shapes into fortresses

shapes become fortresses

Working from home today and hung with a crummy cold. I had the bright idea to collect some tracks into a second release on Bandcamp. The four tracks here were all recorded around October 2012 and consist almost entirely of a baritone ukulele sampled and looped with the MakeNoise Phonogene module and the Harvestman Tyme Sefari mk2 module. All of them appeared here originally, and the fourth track was originally part of the Disquiet Junto.

Link here.

fractured and screwed


A few weeks ago I found myself in an actual record store with an unexpected hour to kill, and I had a jolly time shopping for music the same way I shop for wine. I look at the label and take a chance. In this case, I ended up with a half-dozen CDs* (remember CDs? I’ve bought more vinyl over the last three years than I have compact discs).
One cover caught my eye that I ended up not buying? It was Nils Frahm’s CD “Screws.” I liked the cover and the description of the music — apparently Frahm, a pianist, had messed up his thumb pretty bad and was relegated to playing the piano with only nine of his ten fingers. The title of the album refers to the hardware in his thumb to help with the healing. However, a quick google of the album informed me that the entire thing is available for free on Frahm’s Soundcloud account. So I went that route. It’s some lovely music, and much more appreciated for the intimacy of the recording. One can hear him shift around on the piano bench as he plays, even. Having recently broken my hand and dealing with the limitations that this injury forced upon my own musical output, I appreciated this idea even more.

As a result, it was exciting when, a few weeks later, the Thursday night Disquiet Junto came along and I realized that it was a remix project for this Nils Frahm album. Frahm himself is hosting this particular project, and Marc Weidenbaum latched on to this for the 55th Junto project. The idea was as follows:

This week’s project involves a shared set of source material. The source audio is the free solo piano album ‘Screws’ by Nils Frahm.

Frahm, who’s based in Germany, posted the nine-track album of short solo works for free download while he was recuperating from busting one of his thumbs. He subsequently created a site to house all the remixed/reworked versions that admirers sent to him, as well as the videos and other responses that he received.

For this project you will take two of the source tracks — “Do” and “Re” — and create a new track from them, in the process creating a work for two pianos.

Source Audio: You can download the files as sets of MP3 or AIF audio:

You can only use those two Frahm tracks as audio source material for your track, and you cannot add anything other sounds, but you can transform the two Frahm tracks as you please. In the end, though, the sound of a piano should be evident.

I was away for the weekend with friends, in New Haven, so I decided to attempt this project using only the OP-1. I recorded large parts of the two pieces into the tape recorder on the OP-1 and quickly found this to be a much more difficult thing to do than I expected. I wanted to keep the piano-ness of the pieces to a large extent, so merely sampling a small part and sequencing it wasn’t going to work. So I began cutting sections and looping them in the tape machines. I got some interesting parts, but creating an entire work from this was going to make me a bit insane.
When I got back home and was with laptop, I dumped a lot of what I’d done into Ableton, and put it all together there. The results are a mix of straight Frahm, and my mechanical whirring from the OP-1 loops.

*The CDs I bought are as follows
Bob Dylan: The Basement Tapes. I can’t believe I bought a Bob Dylan album. I also found all the bootlegs related to the basement tapes and have them now as well. Great stuff.
Modest Mouse: Good News for People Who Love Bad News. So good. Califone led me to Ugly Casanova, led me to Modest Mouse.
Land Observations: Roman Roads IV-XI. Felt ambivalent about this after a few lessons. But I now realize it has affected my guitar-playing in a lot of ways. I’ve become a little obsessed with looping, which is a post in itself.
The Notwist: The Devil, You + Me. I burned out on Mrs. John Soda and Lali Puna back about five years ago. This is good, but it is a lot like those other Weilheim bands.
Fruit Bats: Spelled in Bones. I got it because Brian Deck of Califone produced some Fruits Bats. Apparently not this one, but I still like it.
Dntel: Something Always Goes Wrong / Early Works for Me If It Works for You. Highly recommended. I love Dntel and this early work is fascinating. It was sitting on my coffee table and my kid Wilson sees it and says “Oh cool, Jimmy Tamborello, can I borrow that?”

apexart performance

I played a live performance on November 27 in New York City. This was the first time I’ve performed with anything more than an accordion in a live and public setting, and as small and esoteric as it was, it was thrilling.
My performance was part of a Disquiet Junto set at apexart, an art gallery just below Canal Street in Manhattan. Six contributors to the Disquiet Junto were asked to perform two works: one being something we’re currently working on, and another being a piece based on an earlier Junto, in which field recordings from department stores were utilized “to create pieces that interrogate the atmosphere and sounds of a department store as described in an Émile Zola novel.”

For the first part, I continued my explorations of my baritone ukulele sampled and looped with the Phonogene and the Tyme Sefari. This segued into the second part, for which I mainly used the Teenage Engineering OP-1 and its four tracks on the tape player. I’d previously loaded four earlier Junto field recordings from other Junto members, and layered them to create the chaos and mechanically-inspired noise of the Zola department store.

There were six performances that evening, of which I was the second. I was preceded by Kenneth Kirschner, and followed by Arcka, Ethan Hein, Joon Oluchi Lee and Roddy Schrock, and Tom Moody.

apexart shot video of the event and posted in on their website. I reposted it to Vimeo, which is here.

If you would rather just the audio:

Videos from each of the performances are on the apexart site, and is worth the time. Each artist used different tools and created something quite different from one another. I hope to get to do this kind of thing again. A lot. In fact I think I need to write a post specifically about playing live with this kind of equipment. Thanks to Marc for having me out, and to Arcka for sharing the ride and for the photo at the top of this post.

performance at ApexArt

I’ve been invited to take part in a life Disquiet Junto event at ApexArt. in NYC next week, November 27, along with several other musicians. I’ll be creating an improvised composition based on one of the past Juntos, as well as a short performance of my own doing. I’m planning to bring a small case of modular synth gear, the OP-1, some guitar pedals, and a ukulele. We’ll see what happens.

This is the first time I’ll have attempted this, playing live, in front of people who aren’t my family.

Information about the event here.

Information about ApexArt.

duo for ukulele and saxophone and tyme sefari

I’ve not been able to take part in Marc Weidenbaum’s Disquiet Junto assignments lately, but when this week’s edition came along I knew it was perfect timing. I played the saxophone in middle and high school, from 1979 to 1986. I haven’t seen my old alto sax since then, until my sister drove it up from Arkansas when she came to visit last week. It’s not in the best shape — the pads are pretty tough and the thing smells like a horrible dirty towel. But my sister had recently bought some reeds for it, and in the end it’s actually playable. Moreover, and more than slightly surprising, I still remember most of the fingerings.

So this week’s Junto is as follows:

Disquiet Junto Project 0042: Naive Melody

You will employ just two instruments in the production of this week’s track: (1) the instrument you have used for the longest period of time and (2) the instrument in your possession that is newest to you. You’ll record a backing track with the oldest instrument, and overlay on it a simple melody of your choosing performed on the newest instrument.

Definition: The term “instrument” can be interpreted as broadly as you’d like; ultimately this is a project about the restraints inherent in the gadgets, tools, and software that you have obtained or created.

Background: The inspiration for this project is the song “This Must Be the Place (Naive Melody)” by the band Talking Heads off the album Speaking in Tongues. For that song, the band members traded instruments, each playing something they were significantly less familiar with than the instrument they normally performed on.

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

It should now go without saying that this old sax is by far the the musical instrument I’ve had the longest. So this track started right there.

For the newest instrument, I have two that I came into possession of within a day of each other, and they work together extremely well. The first is the new version of the Harvestman Tyme Sefari. You may recall some previous posts about the Tyme Sefari. This new one deserves a post of its own, but the short version is that it’s got more memory, better sampling, a redesigned user interface, and, my favorite feature, a trigger output at the end of a loop (this feature alone deserves a blog post. It’s especially wonderful when working alongside the Makenoise Phonogene, which also has this output, and they basically play tag. Stop reading for a minute and think about this…). The second instrument recently acquired is this old Dixie Leader baritone ukulele that a good friend gave me as a wedding present last week. It’s a mystery uke, as neither of us have been able to find any information about the Dixie Leader brand. He had it strung funny, with typical re-entrant uke tuning (gCEA) rather than the baritone DGBE, and the third string is a big guitar string that won’t stay in tune. I’ve ordered proper strings for this uke, but in the meantime it presented itself perfectly for this Junto and the necessary “naive melody.”

The results are what follows. I played this sax to the best of my abilities, which is the very definition of “creative limitations.” Because of its issues with the pads and my not remembering a few things, I played every note I could. I’d even like to say that the vibrato was on purpose, but I’m not certain that it was. The best part is that I know a bit more about chords than I did when playing this thing back in the 80s, so I overdubbed a second part on the first which I’m quite happy with.

The uke was recorded just plucking as many notes in tune as I could into Ableton. I took this fifteen seconds or so of ploinky boinks and looped small parts into the Tyme Sefari, and then manipulated the loop points and sample rate, and bounced them back into Ableton. It was mixed together this morning.

Before I began this Junto project, I spent some time with the Tyme Sefari along with the Phonogene, manipulating and chewing on some similar plucks from a little concert-size ukulele. Here are the resulting three tracks from that. At the time I wasn’t sure that I was going to keep both the Phonogene and the Tyme Sefari. However, being able to play two separate parts independently but have them trigger each other with those end-of-loop outputs is very much awesome.

voices for your digital lifestyle

I’m back.
The studio is hooked up, everything seems to work, and as proof I was able to take part in this week’s Disquiet Junto project. It’s the 24th assignment that Marc has sent out, and it’s been since about number nine the last time I was able to participate.

This week’s Junto went like this:

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.

The term “functional music” threw me, but I went with my first intuition and made evil robot voices. The process began with recording my eleven-year-old daughter read the four alerts into a Zoom digital recorder. I then sampled those phrases into my Teenage Engineering OP-1 and pitched down a few steps. The OP-1 is such a nice little sampler. This was then plugged into the mixer and run through a Korg Kaoss Pad recording a variety of effects into Wave Editor on the Mac. I was perfectly thrilled with anything really, but when I added Sonic Charge’s Bitspeek plug-in to the vocals, it became what I heard in my head.
The alert beeps were made with Ableton’s Operator. I tried it first with a VCO on my modular synth, but the result sounded way to analog-ish. Operator is cold and digital.

I’m aware that no one in their right mind would ever use these in their actual phone. These alerts sound pretty great but for daily use would be annoying as hell. I might install them on my iPhone for a day (anyone know how to do this?). If you’re interested in doing the same, here are the four individual 16-bit WAV files in a zip archive.

I’m writing a long post about the studio hook-up. Stay tuned.

layering reality

not necessarily friends

When Marc Weidenbaum first began the Disquiet Junto project five weeks ago, my first thought was that it seems like a good idea, but there was no way that I was going to be able to take part every week. Just due to the normal schedule of life — work, kids, partner, dog, “things to do,” friends… I couldn’t conceive of how I’d find the time every week to sit down, basically escape from weekend life and responsibilities, and make a complete track (update — I didn’t make this week’s due to the above issues).
However, a funny thing has happened. Having these projects has led to really thinking about process and workflow and goals in a way that fiddling around with gear previously never did. In my day-job I draw pictures every day, and in twenty years I’ve become a believer in deadlines. When I used to teach, I would tell students that if it weren’t for deadlines I’d never complete anything. It’s also kind of a running in-joke that a work is never “done.” Rather, one just has to find a good stopping point, and in my case the deadline is always that stopping point.
Screwing around with gear often creates interesting results, and I often post the results here on Dance Robot Dance. Quite often those results are twenty-second gems buried in eighty minutes of dreck. That signal-to-noise ratio isn’t really acceptable when one has to somehow fit it in between preparing dinner for the family, doing laundry, going to Ikea, walking the dog, and it has to be done by Monday night.
The genius of this project is that it’s an assignment. A specific goal is in mind, which has in all five cases been something I’d never have on my own attempted (field recording? me?) except for the Junto. Limitations are the key not only to the parameters of the projects, but to the workflow and process as well. I’ve written before that when staring at the sonic potential that is my studio desk, and multiplying that potential times infinite when software is considered, the very act of beginning can be daunting. The analogy I use is Photoshop. Given a piece of paper and a pencil, one can focus on the thing one wants to draw and focus on that creative end. One draws a line with a goal in mind. One can erase that line, again with the goal in mind, but chances are that there won’t be a lot of wanking with the tools. When faced with a new open file in, say, Photoshop, knowing that one can use any number of millions of colors, a smorgasbord of tools, and, even more importantly, one can erase and undo forever, never having to commit to anything. With the aforementioned time limitations imposed by ” real life,” this Disquiet Junto project just doesn’t allow for that.
So let’s review: by giving the assignment, the project takes away the lack of direction and focus inherent in sitting down and futzing with musical gear. And by requiring the piece to be done by Monday night, it takes away the possibility for indecision and mental masturbation that is inherent in never having to make anything permanent. For each project I’ve chosen a specific set of tools, sometimes at the beginning of a project and sometimes in the middle of the work, and really focused on what that tool does and how does it contributes to what I need, which in turn gets me to find certain limitations and personalities inherent and applied to my neat-o tools, which leads to better tracks and more interesting results.
The time limitation also encourages one to use what one knows rather than, again, putz around for hours trying out new things.On its face this might seem like an unacceptable limitation, given the want for creativity and breaking new ground. But what it really does is takes us back to that pencil-and-paper analogy. It’s easy to worry oneself into a corner with the idea that one isn’t “good enough” to record, or play live, or whatever. But when it comes down to just making a song and getting it out there, one uses what one has. Right? This plays a big part in this most recent Junto, which I’ll explain in a moment.

This Junto’s assignment was thus:

Plan: The fifth Junto project is about amplifying the inherent musicality of everyday life. Of all the Junto projects so far, this one may call for the lightest touch. Of course, achieving a light touch may require the most amount of work. The project will be accomplished by adding sounds (notes, riffs, tones, beats, noises, processing, drones, what have you) to a foundation track that consists of an original, unedited field recording.

Pre-Production: First, you will make an audio field recording from everyday life. This track will serve as the foundation for your piece. This recording can be made anywhere — on the bus, or while riding a bicycle, or sitting in a field, or waiting in the lobby of a building, or in the kitchen, wherever. There are only two rules regarding the field recording: (1) Do not include intelligible voices unless you are certain that recording people, wherever you are, is legal. (2) Do not edit the field recording, except to fade in and out to achieve the desired length. Chances are you’ll record quite a bit, and then select your favorite segment. You might even, after starting work on one foundation track, make decisions about what constitutes a good foundation and then go and make a new field recording.

Length: Keep the work to between two and five minutes.

Sensibility: In the end, the foundation field recording track should remain fairly discernible in the mix.

I happened to be walking out of a grocery store when I read this email, and since I knew I’d be looking for something to record as the basis that had some significance, I opened FiRe on my iPhone and hit record. I recorded the drive home, and became enamored with the tick tick of the turn signal as a rhythmical base. Once I took a listen to the recording I was bummed that it sounded awful. The internal mic of the iPhone just didn’t cut it. I don’t usually mind inherent flaws in equipment, but this had a lot of noise, was very low-level, and had a weird distortion through-out. So the next day when I had to go to the grocery store again, this time with my 13-year-old son, I carried my little M-Audio digital recorder along for the ride. I recorded the entire trip — shopping, paying and the drive home. But the drive home, again, with that tick tick of the turn signal was what I fell for and ended up using.
The music I recorded was based on a D G A progression that I’d learned that week in my guitar lesson. We’re dealing with triads, and these chords are using just the 1st, 2nd, and 3rd strings with the first D chord starting on the fifth fret. It’s a simple little thing but sounds nice and worked well. After recording the first set of chords at 84bpm (which by the way is the BPM of the turn signal of a 2001 Honda Civic), I just played against that in my headphones for about a half hour. Plucks, strums, rings, different settings on the amp and pedals, different patterns within the chords… just trying to get different sounds so that I could edit it all together later.
In the end, the parts I used were either straight from the guitar to the amp (a Vox Night Train) or with a Real McCoy RMC3 Teese Wahwah, set just so the filter is on a bit, which really gives this G&L ASAT a nice tone and even overdrives a little.

These are some of the guitar parts, isolated.

This first one is two overdubbed parts. I really like the overlaying.

There are two variations on the same thing here — only the first one is in the final track.

Lastly, after playing the guitar parts, I had the inspiration to drag my accordion out of its case and see it might work out. I’m happy to say that it worked out brilliantly. It’s no lie to say that in the year I’ve been taking guitar lessons I’ve learned more about my accordion then in the ten years previous. My accordion lessons ten years ago were about reading music and developing technique for playing. They were never really about understanding how music works and why it’s structured the way it is. That’s a topic for another post, I realize, because I could cover a lot of ground with that.

Here are the accordions near the end of the track, isolated. The very last bit you hear is some editing in Ableton to have the accordions jive with the beeping of the car when the door is opened.

So here’s the finished piece.

In the end, I don’t think it comes together as well as I’d like. But that’s part of the nature of this Junto project. To me, it’s like sketching. Just get it down. Yes, I could have edited the original field recording. I could have worried about the levels differently. I could have rewritten and edited parts to make it hold together. But instead it was time to make dinner for the kids and get some work done. And move on to the next project*, having learned a lot from this one.

rose's water ice

* After all this, I didn’t get the next week’s project done. I’m way under-water with my current children’s book deadline. Number seven is due tomorrow night and I suspect I’ll be able to get to it. I hope so.

Someone Else's Remains

This is my fourth Disquiet Junto piece.
The project was to remix Marcus Fischer’s Nearly There, with tracks lent by Marcus. Most of the original sounds were created with an ebow on a lap harp, which in turn made for some nice source material, if maybe a little close in feel and timbre to the whistles and glass of the previous two weeks.
I created a four-track Ableton project, and almost randomly assigned these stems of Marcus’ to three of the tracks, and then found a couple of small rhythmic parts to assign to the fourth track. I used a Novation Launchpad to sort it all out, and quickly decided that I’d “perform” this the same way that last week’s project was performed. That is, set it up, hit “record,” mess with knobs (via the Op-1 which makes a sweet MIDI controller), and then hit stop. Whatever happens is what happens. The main difference from last week is that this project would be processed entirely via software. The software I used was Uhbik’s Tremolo and Reverb, and Audio Damage’s Automaton on the percussive sounds (which is the source of the glitchy bzz and hiccups you can hear throughout). The Op-1 was assigned to control the four mixer faders, and again, the launchpad launched the clips. As I mentioned last week, live stuff (not Live stuff) is new to me, and I’m interested in finding a good workflow that will allow and encourage me to play live somewhere, someday.

The track is thus:

The project raised some interesting questions for me, regarding the nature of a remix. I don’t have the headspace to explore this thoroughly right now, but I’ll see if I can get some more down before the end of the weekend. The basic idea is that there are three ways to go with a remix:

• Limiting the remix to the original tracks and sounds only. No matter what you do with the track, the use of the original sounds will capture the spirit of the original track in some way, whether intentional or not.

• Using sounds from anywhere, including the original stems or not, but paying attention to the composition of the original in order to stay true. Otherwise, what is it that makes it a remix? On some tracks, you could keep just one representative part, like a unique vocal, with everything else new and from elsewhere, and it’s still recognizable as a remix.

• The third seems to be not worrying about any of this, and just making whatever it is you want, where you happen to have been given some source material. If one is remixing a pop song, or almost any song with vocals, this still seems inherently destined to capture the spirit of the original in some way. But on a piece like Marcus’, the sounds are, to me, less than the composition. That is, many of the stems sound like outtakes from previous Juntos, to be honest, and could possibly have come from anywhere. I’m not sure it’s the individual sounds that make Marcus work what it is. Maybe it is, but it’s not what I take from it. It’s not like a particular guitar part, or a vocal styliing…

Again, just thinking out loud here. I’m curious about others’ feelings on this (and on the tracks I’ve been posting in general). Hit the comment button.

glass half empty, glass half full

music room tools

This is a process post about the third Disquiet Junto project, called “The Extended Glass Harp.” For this project, Marc wrote the following:

This project is in honor of Benjamin Franklin, after whose Junto Society our little group was named.

In an effort to expand and refine the glass harp, Franklin developed his own lathe-like glass harmonica, which he called the “armonica.” Marie Antoinette took lessons on it and Beethoven composed for it, but Franklin’s invention proved expensive and fragile, and it had a limited lifetime. And it may have given its frequent users lead poisoning.

You are *not* being asked to build a Franklin armonica. But like Franklin, we are going to expand on the glass harp. In our case, we are going to do so digitally.

You’re being asked to use the more common instrument, the glass harp. That involves the familiar “rubbing the top of a wine glass that has water in it” approach:

The Junto assignment is to record a live performance on the glass harp, and to employ live processing in the performance. There should be no post-production. And there is no length limit for the piece, though I would suggest that anything over 15 minutes may limit the size of your potential audience.

I’ve never recorded anything live, per se, in my music room before. I use my microphones to record sounds, of course, which then get processed and played at times. But the idea of no post-processing immediately created a bit of anxiety. This project was posted on Thursday evening last week, and I took the weekend to consider what I might do and how I might do it, and run my head through various audio chains. One limitation I knew I wanted was to keep the entire project limited to hardware tools I have. That is, effects pedals, the modular synth, and my (brand new!) OP-1 synth (of which I’ll post more about at a later date). The first two Junto projects were done almost entirely in the box. That is, with software, and I wanted to stay away from that for this assignment.

music room tools

I thought first about what I have that could record samples and, especially, loops. That would be my modified EHX Stereo Memory Man, My Boss RC-3 looper, the Tyme Sefari on the modular, and, after playing with it all weekend and being more than a little surprised at the capabilities of this thing, the OP-1. I decided that I’d take an hour or two on Monday, set everything up and cable it together, and press ‘record.’ I rehearsed a bit, recording the glass into the Tyme Sefari, testing the switches on the Stereo Memory Man, checking for feedback with the microphone (I ended up using headphones; if anyone knows some ways to record live without feedback problems, leave a comment!). I’d like to say when I was ready, I started recording, but part of this project was that, never having done anything like this, I knew “ready” was relative. There was no audience, unless you count my fiancée and our dog in the bedroom next door. Nevertheless, I was nervous. I had some idea of what was going to happen, but I also knew that I’d literally play it by ear, and make a lot of decisions on the fly. That’s one thing about these Junto projects, and this one in particular. I know my gear fairly well, especially the hardware (software is infinitely more complex and what with menus and MIDI, is often a mystery to me). But recording live like this really brings out the strengths and weaknesses, and uncovers possibilities that one might not have considered previously.

music room tools

What you hear here, then, is as follows. The microphone was connected to a mixer, with the Stereo Memory Man on an FX send channel. After beginning to record with Wave Editor on the laptop, I began by making the initial sound by rubbing the lip of the wine glass as I quietly switched on the looper of the Stereo Memory Man. The SMM records 30-seconds of audio, but I just took about five or six seconds, as it’s hard to play a wine glass with one hand while switching on a looper with another. You can hear the click of the looper switch on the audio, and then the loop begins. After a few seconds of this, I then played the second wine glass which had a higher pitch. This overdubs the first sound, so you can hear the changes on the loop (0:38).
At this point, I began sampling that loop to the Tyme Sefari on the modular synth. I had a button on a joystick module set up to start the recording with a gate signal. Concurrently, a four-step sequencer was affecting the sample-rate of the Tyme Sefari, which changed the effective pitch of the sample, and then also changed that pitch as it is played back. This creates a random-sounding sequence of bloops and digital whirrs, which you can hear beginning at 1:15. The Tyme Sefari playes back this sequence for some time, through the Pittsburgh Analog Delay module, and then through a Strymon BlueSky reverb before going into the audio interface and to Wave Editor. With slight changes to the delay times and the sample-rate of the playback, small changes are introduced to the sounds for the next several minutes.
As this played back, I removed the Stereo Memory Man from the chain and replaced it with the Teenage Engineering OP-1 synth. This thing is, again, brand new to me and I wasn’t at all sure that it would be appropriate for this project. As I spent time with it over the weekend, however, I realized that live sampling into its synth engine would work well, and if the line-in was active, it would pass the audio through to its outputs as well. The sampled audio could then be “played” via the keybaord or, more appropriate for these purposes, one of its four sequencers. It’s Pattern Sequencer was going to work best here, since it would create a very regular sequence that would repeat, and to which I could add notes as it repeated. It’s output was muted as I recorded the playing of the glass again (that makes three different pitches total). It needs six seconds to fill its sample memory, and as soon as it was done I began the sequence. Initially with just one note playing on the first downbeat, the volume was turned up as it went through the Tyme Sefari (but not sampled by the TS, merely passed along the dry channel). I cross-faded the random sequence from the TS with this regular sequence using the wet/dry mix on the Tyme Sefari to the point that all you hear for the last four or so minutes is the OP-1 sequence.
At around 9:45 I began removing notes from the sequence up to the point that it was done at 11:01. It’s funny, as I thought I’d recorded maybe six or seven minutes of audio, tops. I was pretty surprised when I saw it was 11:01. It’s easy to get carried away when things are going well.

Here’s the audio.

As I said earlier, these projects are leading to new workflows and results that I would not have otherwise come across. I like the results of all three so far, and I think they’re quite a departure from most of the sounds I make and post. Looking forward to number four.
Check out the entire Disquiet Junto group on SoundCloud. There is a lot of really interesting work there.

the horn and the whistle

it was a seagull

A week ago I posted about the ice piece I did for the first Disquiet Junto assignment, and wrote that I’d post about the second assignment “tomorrow.” Tomorrow came and went and here we are. The second project for Marc Weidenbaum’s Disquiet Junto went like this:

Disquiet Junto Project #2: “Duet for Fog Horn & Train Whistle”

Create an original piece of music under five minutes in length utilizing just these two samples:
Fog Horn:
Train Whistle:
You can only use those two samples, and you can do whatever you want with them.

The horn is this:

And the whistle is this:

Unlike the previous assignment, the ice, which was like pulling teeth, this one fell together in minutes. I knew immediately I wanted to draw out that horn as a long drone. I cut a section out of the middle and looped it back to front several times, taking care that the crossing points don’t click (which didn’t matter, really, since the reverb hides artifacts like that so well). I duplicated this track and panned the two identical tracks hard left and hard right, and dropped them each several steps in pitch. As I listened to them together, I started playing with changing the pitch of sections intermittently and seeing how they’d sound. I liked very much. I wish now I’d had some method or rule for these pitch changes, but really it was just a matter of guessing and listening. It ends up sounding somewhat random, which is what I was looking for, I suppose. I thought it sounded rather orchestral, which a few commenters pointed out as well.
I then layered-in the whistle track, hoping the two tones would play nicely. I pitched the whistle down an octave, which was fine if a bit boring, until it got to the very end of the track, in which there are two small little bumps, as if the person recording the whistle touched the mic or recording device. After enjoying the percussion of the ice on the previous Disquiet piece so much, I kept driving down that road. I cut the little clicks out of the whistle and deleted the whistle. The bumps became percussion, played at various speeds and rhythms. One of my favorite plug-ins, which happens to be a free one, is the delay you can hear on the percussion track. It created the feedback that ends up becoming that high static squeal at the end, with the frequency being turned down on the fade out.
And that’s really all it took.

I completed the third Junto project last night, which was a “live” project. More on that soon. Maybe tomorrow, maybe not.