull
a continuing saga of cold black-lipped wonton violence

wu-tang
suzy wongful neglijays
castabout for sailing ships
tortilla on rye

wu-tang
wongful
a flagrant a blissful
a tumescent putrid quagmire of "soul"

go it, dug it, been there, self-contained & jaundiced
not -- just not -- happening, anymore

flagrant, blissful not-ending
always bending
name-for-nothing

                Säntis, February 26, 2000



Disquiet Junto Project 0040: Music + 1

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

More on this 40th Disquiet Junto project at: http://disquiet.com/2012/10/04/disquiet0040-kirschnerplus1

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

More on Kenneth Kirschner at: http://www.kennethkirschner.com
]]> 751517 no no Sat, 06 Oct 2012 23:57:08 +0200 2012-10-06T23:57:08+02:00 3:00 https://hearthis.at/yqvxfnwb/unlimited-tape-heads-disquiet0039-remixingnowaki/
a bit of a technical departure for me -- no granular :)
just playing different cuts of the three tracks in a fixed rhythm, randomly constructed from powers of 2 (naturally). No processing of any sort, just playing backwards and forwards at original speed. (some bass boost added globally in post production to smooth things over. and because we like bass.)

Concatenative synthesis i've heard it called, but prefer to think of it as tape music -- if our forefathers had had unlimited tape heads with direct random access. Come to think of it, it's a nondeterministic polynomial time Turing machine gone .. ill.

P = NP(ill)


Disquiet Junto Project 0039: Netlabel Derivations

This Disquiet Junto project was done as a celebration of the efforts of the Nowaki netlabel, and to support its employment of licenses that allow for derivative works. This track is comprised of three pieces of music: "Irese" by Barascud, "Sumatra" by André D / Christophe Meulien, and "She Likes to Look at the Sky" by Kluge. More on the Nowaki label, and the original versions of these tracks, at

http://http://www.nowaki-music.org/

"Irese" from this Barascud's Summit: http://www.nowaki-music.org/#album151

"Sumatra" from André D / Christophe Meulien's Archipel http://www.nowaki-music.org/#album153

"She Likes to Look at the Sky" from Kluge's No Love, Please. http://www.nowaki-music.org/#album130


More on this 39th Disquiet Junto project at:

http://disquiet.com/2012/09/27/disquiet0039-remixingnowaki/

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info
]]>
a bit of a technical departure for me -- no granular :)
just playing different cuts of the three tracks in a fixed rhythm, randomly constructed from powers of 2 (naturally). No processing of any sort, just playing backwards and forwards at original speed. (some bass boost added globally in post production to smooth things over. and because we like bass.)

Concatenative synthesis i've heard it called, but prefer to think of it as tape music -- if our forefathers had had unlimited tape heads with direct random access. Come to think of it, it's a nondeterministic polynomial time Turing machine gone .. ill.

P = NP(ill)


Disquiet Junto Project 0039: Netlabel Derivations

This Disquiet Junto project was done as a celebration of the efforts of the Nowaki netlabel, and to support its employment of licenses that allow for derivative works. This track is comprised of three pieces of music: "Irese" by Barascud, "Sumatra" by André D / Christophe Meulien, and "She Likes to Look at the Sky" by Kluge. More on the Nowaki label, and the original versions of these tracks, at

http://http://www.nowaki-music.org/

"Irese" from this Barascud's Summit: http://www.nowaki-music.org/#album151

"Sumatra" from André D / Christophe Meulien's Archipel http://www.nowaki-music.org/#album153

"She Likes to Look at the Sky" from Kluge's No Love, Please. http://www.nowaki-music.org/#album130


More on this 39th Disquiet Junto project at:

http://disquiet.com/2012/09/27/disquiet0039-remixingnowaki/

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info
]]> 751518 no no Sun, 30 Sep 2012 11:49:31 +0200 2012-09-30T11:49:31+02:00 2:30 https://hearthis.at/yqvxfnwb/disquiet0037-asrealasitgets1/ http://youtu.be/vwLp6SQdixo (motion sickness alert, ymmv)

the market is huge; i just picked one path through at random, there are no repeats or doublings-back in the eight-minute version.

(made on the same day-job trip that provided the source for http://soundcloud.com/all-n4tural/meter-naa )


Disquiet Junto Project 0037: Store Recordings


This Disquiet Junto project was done in association with the exhibit As Real As It Gets, organized by Rob Walker at the gallery Apex Art in Manhattan (November 15 – December 22, 2012):

http://apexart.org/exhibitions/walker.php

More on this 37th Disquiet Junto project at:

http://disquiet.com/2012/09/13/disquiet0037-asrealasitgets1

More details on the Disquiet Junto at:

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

]]> http://youtu.be/vwLp6SQdixo (motion sickness alert, ymmv)

the market is huge; i just picked one path through at random, there are no repeats or doublings-back in the eight-minute version.

(made on the same day-job trip that provided the source for http://soundcloud.com/all-n4tural/meter-naa )


Disquiet Junto Project 0037: Store Recordings


This Disquiet Junto project was done in association with the exhibit As Real As It Gets, organized by Rob Walker at the gallery Apex Art in Manhattan (November 15 – December 22, 2012):

http://apexart.org/exhibitions/walker.php

More on this 37th Disquiet Junto project at:

http://disquiet.com/2012/09/13/disquiet0037-asrealasitgets1

More details on the Disquiet Junto at:

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

]]> 751519 no no Sun, 16 Sep 2012 20:41:58 +0200 2012-09-16T20:41:58+02:00 2:00 https://hearthis.at/yqvxfnwb/clyfford-still-untitled-ph-118-1947-oil-on-canvas/ description to follow, gotta run

the red, green, blue values of a pixel determine the position within a sample (first 20 secs of J.S. Bach, Brandenburg Concerto No. 2, II. Andante)
we scan the image top down, fading to grey]]> description to follow, gotta run

the red, green, blue values of a pixel determine the position within a sample (first 20 secs of J.S. Bach, Brandenburg Concerto No. 2, II. Andante)
we scan the image top down, fading to grey]]> 751520 no no Mon, 10 Sep 2012 23:43:16 +0200 2012-09-10T23:43:16+02:00 3:02 https://hearthis.at/yqvxfnwb/pwrs-of-to-disquiet0034-theradius/
:: statement ::

i just kept dividing everything by 2


:: Instructions ::

Disquiet Junto Project 0034: Radius Joint

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

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

The jingle/logo, which is just 14 seconds long, can be downloaded from here: http://theradius.us/about

Deadline: Monday, August 27, at 11:59pm wherever you are.

More on the 33rd Disquiet Junto project at: http://disquiet.com/2012/08/23/disquiet0034-theradius/

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

i just kept dividing everything by 2


:: Instructions ::

Disquiet Junto Project 0034: Radius Joint

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

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

The jingle/logo, which is just 14 seconds long, can be downloaded from here: http://theradius.us/about

Deadline: Monday, August 27, at 11:59pm wherever you are.

More on the 33rd Disquiet Junto project at: http://disquiet.com/2012/08/23/disquiet0034-theradius/

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info ]]> 751521 no no Mon, 27 Aug 2012 19:13:58 +0200 2012-08-27T19:13:58+02:00 1:40 https://hearthis.at/yqvxfnwb/random-coil-all-n4tural-my-other-turntables-a-braun-disquiet0033-turntable/
actual meatspace collaboration with @random-coil


:: statement ::

random coil came over (no small feat) with the phenomenal RECORDING DEVICE, with which we made recordings of my original issue SONY PS-T22 AUTOMATIC/DIRECT DRIVE STEREO TURNTABLE SYSTEM (just to fulfill the nerd random information act we seem to have instituted for this Junto).

we spent a few minutes making one uninterrupted recording of various forms of misusing the various components of my original issue SONY PS-T22 AUTOMATIC/DIRECT DRIVE STEREO TURNTABLE SYSTEM with a non-standard-issue additional doohickey aparatus that brushes the vinyl clean 42 arcseconds before the needle hits the record (]]>
actual meatspace collaboration with @random-coil


:: statement ::

random coil came over (no small feat) with the phenomenal RECORDING DEVICE, with which we made recordings of my original issue SONY PS-T22 AUTOMATIC/DIRECT DRIVE STEREO TURNTABLE SYSTEM (just to fulfill the nerd random information act we seem to have instituted for this Junto).

we spent a few minutes making one uninterrupted recording of various forms of misusing the various components of my original issue SONY PS-T22 AUTOMATIC/DIRECT DRIVE STEREO TURNTABLE SYSTEM with a non-standard-issue additional doohickey aparatus that brushes the vinyl clean 42 arcseconds before the needle hits the record (]]> 751522 no no Sun, 19 Aug 2012 16:59:29 +0200 2012-08-19T16:59:29+02:00 2:37 https://hearthis.at/yqvxfnwb/heat-death-disquiet0031-onomatch/
several copies of http://www.freesound.org/people/HerbertBoland/sounds/29677, processed in Audacity

in honor of the yesteryearness of fluxus, i did it all by hand -- no supercollider
(you most likely cannot appreciate what an effort, ridiculously, that was for me).


Disquiet Junto Project 0031: Ono's Match
This week's project takes the opportunity to focus on the art movement known as Fluxus. We'll use as the starting point a 1955 composition by Yoko Ono. Her work is titled "Lighting Piece" and it consists of a single, simple sentence: "Light a match and watch till it goes out." It is one of a number of pieces that Ono produced as part of Fluxus. For this week's Disquiet Junto project, please interpret her instruction as closely or as loosely as you choose.

Deadline: Monday, August 6, at 11:59pm wherever you are.

_________________________________________________________________________________________________________________________________________________
pic: still from Ulrich Rückriem, Kreise (1971), who by complete coincidence is my neighbor, and though he moved into a different direction, did do some fluxus/happening-type work in the 60s & early 70s. He made an earlier film that involved burning wood, iirc, but i couldn't find stills from that (just to make my associative chain explicit here).]]>
several copies of http://www.freesound.org/people/HerbertBoland/sounds/29677, processed in Audacity

in honor of the yesteryearness of fluxus, i did it all by hand -- no supercollider
(you most likely cannot appreciate what an effort, ridiculously, that was for me).


Disquiet Junto Project 0031: Ono's Match
This week's project takes the opportunity to focus on the art movement known as Fluxus. We'll use as the starting point a 1955 composition by Yoko Ono. Her work is titled "Lighting Piece" and it consists of a single, simple sentence: "Light a match and watch till it goes out." It is one of a number of pieces that Ono produced as part of Fluxus. For this week's Disquiet Junto project, please interpret her instruction as closely or as loosely as you choose.

Deadline: Monday, August 6, at 11:59pm wherever you are.

_________________________________________________________________________________________________________________________________________________
pic: still from Ulrich Rückriem, Kreise (1971), who by complete coincidence is my neighbor, and though he moved into a different direction, did do some fluxus/happening-type work in the 60s & early 70s. He made an earlier film that involved burning wood, iirc, but i couldn't find stills from that (just to make my associative chain explicit here).]]> 751523 no no Sun, 05 Aug 2012 15:56:50 +0200 2012-08-05T15:56:50+02:00 1:12 https://hearthis.at/yqvxfnwb/ode-to-the-institut-disquiet0030-nonsilent/
i thought this would be a cinch, because i immediately knew what i wanted to do:
use the vinyl crackles from John Cage's Experiences No. 1 off of Obscure #5: Voices and Instruments
(the orig is here, btw: http://www.ubu.com/sound/obscure5.html -- get it while it's still there!)
i ended up messing about with it for entirely too long, and just aborted.
So if you'd like to hear 42 alternative takes of this, get in touch.

Institut für Feinmotorik is the best prepared-turntable band of all time.
cf. e.g. http://www.youtube.com/watch?v=GXCxnnena4Q
Amazingly, you can download their historic release Penetrans (2002):
http://institut-fuer-feinmotorik.net/?page=output/penetrans

. . . . .
Disquiet Junto Project 0030: Sounds from Silence

This week's project deals with the concept of silence — specifically recorded silence. We will take a segment of audio that is intended to signify silence, and then from it make an original piece of music.

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

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

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

Deadline: Monday, July 30, at 11:59pm wherever you are.

More on the 30th Disquiet Junto project at: http://disquiet.com/2012/07/26/disquiet0030-nonsilent/

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


________________________________________________________
pic: http://www.flickr.com/photos/edesign/234102850/]]>
i thought this would be a cinch, because i immediately knew what i wanted to do:
use the vinyl crackles from John Cage's Experiences No. 1 off of Obscure #5: Voices and Instruments
(the orig is here, btw: http://www.ubu.com/sound/obscure5.html -- get it while it's still there!)
i ended up messing about with it for entirely too long, and just aborted.
So if you'd like to hear 42 alternative takes of this, get in touch.

Institut für Feinmotorik is the best prepared-turntable band of all time.
cf. e.g. http://www.youtube.com/watch?v=GXCxnnena4Q
Amazingly, you can download their historic release Penetrans (2002):
http://institut-fuer-feinmotorik.net/?page=output/penetrans

. . . . .
Disquiet Junto Project 0030: Sounds from Silence

This week's project deals with the concept of silence — specifically recorded silence. We will take a segment of audio that is intended to signify silence, and then from it make an original piece of music.

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

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

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

Deadline: Monday, July 30, at 11:59pm wherever you are.

More on the 30th Disquiet Junto project at: http://disquiet.com/2012/07/26/disquiet0030-nonsilent/

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


________________________________________________________
pic: http://www.flickr.com/photos/edesign/234102850/]]> 751524 no no Fri, 27 Jul 2012 12:28:00 +0200 2012-07-27T12:28:00+02:00 1:58 https://hearthis.at/yqvxfnwb/the-plane-had-gone-to-ground-near-the-sound-of-running-water-disquiet0029-countzero/ -- William Gibson, Count Zero. 1986.

using http://soundcloud.com/gluid-1/bathwater-field for water down man-made stone -- bedaankt!
and the water pack by plagasul http://www.freesound.org/people/plagasul/packs/8/ -- gracias!

. . . . .

Disquiet Junto Project 0029: Count Zero

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

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

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

The instructions are as follows:

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

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

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

Deadline: Monday, July 23, at 11:59pm wherever you are.

The inspiration for this track came from the opening of chapter 17 of William Gibson's 1986 novel Count Zero.

More on the 29th Disquiet Junto project at: http://disquiet.com/2012/07/19/disquiet0029-countzero/

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


_______________________________________________________________
pic: http://www.flickr.com/photos/dionnehartnett/7324180278/]]> -- William Gibson, Count Zero. 1986.

using http://soundcloud.com/gluid-1/bathwater-field for water down man-made stone -- bedaankt!
and the water pack by plagasul http://www.freesound.org/people/plagasul/packs/8/ -- gracias!

. . . . .

Disquiet Junto Project 0029: Count Zero

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

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

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

The instructions are as follows:

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

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

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

Deadline: Monday, July 23, at 11:59pm wherever you are.

The inspiration for this track came from the opening of chapter 17 of William Gibson's 1986 novel Count Zero.

More on the 29th Disquiet Junto project at: http://disquiet.com/2012/07/19/disquiet0029-countzero/

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


_______________________________________________________________
pic: http://www.flickr.com/photos/dionnehartnett/7324180278/]]> 751525 no no Mon, 23 Jul 2012 22:34:27 +0200 2012-07-23T22:34:27+02:00 2:20 https://hearthis.at/yqvxfnwb/quench-for-leafcutter-john/ 751526 no no Wed, 18 Jul 2012 17:27:58 +0200 2012-07-18T17:27:58+02:00 0:05 https://hearthis.at/yqvxfnwb/digits-where-do-you-belong-all-n4tural-rmx/ using http://soundcloud.com/bad-panda-records/digits-where-do-you-belong-lv
and an open laptop mic

recorded live in/with supercollider.sf.net]]> using http://soundcloud.com/bad-panda-records/digits-where-do-you-belong-lv
and an open laptop mic

recorded live in/with supercollider.sf.net]]> 751527 no no Fri, 06 Jul 2012 19:47:28 +0200 2012-07-06T19:47:28+02:00 2:17 https://hearthis.at/yqvxfnwb/but-you-know-it-is-a-lie/ 751528 no no Thu, 05 Jul 2012 23:50:24 +0200 2012-07-05T23:50:24+02:00 2:34 https://hearthis.at/yqvxfnwb/i-tried-to-tell-the-ferryman/ Rivers Home is a series of ten EPs
that you can buy as actual physical hand-crafted-by-http://soundcloud.com/katecarr objects,
each taking a different river as its subject.

--> http://flamingpines.com/releases.htm

Mine consists of five songs that tell a story about the Rhine, specifically Loreley, but wait,
also, due to a transdimensional manifold conduit, about the Chao Phraya river:

These songs are about a transdimensional manifold conduit
that exists between the river Rhine near Loreley rock in the "11th century"
and the river Chao Phraya near Ayutthaya some time in "the future"
when dragons roam again.

A traveller told me her story:

In mists, I crossed the Rhine at Loreley
I met a dragon there, that dragon came from far Siam
I tried to tell the ferryman
but he seemed not to understand
And he, too, from my point of view, spoke in tongues
I continued my journey without him
but the sirens led me astray, though I turned back once


http://www.flickr.com/photos/48773669@N02/7420196744/in/photostream/lightbox


]]> Rivers Home is a series of ten EPs
that you can buy as actual physical hand-crafted-by-http://soundcloud.com/katecarr objects,
each taking a different river as its subject.

--> http://flamingpines.com/releases.htm

Mine consists of five songs that tell a story about the Rhine, specifically Loreley, but wait,
also, due to a transdimensional manifold conduit, about the Chao Phraya river:

These songs are about a transdimensional manifold conduit
that exists between the river Rhine near Loreley rock in the "11th century"
and the river Chao Phraya near Ayutthaya some time in "the future"
when dragons roam again.

A traveller told me her story:

In mists, I crossed the Rhine at Loreley
I met a dragon there, that dragon came from far Siam
I tried to tell the ferryman
but he seemed not to understand
And he, too, from my point of view, spoke in tongues
I continued my journey without him
but the sirens led me astray, though I turned back once


http://www.flickr.com/photos/48773669@N02/7420196744/in/photostream/lightbox


]]> http://flamingpines.com/releases.htm Mine consists of five songs that tell a story about the Rhine, specifically Loreley, but wait, also, due to a transdimensional manifold conduit, about the Chao Phraya river: These songs are about a transdimensional manifold conduit that exists between the river Rhine near Loreley rock in the "11th century" and the river Chao Phraya near Ayutthaya some time in "the future" when dragons roam again. A traveller told me her story: In mists, I crossed the Rhine at Loreley I met a dragon there, that dragon came from far Siam I tried to tell the ferryman but he seemed not to understand And he, too, from my point of view, spoke in tongues I continued my journey without him but the sirens led me astray, though I turned back once http://www.flickr.com/photos/48773669@N02/7420196744/in/photostream/lightbox ]]> 751529 no no Fri, 22 Jun 2012 16:45:11 +0200 2012-06-22T16:45:11+02:00 2:33 https://hearthis.at/yqvxfnwb/alertsuite-disquiet0024-alertsuite/
This week's project is about "functional music." You will make four individual sounds that serve as alerts for digital communications. They will be in these categories:

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

The goal is that the four alerts will work together as a suite — that is, that they will complement each other, yet be distinct and recognizable from each other.

cuts from http://soundcloud.com/all-n4tural/nearly

More info on the @disquiet Junto here: http://soundcloud.com/groups/disquiet-junto/info

____________________________________________________________________________________
Pic: this stencil alerts building owners in Shanghai that their's is due to be demolished]]>
This week's project is about "functional music." You will make four individual sounds that serve as alerts for digital communications. They will be in these categories:

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

The goal is that the four alerts will work together as a suite — that is, that they will complement each other, yet be distinct and recognizable from each other.

cuts from http://soundcloud.com/all-n4tural/nearly

More info on the @disquiet Junto here: http://soundcloud.com/groups/disquiet-junto/info

____________________________________________________________________________________
Pic: this stencil alerts building owners in Shanghai that their's is due to be demolished]]> 751530 no no Mon, 18 Jun 2012 18:31:31 +0200 2012-06-18T18:31:31+02:00 0:31 https://hearthis.at/yqvxfnwb/burning-dubness/ i'm rereleasing my contribution here for the refirst time.

also because the cover is so pretty, http://soundcloud.com/katecarr!

Available here: http://flamingpines.bandcamp.com/album/burning-palms

:::::::::::::::

using original field recordings made by http://soundcloud.com/katecarr on/under the beach that is the subject of the compilation.
and a short piece of guitar from http://soundcloud.com/katecarr/untitled-sounds-of-hawaii

made entirely with supercollider.sf.net; live, no overdubs. for decades i've been wanting to say that.

the wobble is based on this post by http://soundcloud.com/mcld, with variations by other fine listpeople:
http://new-supercollider-mailing-lists-forums-use-these.2681727.n2.nabble.com/dubstep-bass-td5665889.html]]> i'm rereleasing my contribution here for the refirst time.

also because the cover is so pretty, http://soundcloud.com/katecarr!

Available here: http://flamingpines.bandcamp.com/album/burning-palms

:::::::::::::::

using original field recordings made by http://soundcloud.com/katecarr on/under the beach that is the subject of the compilation.
and a short piece of guitar from http://soundcloud.com/katecarr/untitled-sounds-of-hawaii

made entirely with supercollider.sf.net; live, no overdubs. for decades i've been wanting to say that.

the wobble is based on this post by http://soundcloud.com/mcld, with variations by other fine listpeople:
http://new-supercollider-mailing-lists-forums-use-these.2681727.n2.nabble.com/dubstep-bass-td5665889.html]]> 751531 no no Fri, 08 Jun 2012 16:00:31 +0200 2012-06-08T16:00:31+02:00 6:55 https://hearthis.at/yqvxfnwb/livecoded-at-geheimklub-feat-authentic-feedback/ more at: http://soundcloud.com/all-n4tural-live/2012-03-24]]> more at: http://soundcloud.com/all-n4tural-live/2012-03-24]]> 751532 no no Thu, 17 May 2012 18:06:23 +0200 2012-05-17T18:06:23+02:00 1:23 https://hearthis.at/yqvxfnwb/with-up-so-floating-many-bells-down/
Plan, in three steps:

First step: At some point during the day, make a field recording of the world around you. Then select a 30-second segment from it. (Please, don't include other people's voices without their knowledge unless you are absolutely certain doing so is legal wherever it is you make the recording.)

Second step: Choose one of the following two preexisting tracks and select a 30-second segment:

Option 1: http://archive.org/download/zero130/01AControlledBurn.mp3
Option 2: http://archive.org/download/WM074_900/WM074-03_64kb.mp3

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

:::::::::::::::::::::::::::::::::::::::::::::::::::::::

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

and these fragments of E. E. Cummings' "29" from 50 Poems:

anyone lived in a pretty how town
(with up so floating many bells down)
spring summer autumn winter
he sang his didn't he danced his did.
[..]
stars rain sun moon
(and only the snow can begin to explain
how children are apt to forget to remember
with up so floating many bells down)
[..]

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

:::::::::::::::::::::::::::::::::::::::::::::::::::::::



It's not a super-bona-fide field recording, i suppose; i was sitting outside reading some Cummings
(50 Poems, 29: anyone lived in a pretty how town ..)
i programmed supercollider.sf.net to cut that up, and the tail end of the Lee Rosevere track (thanks!)
and to play one cut of each in sync, with some randomness in the length of the cuts and the frequency of the beats.
Then faded out with the tail end of Rosevere.]]>
Plan, in three steps:

First step: At some point during the day, make a field recording of the world around you. Then select a 30-second segment from it. (Please, don't include other people's voices without their knowledge unless you are absolutely certain doing so is legal wherever it is you make the recording.)

Second step: Choose one of the following two preexisting tracks and select a 30-second segment:

Option 1: http://archive.org/download/zero130/01AControlledBurn.mp3
Option 2: http://archive.org/download/WM074_900/WM074-03_64kb.mp3

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

:::::::::::::::::::::::::::::::::::::::::::::::::::::::

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

and these fragments of E. E. Cummings' "29" from 50 Poems:

anyone lived in a pretty how town
(with up so floating many bells down)
spring summer autumn winter
he sang his didn't he danced his did.
[..]
stars rain sun moon
(and only the snow can begin to explain
how children are apt to forget to remember
with up so floating many bells down)
[..]

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

:::::::::::::::::::::::::::::::::::::::::::::::::::::::



It's not a super-bona-fide field recording, i suppose; i was sitting outside reading some Cummings
(50 Poems, 29: anyone lived in a pretty how town ..)
i programmed supercollider.sf.net to cut that up, and the tail end of the Lee Rosevere track (thanks!)
and to play one cut of each in sync, with some randomness in the length of the cuts and the frequency of the beats.
Then faded out with the tail end of Rosevere.]]> 751533 no no Tue, 01 May 2012 00:16:54 +0200 2012-05-01T00:16:54+02:00 2:19 https://hearthis.at/yqvxfnwb/it-was-kind-of-scratchy-so-i-whistled-a-bit/

Plan: This week's effort is the 16th weekly Junto, and it is a shared-sample project. The theme is "background and foreground." There are two provided samples, one of sandpaper and the other of dice. Please make one track employing both samples. You can transform them in any way you wish. You can add other elements if you choose to. However, one of the two samples should provide the predominant background sound, and the other should provide the predominant foreground sound. Which does which is up to you. You'll find the samples here:

http://www.freesound.org/people/HerbertBoland/sounds/28541/
http://www.freesound.org/people/Robinhood76/sounds/60857/

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

:::::::::::::::::::::::::::: process: :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

~loadbuffers.("/Users/sharedReadWrite/supercollider/disquiet junta/0016-backforeground/cutups/dicelong/*");
~buffers.size.do({ arg i;~buffers[i].normalize});
~dicelong = ~buffers;
~redraw.play;

~loadbuffers.("/Users/sharedReadWrite/supercollider/disquiet junta/0016-backforeground/cutups/diceshrt/*");
~buffers.size.do({ arg i;~buffers[i].normalize});
~diceshrt = ~buffers;
~redraw.play;


~sandpaper = Buffer.readChannel(s, "/Users/sharedReadWrite/supercollider/disquiet junta/0016-backforeground/src/28541__herbertboland__sandpaper5.wav", channels:0);

~sandpaper.normalize;
~sandPlays = List[];
27.do{~sandPlays.add(~streichCh.play(Instr.at("buffergrain")));};


~sandPlays.do{|i| i.synth.set('gfreq', 1)};
~sandPlays.do{|i| i.synth.set('gdur', 1)};
~sandPlays.do{|i| i.synth.set('bufnum', ~sandpaper.bufnum + 1)};
~sandPlays.do{|i| i.synth.set('sndrate', 1/4)};
~sandPlays.do{|i| i.synth.set('sndrate', 1/8)};
~sandPlays.do{|i| i.synth.set('grate', [-1/8, -1/4, -1/2, 1].choose)};
~sandPlays.do{|i| i.synth.set('gfreq', 8)};
~sandPlays.do{|i| i.synth.set('grate', [-1/16, 1/8, -1/4, -1/2].choose)};
~sandPlays.do{|i| i.synth.set('grate', [-1/64, -1/32, -1/16, 1/8].choose)};
~sandPlays.do{|i| i.synth.set('sndrate', 8)};
~sandPlays.do{|i| i.synth.set('mul', 0.05)};

~cleanCh.play(\playBufPan, [\bufnum, ~diceshrt.choose.bufnum + 1,\pan, ((1 .. 9).choose/10)*[-1,1].choose]);
~cleanCh.play(\playBufPan, [\bufnum, ~dicelong.choose.bufnum + 1,\pan, ((1 .. 9).choose/10)*[-1,1].choose]);

(
~melody = [7,2,3,0];
~singer.notNil.if {~singer.stop};
~singer.free;
~singer = fork{(~sandPlays.size > 0).while({
~melody.do{|note|
~streichboomPatch.synth.set(\freq, 55 + (note*(55/12)));
~sandPlays.do{|i, index| if (index%3==0) {i.synth.set('grate', 1/16 + (note*((1/16)/12)));}};
~sandPlays.do{|i, index| if (index%3==1) {i.synth.set('grate', 1/32 + (note*((1/32)/12)));}};
~sandPlays.do{|i, index| if (index%3==2) {i.synth.set('grate', 1/64 + (note*((1/64)/12)));}};
~cleanCh.play(\playBufPan, [\bufnum, ~dicelong.choose.bufnum + 1,\pan, ((1 .. 9).choose/10)*[-1,1].choose]);
4.wait;
};
})};
)

~sandPlays.do{|i| i.synth.set('grate', [-1/64, -1/32, -1/16, 1/8].choose)};
~sandPlays.do{|i| i.synth.set('grate', [ -1/32, -1/16, 1/8, 1/4].choose)};
~sandPlays.do{|i| i.synth.set('grate', [ -1/16, 1/8, 1/4, -1/2].choose)};

~cleanCh.play(\playBufPan, [\bufnum, ~dicelong.choose.bufnum + 1,\pan, ((1 .. 9).choose/10)*[-1,1].choose]);
~breaknochange.();
~freebreak.();
~breaknochange.(1/2);


~breaknochange.();
~refreshboom.();
~reboom.();
~breaknochange.(1/2);
~refreshboom.();
~reboom.();
~breaknochange.();

(
~setpair = { |pairi=0, divisor=8|
var freq = ((~phases.choose * ~speed)/divisor);
var topf1buf = ~topf1.choose.bufnum;
var topf2buf = ~topf2.choose.bufnum + 1;
var firstofpair = pairi * 2;
var secndofpair = (pairi * 2) + 1;
"streich%->buf% & streich%->buf%, both get freq %".format(firstofpair,topf1buf,secndofpair,topf2buf,freq).postln;

~streichChPlays[firstofpair].synth.set('gfreq', freq);
~streichChPlays[firstofpair].synth.set('bufnum', topf1buf);

~streichChPlays[secndofpair].synth.set('gfreq', freq);
~streichChPlays[secndofpair].synth.set('bufnum', topf2buf);
};
)

~streichChPlays = List[];
32.do{~streichChPlays.add(~streichCh.play(Instr.at("buffergrain")));};
~phases = [~longPhase,~basicPhase,~quickerPhase,~hatPhase,~offsPhase,~freakPhase];

~topf1= ~diceshrt;
~topf2= [~sandpaper];
~topf2= [~liveBuf];

(
n = -1;
~runner.notNil.if {~runner.stop};
~runner.free;
~runner = fork{(~streichChPlays.size > 1).while({
~setpair.((n=n+1)%((~streichChPlays.size)/2), [16,32,64].choose);
1.wait;});};
)

// now it gets louder cz we switch form the diceshrt to the liveBuf
~buffers = [~liveBuf];

~breaknochange.(1/2);
~refreshboom.();
~reboom.();
~breaknochange.();
fork{ 8.do{~breaknochange.( ); 0.5.wait;s.sync;}};
fork{ 16.do{~breaknochange.( ); 0.25.wait;s.sync;}};

// the ende
~runner.notNil.if {~runner.stop};
~singer.notNil.if {~singer.stop};
~sandPlays.do{|i| i.synth.set('mul', 0)};
~streichChPlays.do{|i| i.synth.set('mul', 0)};
~freebreak.();
~cleanCh.play(\playBufPan, [\bufnum, ~dicelong.choose.bufnum + 1,\pan, ((1 .. 9).choose/10)*[-1,1].choose]);

_______________________________________________________________________________
pic: http://www.flickr.com/photos/jeyh/2796143222/in/faves-48773669@N02/]]>

Plan: This week's effort is the 16th weekly Junto, and it is a shared-sample project. The theme is "background and foreground." There are two provided samples, one of sandpaper and the other of dice. Please make one track employing both samples. You can transform them in any way you wish. You can add other elements if you choose to. However, one of the two samples should provide the predominant background sound, and the other should provide the predominant foreground sound. Which does which is up to you. You'll find the samples here:

http://www.freesound.org/people/HerbertBoland/sounds/28541/
http://www.freesound.org/people/Robinhood76/sounds/60857/

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

:::::::::::::::::::::::::::: process: :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

~loadbuffers.("/Users/sharedReadWrite/supercollider/disquiet junta/0016-backforeground/cutups/dicelong/*");
~buffers.size.do({ arg i;~buffers[i].normalize});
~dicelong = ~buffers;
~redraw.play;

~loadbuffers.("/Users/sharedReadWrite/supercollider/disquiet junta/0016-backforeground/cutups/diceshrt/*");
~buffers.size.do({ arg i;~buffers[i].normalize});
~diceshrt = ~buffers;
~redraw.play;


~sandpaper = Buffer.readChannel(s, "/Users/sharedReadWrite/supercollider/disquiet junta/0016-backforeground/src/28541__herbertboland__sandpaper5.wav", channels:0);

~sandpaper.normalize;
~sandPlays = List[];
27.do{~sandPlays.add(~streichCh.play(Instr.at("buffergrain")));};


~sandPlays.do{|i| i.synth.set('gfreq', 1)};
~sandPlays.do{|i| i.synth.set('gdur', 1)};
~sandPlays.do{|i| i.synth.set('bufnum', ~sandpaper.bufnum + 1)};
~sandPlays.do{|i| i.synth.set('sndrate', 1/4)};
~sandPlays.do{|i| i.synth.set('sndrate', 1/8)};
~sandPlays.do{|i| i.synth.set('grate', [-1/8, -1/4, -1/2, 1].choose)};
~sandPlays.do{|i| i.synth.set('gfreq', 8)};
~sandPlays.do{|i| i.synth.set('grate', [-1/16, 1/8, -1/4, -1/2].choose)};
~sandPlays.do{|i| i.synth.set('grate', [-1/64, -1/32, -1/16, 1/8].choose)};
~sandPlays.do{|i| i.synth.set('sndrate', 8)};
~sandPlays.do{|i| i.synth.set('mul', 0.05)};

~cleanCh.play(\playBufPan, [\bufnum, ~diceshrt.choose.bufnum + 1,\pan, ((1 .. 9).choose/10)*[-1,1].choose]);
~cleanCh.play(\playBufPan, [\bufnum, ~dicelong.choose.bufnum + 1,\pan, ((1 .. 9).choose/10)*[-1,1].choose]);

(
~melody = [7,2,3,0];
~singer.notNil.if {~singer.stop};
~singer.free;
~singer = fork{(~sandPlays.size > 0).while({
~melody.do{|note|
~streichboomPatch.synth.set(\freq, 55 + (note*(55/12)));
~sandPlays.do{|i, index| if (index%3==0) {i.synth.set('grate', 1/16 + (note*((1/16)/12)));}};
~sandPlays.do{|i, index| if (index%3==1) {i.synth.set('grate', 1/32 + (note*((1/32)/12)));}};
~sandPlays.do{|i, index| if (index%3==2) {i.synth.set('grate', 1/64 + (note*((1/64)/12)));}};
~cleanCh.play(\playBufPan, [\bufnum, ~dicelong.choose.bufnum + 1,\pan, ((1 .. 9).choose/10)*[-1,1].choose]);
4.wait;
};
})};
)

~sandPlays.do{|i| i.synth.set('grate', [-1/64, -1/32, -1/16, 1/8].choose)};
~sandPlays.do{|i| i.synth.set('grate', [ -1/32, -1/16, 1/8, 1/4].choose)};
~sandPlays.do{|i| i.synth.set('grate', [ -1/16, 1/8, 1/4, -1/2].choose)};

~cleanCh.play(\playBufPan, [\bufnum, ~dicelong.choose.bufnum + 1,\pan, ((1 .. 9).choose/10)*[-1,1].choose]);
~breaknochange.();
~freebreak.();
~breaknochange.(1/2);


~breaknochange.();
~refreshboom.();
~reboom.();
~breaknochange.(1/2);
~refreshboom.();
~reboom.();
~breaknochange.();

(
~setpair = { |pairi=0, divisor=8|
var freq = ((~phases.choose * ~speed)/divisor);
var topf1buf = ~topf1.choose.bufnum;
var topf2buf = ~topf2.choose.bufnum + 1;
var firstofpair = pairi * 2;
var secndofpair = (pairi * 2) + 1;
"streich%->buf% & streich%->buf%, both get freq %".format(firstofpair,topf1buf,secndofpair,topf2buf,freq).postln;

~streichChPlays[firstofpair].synth.set('gfreq', freq);
~streichChPlays[firstofpair].synth.set('bufnum', topf1buf);

~streichChPlays[secndofpair].synth.set('gfreq', freq);
~streichChPlays[secndofpair].synth.set('bufnum', topf2buf);
};
)

~streichChPlays = List[];
32.do{~streichChPlays.add(~streichCh.play(Instr.at("buffergrain")));};
~phases = [~longPhase,~basicPhase,~quickerPhase,~hatPhase,~offsPhase,~freakPhase];

~topf1= ~diceshrt;
~topf2= [~sandpaper];
~topf2= [~liveBuf];

(
n = -1;
~runner.notNil.if {~runner.stop};
~runner.free;
~runner = fork{(~streichChPlays.size > 1).while({
~setpair.((n=n+1)%((~streichChPlays.size)/2), [16,32,64].choose);
1.wait;});};
)

// now it gets louder cz we switch form the diceshrt to the liveBuf
~buffers = [~liveBuf];

~breaknochange.(1/2);
~refreshboom.();
~reboom.();
~breaknochange.();
fork{ 8.do{~breaknochange.( ); 0.5.wait;s.sync;}};
fork{ 16.do{~breaknochange.( ); 0.25.wait;s.sync;}};

// the ende
~runner.notNil.if {~runner.stop};
~singer.notNil.if {~singer.stop};
~sandPlays.do{|i| i.synth.set('mul', 0)};
~streichChPlays.do{|i| i.synth.set('mul', 0)};
~freebreak.();
~cleanCh.play(\playBufPan, [\bufnum, ~dicelong.choose.bufnum + 1,\pan, ((1 .. 9).choose/10)*[-1,1].choose]);

_______________________________________________________________________________
pic: http://www.flickr.com/photos/jeyh/2796143222/in/faves-48773669@N02/]]> 0).while({ ~melody.do{|note| ~streichboomPatch.synth.set(\freq, 55 + (note*(55/12))); ~sandPlays.do{|i, index| if (index%3==0) {i.synth.set('grate', 1/16 + (note*((1/16)/12)));}}; ~sandPlays.do{|i, index| if (index%3==1) {i.synth.set('grate', 1/32 + (note*((1/32)/12)));}}; ~sandPlays.do{|i, index| if (index%3==2) {i.synth.set('grate', 1/64 + (note*((1/64)/12)));}}; ~cleanCh.play(\playBufPan, [\bufnum, ~dicelong.choose.bufnum + 1,\pan, ((1 .. 9).choose/10)*[-1,1].choose]); 4.wait; }; })}; ) ~sandPlays.do{|i| i.synth.set('grate', [-1/64, -1/32, -1/16, 1/8].choose)}; ~sandPlays.do{|i| i.synth.set('grate', [ -1/32, -1/16, 1/8, 1/4].choose)}; ~sandPlays.do{|i| i.synth.set('grate', [ -1/16, 1/8, 1/4, -1/2].choose)}; ~cleanCh.play(\playBufPan, [\bufnum, ~dicelong.choose.bufnum + 1,\pan, ((1 .. 9).choose/10)*[-1,1].choose]); ~breaknochange.(); ~freebreak.(); ~breaknochange.(1/2); ~breaknochange.(); ~refreshboom.(); ~reboom.(); ~breaknochange.(1/2); ~refreshboom.(); ~reboom.(); ~breaknochange.(); ( ~setpair = { |pairi=0, divisor=8| var freq = ((~phases.choose * ~speed)/divisor); var topf1buf = ~topf1.choose.bufnum; var topf2buf = ~topf2.choose.bufnum + 1; var firstofpair = pairi * 2; var secndofpair = (pairi * 2) + 1; "streich%->buf% & streich%->buf%, both get freq %".format(firstofpair,topf1buf,secndofpair,topf2buf,freq).postln; ~streichC]]> 751534 no no Mon, 23 Apr 2012 15:27:16 +0200 2012-04-23T15:27:16+02:00 3:59 https://hearthis.at/yqvxfnwb/i-sang-the-colors-best-i-could-rgb-variations-vii-disquiet0015-rgbinteract/
for @disquiet junto #15 "rgbinteract"

Plan: This week's effort is the 15th weekly Junto, and it is probably the most theoretical one yet. Think of it as sonic color theory. It veers into matters of synaesthesia (what might be, casually, referred to as the confusion or mixed-association of the senses). We're going to explore color, and we're going to do it through sound. You're going to represent the way Red, Green, and Blue interact with each other and form other colors in the process. You'll accomplish this through two steps. First, you will create three simple sounds, one representative of each of three primary colors. Second, you will cause them to interact, in the form of a composition. The initial sounds might be tones, or beats, or chords, or even note sequences.

You'll symbolize Red with a sound derived from the number 600, Green from the number 540, and Blue from the number 450. And certainly, you might choose to explore the ratios between these numbers, rather than the specific numbers themselves (e.g., 60/54/45 or 30/27/22.5, just as two examples).

Please be sure, when posting your track, to include a brief written explanation of how you chose to interpret the colors/numbers as sounds (e.g., "Red is 60bpm, Green is 54bpm, and Blue is 45 BPM" or "Red is 600Hz, Green is 540 Hz, Blue is 450 Hz" -- something like that).

Background: The three numbers were chosen because -- and this is both technical and inexact -- they represent the median range of the associated wavelength as perceived by cone cells in the human retina.

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



statement:


my friend sang the colors to me, perfectly.
i sang the colors to my friend, best i could.
my friend sang them back to me.
first, s/he sang them shortly,
then s/he sang them longer.
first s/he sang them seldomly,
and then s/he sang them often.
in the end, s/he sang them back to me, all at the same time.


more of this at http://soundcloud.com/all-cousmatic/sets/rgb


________________________________________________________________________
image courtesy http://soulwire.co.uk/experiments/smack-my-glitch-up/]]>
for @disquiet junto #15 "rgbinteract"

Plan: This week's effort is the 15th weekly Junto, and it is probably the most theoretical one yet. Think of it as sonic color theory. It veers into matters of synaesthesia (what might be, casually, referred to as the confusion or mixed-association of the senses). We're going to explore color, and we're going to do it through sound. You're going to represent the way Red, Green, and Blue interact with each other and form other colors in the process. You'll accomplish this through two steps. First, you will create three simple sounds, one representative of each of three primary colors. Second, you will cause them to interact, in the form of a composition. The initial sounds might be tones, or beats, or chords, or even note sequences.

You'll symbolize Red with a sound derived from the number 600, Green from the number 540, and Blue from the number 450. And certainly, you might choose to explore the ratios between these numbers, rather than the specific numbers themselves (e.g., 60/54/45 or 30/27/22.5, just as two examples).

Please be sure, when posting your track, to include a brief written explanation of how you chose to interpret the colors/numbers as sounds (e.g., "Red is 60bpm, Green is 54bpm, and Blue is 45 BPM" or "Red is 600Hz, Green is 540 Hz, Blue is 450 Hz" -- something like that).

Background: The three numbers were chosen because -- and this is both technical and inexact -- they represent the median range of the associated wavelength as perceived by cone cells in the human retina.

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



statement:


my friend sang the colors to me, perfectly.
i sang the colors to my friend, best i could.
my friend sang them back to me.
first, s/he sang them shortly,
then s/he sang them longer.
first s/he sang them seldomly,
and then s/he sang them often.
in the end, s/he sang them back to me, all at the same time.


more of this at http://soundcloud.com/all-cousmatic/sets/rgb


________________________________________________________________________
image courtesy http://soulwire.co.uk/experiments/smack-my-glitch-up/]]> 751535 no no Sun, 15 Apr 2012 10:47:33 +0200 2012-04-15T10:47:33+02:00 2:22 https://hearthis.at/yqvxfnwb/what-the-hell-was-i-looking-for-anyway-disquiet0014-oumupo/

Subject: This project, the 14th in the weekly Disquiet Junto series, is about sonic narrative.


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


http://goo.gl/6P7eL


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


Background: Matt Madden's single-page comic is the template for a book he created titled 99 Ways to Tell a Story: Exercises in Style. In the book, Madden told that same story 99 different ways, each in a different comic-book style. For example, he told it as a superhero comic, he told it as a manga, he told it as experienced from upstairs, and he told it as if it were overheard at a bar. Madden did this in homage to the French writer Raymond Queneau's own Exercises in Style, which is a key text of the literary movement known as Oulipo. Oulipo approaches the act of writing with intentional constraints, and the movement's approach to creativity was a strong influence on the development of the Disquiet Junto. Oubapo is the name of the comics version of Oulipo. What we're up to is the musical version: Oumupo


Length: Please keep your piece to between two and seven minutes in length.


Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term "disquiet0014-oumupo” in the title of your track, and as a tag for your track.


Download: As always, you don’t have to set your track for download, but it would be preferable.


Linking: When you post your track, please include this information:


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


http://mattmadden.com/

http://exercisesinstyle.com/


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

Subject: This project, the 14th in the weekly Disquiet Junto series, is about sonic narrative.


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


http://goo.gl/6P7eL


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


Background: Matt Madden's single-page comic is the template for a book he created titled 99 Ways to Tell a Story: Exercises in Style. In the book, Madden told that same story 99 different ways, each in a different comic-book style. For example, he told it as a superhero comic, he told it as a manga, he told it as experienced from upstairs, and he told it as if it were overheard at a bar. Madden did this in homage to the French writer Raymond Queneau's own Exercises in Style, which is a key text of the literary movement known as Oulipo. Oulipo approaches the act of writing with intentional constraints, and the movement's approach to creativity was a strong influence on the development of the Disquiet Junto. Oubapo is the name of the comics version of Oulipo. What we're up to is the musical version: Oumupo


Length: Please keep your piece to between two and seven minutes in length.


Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term "disquiet0014-oumupo” in the title of your track, and as a tag for your track.


Download: As always, you don’t have to set your track for download, but it would be preferable.


Linking: When you post your track, please include this information:


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


http://mattmadden.com/

http://exercisesinstyle.com/


More on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/info]]> 751536 no no Mon, 09 Apr 2012 23:37:48 +0200 2012-04-09T23:37:48+02:00 2:21 https://hearthis.at/yqvxfnwb/is-that-shostakovich-in-your-pocket-or-are-you-just-happy-to-see-me-disquiet0013-wildup/
More on wild Up at http://wildup.la
Listen to the original recording at http://wildup.bandcamp.com
More details on the Disquiet Junto at http://soundcloud.com/groups/disquiet-junto/info


Plan: For the 13th Disquiet Junto project, we've been given something special. This is a shared-sample project. There is a tremendous classical chamber-music ensemble in Los Angeles. Its name is wild Up, and it has provided to us the first movement of its recording of the Chamber Symphony, Op. 110a, by Dimitri Shostakovich. Better yet, wild Up has provided to us the individual stems from a live multi-track recording of the symphony. There are 10 tracks in all, ranging from the bass to the woodwinds, and everything in between. There is no isolation between tracks. What there is is an emphasis on different aspects of the ensemble -- and, thus, of the original composition. You are invited to make something new from this source material. Please use only the source material -- as few or as many of those 10 source tracks as you desire.

Samples: The source audio is downloadable from these URLs:


http://dl.dropbox.com/u/2293299/WildupForRemix.zip

http://junto.havesomemusic.com/WildupForRemix.zip

http://lownote.net/audio/WildupForRemix.zip

http://vuzhmusic.com/junto/WildupForRemix.zip

]]>
More on wild Up at http://wildup.la
Listen to the original recording at http://wildup.bandcamp.com
More details on the Disquiet Junto at http://soundcloud.com/groups/disquiet-junto/info


Plan: For the 13th Disquiet Junto project, we've been given something special. This is a shared-sample project. There is a tremendous classical chamber-music ensemble in Los Angeles. Its name is wild Up, and it has provided to us the first movement of its recording of the Chamber Symphony, Op. 110a, by Dimitri Shostakovich. Better yet, wild Up has provided to us the individual stems from a live multi-track recording of the symphony. There are 10 tracks in all, ranging from the bass to the woodwinds, and everything in between. There is no isolation between tracks. What there is is an emphasis on different aspects of the ensemble -- and, thus, of the original composition. You are invited to make something new from this source material. Please use only the source material -- as few or as many of those 10 source tracks as you desire.

Samples: The source audio is downloadable from these URLs:


http://dl.dropbox.com/u/2293299/WildupForRemix.zip

http://junto.havesomemusic.com/WildupForRemix.zip

http://lownote.net/audio/WildupForRemix.zip

http://vuzhmusic.com/junto/WildupForRemix.zip

]]> 751537 no no Mon, 02 Apr 2012 22:10:02 +0200 2012-04-02T22:10:02+02:00 2:57 https://hearthis.at/yqvxfnwb/demon-time-feat-john-mclaughlin/ unfortunately, my asking him whether he'd consider doing a solo for it
caused all of his equipment to implode, and it's taken almost four months
for him to get back up running.

but back he is -- thanks, http://soundcloud.com/john-mclaughlin!



castrated 7-inch: http://soundcloud.com/all-n4tural/demon-time

source track: http://soundcloud.com/80z/the-wind-howls-ting-ting -- thanks, buddy!

______________________________________________________________________________________________________
pic by ole Jim again: http://www.flickr.com/photos/jimoconnell/213657352/in/faves-48773669@N02/]]> unfortunately, my asking him whether he'd consider doing a solo for it
caused all of his equipment to implode, and it's taken almost four months
for him to get back up running.

but back he is -- thanks, http://soundcloud.com/john-mclaughlin!



castrated 7-inch: http://soundcloud.com/all-n4tural/demon-time

source track: http://soundcloud.com/80z/the-wind-howls-ting-ting -- thanks, buddy!

______________________________________________________________________________________________________
pic by ole Jim again: http://www.flickr.com/photos/jimoconnell/213657352/in/faves-48773669@N02/]]> 751538 no no Sat, 31 Mar 2012 13:32:21 +0200 2012-03-31T13:32:21+02:00 7:07 https://hearthis.at/yqvxfnwb/kiti-from-occupied-europe/ http://soundcloud.com/kiti_le_step/sets/meister-submarine

for http://www.sc2012.org.uk/2012/02/the-supercollider-algostep-remix-competition/



________________________________________________________________________
image courtesy http://soulwire.co.uk/experiments/smack-my-glitch-up/]]> http://soundcloud.com/kiti_le_step/sets/meister-submarine

for http://www.sc2012.org.uk/2012/02/the-supercollider-algostep-remix-competition/



________________________________________________________________________
image courtesy http://soulwire.co.uk/experiments/smack-my-glitch-up/]]> 751539 no no Fri, 30 Mar 2012 12:39:18 +0200 2012-03-30T12:39:18+02:00 2:07 https://hearthis.at/yqvxfnwb/henry-thomas-goes-to-town-disquiet0012-cutpaste/

From the Henry Thomas tune, i redacted all the bits with the flute, on a whim.
The remaining 55 seconds were cut up into about one hundred slices with the Sound Finder in Audacity.
Then for reasons of fairness, i wanted to do the same for the fiddle in the Lapchaka tune, .. that didn't leave much :)

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
:::::::::::::::::::::::::: BEGIN more details than you wanted but it says so in the Junto FAQ ::::::::::::::::::::::::::

i then let supercollider do the pasting for me;
there are 16 pasters, and i told each to choose a paste frequency from this list:
[ 0.03125, 0.125, 0.25, 0.5, 0.25, 1 ] (times a second)
          ~pasters.do{|i| i.synth.set('gfreq', ((~phases.choose * ~speed)/8).postc)};

i also told them each to choose a slice of either Thomas or Lapchaka
          ~pasters.do{|i, index| if (index%3==0) {i.synth.set('bufnum', ~stomp.choose);}};
          ~pasters.do{|i, index| if (index%3==1) {i.synth.set('bufnum', ~lapchaka.choose);}};
          ~pasters.do{|i, index| if (index%3==2) {i.synth.set('bufnum', ~stomp.choose);}};

and to choose a duration for their paste,:
// either between 1 and 4 ms:
          ~pasters.do{|i, index| if (index%3==0) {i.synth.set('gdur', ((1..4).choose / 100).postc);}};
// or between 8 and 16 ms:
          ~pasters.do{|i, index| if (index%3==1) {i.synth.set('gdur', ((8..16).choose / 100).postc);}};
// or between 16 and 64 ms:
          ~pasters.do{|i, index| if (index%3==2) {i.synth.set('gdur', ((16..64).choose / 100).postc);}};

then i shuffled it around till i liked what i heard, told them all to shut up,
hit record, and then told them to speak up again, in three groups.
i never changed the rhythm during the recording, only told
them to choose different slices every once in while.

          ~pasters.do{|i, index| if (index%3==1) {i.synth.set('bufnum', ~lapchaka.choose);}};
          ~pasters.do{|i, index| if (index%3==1) {i.synth.set('bufnum', ~stomp.choose);}};

          ~pasters.do{|i, index| if (index%3==2) {i.synth.set('mul', 1);}};
          ~pasters.do{|i, index| if (index%3==2) {i.synth.set('bufnum', ~stomp.choose);}};

          ~pasters.do{|i| i.synth.set('bufnum', ~lapchaka.choose)};
          ~pasters.do{|i| i.synth.set('bufnum', ~stomp.choose)};
          ~pasters.do{|i, index| if (index%3==1) {i.synth.set('bufnum', ~lapchaka.choose);}};
          ~pasters.do{|i, index| if (index%3==2) {i.synth.set('bufnum', ~stomp.choose);}};

::::::::::::::::::::::::::::::::::::::::::::::::::: END more details than you wanted :::::::::::::::::::::::::::::::::::::::::::::::::::
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

man i sure wouldhaveliked to add some boosting here and there, to get a few oomfs and chk-chks,
but such is the nature of the junto, eh.

(i used a very similar process for http://soundcloud.com/all-n4tural/verletzt
just different numbers, samples, and .. boosting, yay)


___________________

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

The two source tracks originally made available at:
http://www.archive.org/details/Stomp
http://www.archive.org/details/Michael_Lapchaka-Rezeda_Czardas

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

From the Henry Thomas tune, i redacted all the bits with the flute, on a whim.
The remaining 55 seconds were cut up into about one hundred slices with the Sound Finder in Audacity.
Then for reasons of fairness, i wanted to do the same for the fiddle in the Lapchaka tune, .. that didn't leave much :)

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
:::::::::::::::::::::::::: BEGIN more details than you wanted but it says so in the Junto FAQ ::::::::::::::::::::::::::

i then let supercollider do the pasting for me;
there are 16 pasters, and i told each to choose a paste frequency from this list:
[ 0.03125, 0.125, 0.25, 0.5, 0.25, 1 ] (times a second)
          ~pasters.do{|i| i.synth.set('gfreq', ((~phases.choose * ~speed)/8).postc)};

i also told them each to choose a slice of either Thomas or Lapchaka
          ~pasters.do{|i, index| if (index%3==0) {i.synth.set('bufnum', ~stomp.choose);}};
          ~pasters.do{|i, index| if (index%3==1) {i.synth.set('bufnum', ~lapchaka.choose);}};
          ~pasters.do{|i, index| if (index%3==2) {i.synth.set('bufnum', ~stomp.choose);}};

and to choose a duration for their paste,:
// either between 1 and 4 ms:
          ~pasters.do{|i, index| if (index%3==0) {i.synth.set('gdur', ((1..4).choose / 100).postc);}};
// or between 8 and 16 ms:
          ~pasters.do{|i, index| if (index%3==1) {i.synth.set('gdur', ((8..16).choose / 100).postc);}};
// or between 16 and 64 ms:
          ~pasters.do{|i, index| if (index%3==2) {i.synth.set('gdur', ((16..64).choose / 100).postc);}};

then i shuffled it around till i liked what i heard, told them all to shut up,
hit record, and then told them to speak up again, in three groups.
i never changed the rhythm during the recording, only told
them to choose different slices every once in while.

          ~pasters.do{|i, index| if (index%3==1) {i.synth.set('bufnum', ~lapchaka.choose);}};
          ~pasters.do{|i, index| if (index%3==1) {i.synth.set('bufnum', ~stomp.choose);}};

          ~pasters.do{|i, index| if (index%3==2) {i.synth.set('mul', 1);}};
          ~pasters.do{|i, index| if (index%3==2) {i.synth.set('bufnum', ~stomp.choose);}};

          ~pasters.do{|i| i.synth.set('bufnum', ~lapchaka.choose)};
          ~pasters.do{|i| i.synth.set('bufnum', ~stomp.choose)};
          ~pasters.do{|i, index| if (index%3==1) {i.synth.set('bufnum', ~lapchaka.choose);}};
          ~pasters.do{|i, index| if (index%3==2) {i.synth.set('bufnum', ~stomp.choose);}};

::::::::::::::::::::::::::::::::::::::::::::::::::: END more details than you wanted :::::::::::::::::::::::::::::::::::::::::::::::::::
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

man i sure wouldhaveliked to add some boosting here and there, to get a few oomfs and chk-chks,
but such is the nature of the junto, eh.

(i used a very similar process for http://soundcloud.com/all-n4tural/verletzt
just different numbers, samples, and .. boosting, yay)


___________________

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

The two source tracks originally made available at:
http://www.archive.org/details/Stomp
http://www.archive.org/details/Michael_Lapchaka-Rezeda_Czardas

More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/info]]> 751540 no no Mon, 26 Mar 2012 15:13:59 +0200 2012-03-26T15:13:59+02:00 2:43 https://hearthis.at/yqvxfnwb/sein-is-die-hand-die-verletzt-feat-caalamus/ http://www.freesound.org/people/JohnLaVine333/sounds/137834/





_________________________________________________
pic from http://en.wikipedia.org/wiki/Angel_Heart]]> http://www.freesound.org/people/JohnLaVine333/sounds/137834/





_________________________________________________
pic from http://en.wikipedia.org/wiki/Angel_Heart]]> 751541 no no Thu, 22 Mar 2012 18:30:40 +0100 2012-03-22T18:30:40+01:00 3:22 https://hearthis.at/yqvxfnwb/random-coil-all-n4tural-berlin-mechanics-disquiet0011-motoring/
for http://soundcloud.com/groups/disquiet-junto/info #11: daily rhythm

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

sources
a) 1.5 hour recording of random coil's grandmother's washing machine
b) 15 sec recording of old public hand-operated fountain pump
loc: http://toolserver.org/~geohack/geohack.php?pagename=Handfountain_Charlottenburg¶ms=52_31_2_N_13_18_14_E
video: http://youtu.be/V4tsoLusHhk


process
- basic loop hand-crafted (coil) from pump sample (n4t)
- supercollider (n4t) granulations of washing machine cutups piped into FLStudio (coil)
- recorded live, including on-the-hour chime courtesy of ProdMe 1.1 by Jim Carlson (website defunct), which, it turns out, is from http://www.freesound.org/people/suburban%20grilla/sounds/2166/
edited in Audacity


]]>
for http://soundcloud.com/groups/disquiet-junto/info #11: daily rhythm

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

sources
a) 1.5 hour recording of random coil's grandmother's washing machine
b) 15 sec recording of old public hand-operated fountain pump
loc: http://toolserver.org/~geohack/geohack.php?pagename=Handfountain_Charlottenburg¶ms=52_31_2_N_13_18_14_E
video: http://youtu.be/V4tsoLusHhk


process
- basic loop hand-crafted (coil) from pump sample (n4t)
- supercollider (n4t) granulations of washing machine cutups piped into FLStudio (coil)
- recorded live, including on-the-hour chime courtesy of ProdMe 1.1 by Jim Carlson (website defunct), which, it turns out, is from http://www.freesound.org/people/suburban%20grilla/sounds/2166/
edited in Audacity


]]> 751542 no no Mon, 19 Mar 2012 17:32:54 +0100 2012-03-19T17:32:54+01:00 2:21 https://hearthis.at/yqvxfnwb/rflct-disquiet0010-reflect/
Plan: The tenth Junto provides an opportunity to reflect on what the group's participants have accomplished in the past nine weeks. The project is as follows: all participants will produce a remix of any track of their liking from any of the past projects (that is, any of the tracks from projects 0001 through 0009).

lots of tiny bits and pieces of
http://soundcloud.com/emmahendrix/nearly-there-disquiet0004
and
http://soundcloud.com/r-37/sockless-street-disquiet-0005

thanks!

]]>
Plan: The tenth Junto provides an opportunity to reflect on what the group's participants have accomplished in the past nine weeks. The project is as follows: all participants will produce a remix of any track of their liking from any of the past projects (that is, any of the tracks from projects 0001 through 0009).

lots of tiny bits and pieces of
http://soundcloud.com/emmahendrix/nearly-there-disquiet0004
and
http://soundcloud.com/r-37/sockless-street-disquiet-0005

thanks!

]]> 751544 no no Sun, 11 Mar 2012 14:37:28 +0100 2012-03-11T14:37:28+01:00 2:28