My 33 1/3 book, on Aphex Twin's Selected Ambient Works Volume II, was the 5th bestselling book in the series in 2014. It's available at Amazon (including Kindle) and via your local bookstore. • F.A.Q.Key Tags: #saw2for33third, #sound-art, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

Listening to art.
Playing with audio.
Sounding out technology.
Composing in code.

Disquiet Junto 0235: Dice Music

The Assignment: Create a piece of music based on a structure determined by the roll of a single die.

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Each Thursday in the Disquiet Junto group on SoundCloud.com and at disquiet.com/junto, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Tracks will be added to this playlist for the duration of the project:

This project was posted in the early evening, California time, on Thursday, June 30, 2016, with a deadline of 11:59pm wherever you are on Monday, July 4, 2016.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto 0235: Dice Music
The Assignment: Create a piece of music based on a structure determined by the roll of a single die.

This week’s project requires one die (that is, singular of dice).

These are the steps:

Step 1: Roll one die to determine the length of your piece in minutes.

Step 2: Roll two dice to determine the number of sections to your piece. Their length should be equal.

Step 3: For each section roll one die to determine the number of layers.

Step 4: For each layer roll one die to determine the number of different notes played. A note is only played once per layer, but it can be held for as long as desired within that section.

Step 5: Bonus: Create additional dice-based rules and mention them in the notes associated with your finished track.

Step 6: Create an original piece of music based on the result of Step 1 through Step 5.

Step 7: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 8: Annotate your track with a brief explanation of your approach and process.

Step 9: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in the early evening, California time, on Thursday, June 30, 2016, with a deadline of 11:59pm wherever you are on Monday, July 4, 2016.

Length: Length is determined by the first step in the project.

Upload: Please when posting your track on SoundCloud, only upload one track for this project, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please in the title to your track include the term “disquiet0235.” Also use “disquiet0235” 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 235th weekly Disquiet Junto project — “Create a piece of music based on a structure determined by the roll of a single die” — at:

http://disquiet.com/0235/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Subscribe to project announcements here:

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

Disquiet Junto general discussion takes place on a Slack (send your email address to twitter.com/disquiet for inclusion) and at this URL:

http://disquiet.com/forums/

Image associated with this project by Chris Gladis, used thanks to a Creative Commons license:

https://flic.kr/p/f24Vc/

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Three Machines

A live performance by Dakitanmonkey

This is a live set by Dakitanmonkey, aka Tintao, on three machines from the same manufacturer, Elektron. What starts as a sweeping array of low-level textures slowly gains rhythmic activity. (It’s the latest piece I’ve added to my ongoing YouTube playlist of fine “Ambient Performances.”) A place-marker ping is joined by a cycle of sharp static that comes and goes — and, as the half point nears, a steady, downtempo beat kicks in. That beat is enshrouded enough in the thick ambient tones to be perceived as an underlying current rather than a backbeat. Its role is more about taking the pulse of the drone than it is about emphasizing a strict tempo.

Dakitanmonkey describes what he’s up with his three tools (from left to right the Analog Four, the Octatrack, and the Monomachine) to in a brief accompanying note: “Ambient track with deep strings and basses from the Monomachine. Analog four produce only the piano, and the reverb effects for the MnM. Octatrack acts as a mixer, and radical sound change on fader.”

Video posted to the dakitanmonkey YouTube channel. More at his Google+ account.

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The Wire Magazine on the Disquiet Junto

Lottie Brazier features it in the Unofficial Channels column

Many thanks to Lottie Brazier, who wrote a piece about the Disquiet Junto for the “Unofficial Channels” column in the current issue of The Wire magazine (July 2016, the one with Loren Connors on the cover). I especially appreciate that she put in print a comment by Ethan Hein that I’ve long thought captures part of the essence of the Junto (“He writes reviews of music that doesn’t exist yet and then gets internet strangers to make it”), and for emphasizing my sense of “ambient participation” and how I connect it to the child-development concept of “parallel play.”

I’m hopeful the Wire coverage of the Junto will introduce it to a new batch of potential participants. She also quotes Richard Fair on, among other things, the weekly aspect of the Junto as part of its utility. And she singles out a track by Detritus Tabu from the 0028 project.

Here is the piece:

p1

p2

p3

More from the Wire at twitter.com/LottieBrazier and the Wire at thewire.co.uk.

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Disquiet Junto Project 0234: Remix Ximer

The Assignment: Make a remix of three tracks of a remix of three tracks, courtesy of a Creative Commons license.

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Each Thursday in the Disquiet Junto group on SoundCloud.com and at disquiet.com/junto, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Tracks will be added to this playlist for the duration of the project:

This project was posted in the late afternoon, California time, on Thursday, June 23, 2016, with a deadline of 11:59pm wherever you are on Monday, June 27, 2016.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0234: Remix Ximer
The Assignment: Make one track from three different netlabels, courtesy of a Creative Commons license.

This week’s Junto project builds directly on last week’s, though you needn’t have participated in last week’s to join in this one. This week we’re remixing remixes. The remixes we’re remixing are the pieces that resulted from last week’s project, which involved taking three tracks from different netlabels and making one new track from them. Last week’s Junto project celebrated derivatives, as licensed by the Creative Commons. This week’s celebrates derivatives of derivatives. (Thanks to Audio Obscura, aka Neil Stringfellow, for proposing this week’s project.)

These are the steps:

Step 1: Select and download three tracks from last week’s project, Disquiet Junto 0233:

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0233

All the tracks in last week’s project were made from the first 30 seconds of three pre-existing recordings: “HNY” off the album Wormbole by ʞık (Karl & Karlik) on the Bump Foot netlabel, “Pepper Jelly” off the album Recombinations by Andre Darius and Riley Theodore on the Haze netlabel, and “Autista 3” off the album Autista by Pablo Reche on the Impulsive Habitat netlabel.

Step 2: Extract the first 30 seconds from each of the three remix tracks that you selected in Step 1.

Step 3: Create an original piece of work including that source material from Step 2.

Step 4: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in the late afternoon, California time, on Thursday, June 23, 2016, with a deadline of 11:59pm wherever you are on Monday, June 27, 2016.

Length: Length is up to you, though between two and three minutes seems about right.

Upload: Please when posting your track on SoundCloud, only upload one track for this project, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please in the title to your track include the term “disquiet0234.” Also use “disquiet0234” as a tag for your track.

Download: It is necessary that your track is set as downloadable, and that it allows for attributed remixing and attribution, per the Creative Commons license of the source audio.

Linking: When posting the track, please be sure to include this information:

More on this 234th weekly Disquiet Junto project — “Make a remix of three tracks of a remix of three tracks, courtesy of a Creative Commons license” — at:

http://disquiet.com/0234/

Be sure to credit all the tracks (first and second generation) employed in your piece.

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Subscribe to project announcements here:

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

Disquiet Junto general discussion takes place on a Slack (send your email address to twitter.com/disquiet for inclusion) and at this URL:

http://disquiet.com/forums/

Thanks to Audio Obscura (aka Neil Stringfellow) for proposing this week’s project.

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The Circuit Board Record Album

Tristan Perich on Loud Objects, machine art, and the aesthetics of code

Tristan Perich - Noise Patterns - 7 - Headphones

The Noise Patterns album, plugged into a pair of headphones

Tristan Perich’s Noise Patterns comes in a clear jewel case, but it isn’t a CD. It’s a small, matte-back circuit board. Powered by a watch battery, it produces a series of musical compositions built from the on/off operations on the minuscule chip at the center of the device, the same sort of chip you might find in a microwave oven.

What follows is a lengthy, detailed interview in which Perich talks about the development of Noise Patterns, and various other aspects of his artistic efforts, which range from full-scale museum installations of drawing machines and “microtonal walls,” to live performances in which he builds circuits in front of the audience.

In Perich’s telling, his previous circuit-board album, 1-Bit Symphony, was built from “tone” while Noise Patterns, as its name suggests, is built from “randomness,” from what sounds like white noise twisted and tweaked to Perich’s design.

There will be a more detailed introduction to this interview posted here soon, but in the interest of time — there is a party/concert celebrating the release of Noise Patternstonight at (Le) Poisson Rouge in Manhattan, with guests, Robert Henke, Karl Larson, Ricardo Romaneiro, Leo Leite, and Christian Hannon — the transcript, along with annotated images from the production of Noise Patterns and other aspects of Perich’s work, is being posted today.

01 - Tristan Perich - Microtonal Wall at MoMA

Perich’s Microtonal Wall, installed at MoMA in Manhattan

Tristan Perich - Noise Patterns - 1 - Angle

Read more »

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