Just finished a new piece for the Disquiet Junto. There were quite a few steps in creating this piece. First off I recorded the sound of the cassette recorder by itself. It made an interesting rubbing sound which I decided to use as the rhythmic base. I also recorded the cassette recorded turning on-off, fast-forwarding etc. Then I created a simple modulated guitar drone based on that original rhythm which I afterward recorded onto the cassette recorder. Then I rerecorded the guitar drone onto the computer and mixed it with the cassette recorder sounds creating a kind of fake story of playing back the audio and fast-forwarding.
Kit: Guitar, Mac Pro, Abelton Live 8, Radioshack Microcassette Recorder, Oktava MK-012
More on this 49th Disquiet Junto project at:
More details on the Disquiet Junto at:11.28.12
Here are some of my most recent entries for the Disquiet Junto. Well, some not so recent given how infrequently I’ve updated. So let’s begin…
First off is “RVSR” for week 23 assignment “Palindrone”. Using the given samples create to a drone that has the structure of a palindrome (the same written backwards as forwards). I took the easy way out by simply reversing the actual first half and then stitching them together in the center. The original samples lie here
Next up is “It Hz” which was created for week 27 project “Texting”. The process for this one was quite interesting. The idea was to take a text file of the instructions and then open the file in audio program. That outcome was to be the source material. Quite a few participants had the idea to use a text to audio program which didn’t occur to me. I opened the .txt file of the instructions in audacity at varying sample rates including 1 Hz which gave a deep wobbly bass tone. From those sources I created percussion and other tonal sounds.
“Living-breating” was the result of a pretty straightforward remix in week 34s “Radius Joint”. The source audio for this project comes from the Radius broadcast series at: http://theradius.us/ I am particularly happy with outcome of this clip for whatever reason.
“.recovered” from week 36 “Still Life” was an attempt to recreate the look of Cifford Still’s paintings with sound by remixing J.S. Bach’s Brandenburg Concerto No. 2, II. Andante. Because my project crashed halfway through and I lost part of the work I had done… the recovered version (hence the title) took a denser, darker, more difficult turn. Not sure if I was entirely successful.
And lastly and most recently from week 46’s “Silent Ballot” project was the piece “Side-track” in which audio from a polling place on election day was to be examined and remixed in order to make comment on the process of voting in America. I used a combination of layers and gating to create the effect of loud noises breaking through a lower layer. There is some vague idea floating around in that creation…and I don’t think it is completely negative.
Another Disquiet Junto piece. I made use of an old field-recording from high school and wrote a little piece on guitar. I really like how it turned out. See below for instructions.
This project is about how a simple matter of sequence can provide a sense of development and compositional momentum.
First step: Construct three simple, self-contained sounds (or sonic elements) that are distinct from each other. For example, don’t use three similar drones, or three tones that are the same note value, or three interchangeable percussives. Use one of each, or some other assortment of three distinct sonic elements: a snippet of a field recording, a bit of static, a short melodic segment, a spoken word or phrase.
Second step: Make a three-minute track out of these sounds, based on the following rules. For each of the three minutes, one of the three sounds should be prominent, and the other two should be less prominent. By the end of the complete three minutes of your track, each of the three sounds, thus, will have been prominent for one full minute and will have served a background purpose for two full minutes.
You can transform the individual sounds, certainly, but they should still be somewhat recognizable even in their transformed state.
Length: By definition, your piece will be three minutes long.
My latest in the Disquiet Junto. This project involved making a field recording transition fluidly to one of two other sounds. I chose “The Day Love Came In The Mail” by Lee Rosevere. I was planning on walking out to the park last evening to record, but since it was raining I ended up sitting on my porch trying to pick up the sound of the tiny raindrops hitting the landscaping. I picked up a good deal of city bustle and a plane flying overhead as well. Check it04.24.12
This is a quiet one. Utilizing two tracks (sandpaper, dice) to create the fore and background.03.17.12
A new track for the Disquiet Junto–quite a playful one this time. Had to use a household object for the rhythm track. Have a listen.03.13.12
Here is my entry to the Junto from last weekend. The idea was to remix any track made for any of the previous challenges. The title of buy piece says it all I guess. A play off of noiseflowr’s track from last week, which you can find/download here: http://soundcloud.com/noiseflowr/its-not-quite-spring-yet
Winter wasn’t terribly awful this year, but looking back at all of the days waiting at the bus stop in the bitter cold makes me feel so happy that it has come and gone.
Protools + basic plugins, Soundhack PVOC Kit
More details on the Disquiet Junto at:03.5.12
Newest track for the Disquiet Junto, this involved using only two samples, one of a guitar and one of a nightingale. A human and a bird. Hence the title Cross-Species Collaboration check it out:02.27.12
Earlier this hour I completed a new entry for the Disquiet Junto. For this one the only sample was from Benjamin Franklin’s autobiography. Gonna go listen to the other entries now…I had been waiting until I finished my own!
He us’d, indeed, sometimes to pray for my conversion, but never had the satisfaction of believing that his prayers were heard
indeed, some pray for conversion, but never satisfaction
never never never never
he sometimes had his prayers heard
my conversion had the satisfaction of believing heard prayers
to pray my prayers
to pray for some of my prayers
some of my prayers
to pray, but never to pray to my satisfaction
sometimes he heard my prayers
heard heard heard heard
the satisfaction of believing
the satisfaction of prayers
sometimes conversion had satisfaction
his prayers were heard
believing that satisfaction were indeed his
sometimes prayers had satisfaction
sometimes he had to pray for satisfaction
to pray to pray to pray to pray
he us’d prayers
he used conversion
in believing he had my conversion
in believing he had satisfaction
believing in satisfaction
believing in conversion
believing in believing
believing in prayers
believing in sometimes
believing in times
believing in time believing in time believing in time
believing in deed
believing in he
believing in her
believing in some
believing in my
believing that my prayers
believing that my prayers were heard
never had the satisfaction of believing that my prayers were heard
So it has been quite awhile hasn’t it?…I haven’t been dutifully updating this webpage as I had hoped…though here is a second attempt. Notice that my resume is oddly up-to-date. What this all means is that I’ve been underemployed lately (which this time round has become therapeutic).
The last two weekends I’ve taken part in the Disquiet Junto–which is an “association for communal music/sound-making”. Each week rules are posted for devising a composition. Each member has 4 days to complete the assignment. This week the compositions were limited to being editing versions of a recording of the ocean. The rules stated that nothing could be added to the original–only subtracted. This limited the methods of composition to filters, compressors, limiters and the like–anything that reduced the whole sample as one would a statue carved from stone. Quite interesting responses some of my favorites include:
Vantages [disquiet0007-subtract] in which jonautry shows the sample from different well…vantage point. Beautiful concept.
Sometimes Under [disquiet0007-subtract] in which krseward subtly matches shifting eq to the rhythm of the waves.
Here are my entries in the Junto thus far:
This project really piqued my interest for two reasons. One, it gives me reason to experiment with abstract ideas in the realm of sound–which sometimes happens in sound design, but not as much as I like. Two, it lets me see how others interpret the same set of rules and lets me better understand what is possible.