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Playing with audio.
Sounding out technology.
Composing in code.

tag: field-recording

Disquiet Junto Project 0170: A Glitch in the Night

Create a one-minute track that takes the project title as its guiding aesthetic.

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Each Thursday in the Disquiet Junto group on SoundCloud.com and at Disquiet.com, 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.

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

This assignment was made in the evening, California time, on Thursday, April 2, 2015, with a deadline of 11:59pm wherever you are on Monday, April 6, 2015.

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

Disquiet Junto Project 0170: A Glitch in the Night
Create a one-minute track that takes the project title as its guiding aesthetic.

This project is the third in an ongoing occasional series that focus on late-night ambience. Collectively these nocturnal endeavors are being called “One Minute Past Midnight.” No one’s work will be repurposed without their permission, and it’s appreciated if you post your track with a Creative Commons license that allows for non-commercial reuse, reworking, and sharing.

The steps for this project are as follows:

Step 1: The primary goal of this project is to make a one-minute track. That track should, in your imagination, fit the description “A Glitch in the Night.”

Step 2: You may create an entirely original work that fits the brief project outline in Step 1. Or, you might choose to rework audio from one of two previous projects in this series, #0160 from January 22, 2015, and #0163 from February 12, 2015, both of which involve field recordings made of the sound one minute past midnight:

http://disquiet.com/0160/
http://disquiet.com/0163/

Step 3: If you choose, per Step 2, to use pre-existing material, locate segments that are especially quiet and meditative — and confirm that they are available for creative reuse. Many should have a Creative Commons license stating such, and if you’re not sure just check with the responsible Junto participant.

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

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This assignment was made in the evening, California time, on Thursday, April 2, 2015, with a deadline of 11:59pm wherever you are on Monday, April 6, 2015.

Length: The length of your finished work should be roughly between one and four minutes.

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. Photos, video, and lists of equipment are always appreciated.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0170-midnightglitch” 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 170th Disquiet Junto project — “Create a one-minute track that takes the project title, ‘A Glitch in the Night,’ as its guiding aesthetic” — at:

http://disquiet.com/2015/04/02/disquiet0170-midnightglitch/

More on the Disquiet Junto at:

http://disquiet.com/junto/

More on the One Minute Past Midnight series at:

http://oneminutepastmidnight.com/

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Photo associated with this project by Javier Morales, used via Creative Commons license:

https://flic.kr/p/fsje4t

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Kate Carr Makes Do

A song in spare parts

Kate Carr’s six-minute arrangement of transformed field recordings and pre-existing material has a self-explanatory name. It is titled, in full, “I Made This Song from Wind, Hunting Signs and Music I Secretly Recorded.” The “song-ness” of it relies on a gentle swell, a sedately ominous sway that suggests Angelo Badalamenti on an especially somber day. It merges with white noise foundation and is occasionally embellished with bug noise and distant sounds, clangs and static.

Track originally posted at soundcloud.com/katecarr. Carr runs the Flaming Pines record label and travels a lot. More from her at gleamingsilverribbon.wordpress.com and twitter.com/flamingpines.

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Valentine’s Day Is for the Birds

... and whales and high Arctic male bearded seals

Michelle Fournet writes regularly about bioacoustics at her oregonstate.edu blog, where she has, among other things, recounted a trip to Antarctica on a Korean ice breaker to recover an ocean-bottom hydrophone. (I mentioned this a couple months ago in my This Week in Sound email newsletter.) She shares the blog with several other people, who have covered such topics as constructive uses of social media in the sciences and, with good regularity, “Sound Bites” highlights from their field of study. Today Fournet took the opportunity to share field recordings of love songs from red-winged blackbirds and the high Arctic male bearded seal, whose repertoire she correctly describes as “strange” — both in its alien otherness, and in its emotive familiarity

Right now, as of this typing, the Oregon State Research Collective for Applied Acoustics has all of two followers for its SoundCloud account. Let’s try to fix that.

Tracks originally posted at oregonstate.edu and soundcloud.com/oregonstate_labs.

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Disquiet Junto Project 0163: Layering Minutes After Midnight

The Assignment: Create a new late-night ambience with sounds from a handful of pre-existing field recordings.

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Each Thursday in the Disquiet Junto group on SoundCloud.com and at Disquiet.com, 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.

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

This assignment was made in the early evening, California time, on Thursday, February 12, 2015, with a deadline of 11:59pm wherever you are on Monday, February 16, 2015.

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

Disquiet Junto Project 0163: Layering Silence After Midnight
The Assignment: Create a new late-night ambience with sounds from a handful of pre-existing field recordings.

This project is the second in what will be an ongoing occasional series that focus on late-night ambience. Collectively these nocturnal endeavors are being called “One Minute Past Midnight.” No one’s work will be repurposed without their permission, and it’s appreciated if you post your track with a Creative Commons license that allows for non-commercial reuse and sharing.

The steps for this project are as follows:

Step 1: Revisit project #0160 from January 22, 2015, in which field recordings were made of the sound one minute past midnight:

http://disquiet.com/0160/

Step 2: Locate segments that are especially quiet and meditative — and confirm that they are available for creative reuse. Many should have a Creative Commons license stating such, and if you’re not sure just check with the responsible Junto participant.

Step 3: Using segments from three different tracks from the January 22 project, create a new work of sound that layers the pre-existing material into something new, something nocturnal. Keep the length of your final piece to one minute

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

Step 5: Be sure to include link/mentions regarding the source tracks.

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

Deadline: This assignment was made in the early evening, California time, on Thursday, February 12, 2015, with a deadline of 11:59pm wherever you are on Monday, February 16, 2015.

Length: The length of your finished work should be one minute.

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. Photos, video, and lists of equipment are always appreciated.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0163-layeringminutes” 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 163rd Disquiet Junto project — “Create a new late-night ambience with sounds from a handful of pre-existing field recordings” — at:

http://disquiet.com/2015/02/12/disquiet0163-layeringminutes/

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/

Image associated with this project by Matthias Ripp, used via Creative Commons license:

https://flic.kr/p/qoxehn

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No Birds Were Harmed in This Sonic Manipulation

An acousmatic project by Caitlin Rowley

Caitlin Rowley says her piece “Nightbirds” is best listened to with headphones. The title is also the source audio, birdsong captured and manipulated. There is no caged bird singing. There is some vestige of the wild bird, worked with out of context, the sounds transformed into files, and the files into something else. Rowley labels the piece as “acousmatic,” which is to say it’s tape music, intended to be heard not performed, or that the performance is the act of hitting play.

At first it may very well be just birdsong, though the tight echo suggests either an unfamiliar species or a circumstance with very particular acoustics. The echo is not the result of a room, but of the virtual chamber of Rowley’s digital audio workstation. The found sound is, in short order, transformed beyond anything a fellow bird might recognize. It gets deeper, darker, less content. The nightbird song merges with the night.

Track originally posted at soundcloud.com/caitlinrowley. More from Rowley at caitlinrowley.com. She is is an Australian composer living in the United Kingdom.

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