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.

tag: junto

Disquiet Junto Project 0226: Bucky Ball

Compose music for a fictional greatest-hits collection of the electronic music of R. Buckminster Fuller.

Disquiet_Junto_BF_v1

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.

This project was posted in the afternoon, California time, on Thursday, April 28, 2016, with a deadline of 11:59pm wherever you are on Monday, May 2, 2016.

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

Disquiet Junto Project 0226: Bucky Ball
Compose music for a fictional greatest-hits collection of the electronic music of R. Buckminster Fuller.

This week’s project is based on an imaginary scenario. The electronic music of legendary architect, inventor, and theorist R. Buckminster Fuller is being compiled. You will make music for that compilation — music you imagine Buckminster Fuller might himself have composed. Thanks to C. Reider (actually, a dream that Reider had) for inspiring the project.

Step 1: Imagine there will be a collection of the electronic music of legendary architect, inventor, and theorist R. Buckminster Fuller.

Step 2: Compose and record a piece of music that you imagine Fuller might have created.

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Annotate your track with a brief explanation of your approach and process.

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

Deadline: This project was posted in the afternoon, California time, on Thursday, April 28, 2016, with a deadline of 11:59pm wherever you are on Monday, May 2, 2016.

Length: The length is up to you, though between two and five minutes feels 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 “disquiet0226.” Also use “disquiet0226” 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 226th weekly Disquiet Junto project (“Compose music for a fictional greatest-hits collection of the electronic music of R. Buckminster Fuller”) at:

http://disquiet.com/0226/

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 at:

http://disquiet.com/forums/

Project inspired by a dream that C. Reider of Vuzh Music had:

http://vuzhmusic.com/

Image of album cover created for this project is by Brian Scott of Boon Design:

http://boondesign.com/

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Disquiet Junto Project 0225: Serial Composition

Sight read a late-1940s painting by Argentine artist Lidy Prati as a graphically notated score.

lidyprati

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 afternoon, California time, on Thursday, April 21, 2016, with a deadline of 11:59pm wherever you are on Monday, April 25, 2016.

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

Disquiet Junto Project 0225: Serial Composition
Sight read a late-1940s painting by Argentine artist Lidy Prati as a graphically notated score.

This week’s project takes as its subject a painting recently posted by art critic Blake Gopnik. Seen here, it dates from around 1948, he writes, and is by the Argentine artist Lidy Prati (1921-2008). In his description, Gopnik references Piet Mondrian, whose music is often associated with musical scores. Both the grid-like structure of Prati’s piece and its title, “Serial Composition,” suggest it as the subject of sonic investigation. Gopnik connects the piece to computers: “[I]t speaks of a system that can generate them. Computers and their algorithms seem on this painting’s mind, at a moment when computers still filled entire rooms with vacuum tubes.” (Note that as I was researching this project I came across work by Marcelo Gutman, who has created colorful score tributes to Prati.)

These are the steps for this week’s project.

Step 1: View the circa-1948 painting “Serial Composition” by Lidy Prati at this URL:

http://blakegopnik.com/post/142806762364

Step 2: Consider it as a musical score. Think about the sort of musical composition that “Serial Composition” might be.

Step 3: Record yourself performing “Serial Composition” as a graphically notated musical score.

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 afternoon, California time, on Thursday, April 21, 2016, with a deadline of 11:59pm wherever you are on Monday, April 25, 2016.

Length: The length is up to you, though between two and three minutes feels 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 “disquiet0225-serialcomposition.” Also use “disquiet0225-serialcomposition” 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 225th weekly Disquiet Junto project (“Sight read a late-1940s painting by Argentine artist Lidy Prati as a graphically notated score”) at:

http://disquiet.com/0225/

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 at:

http://disquiet.com/forums/

Image originally posted (and viewable in larger scale) at

http://blakegopnik.com/post/142806762364

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“Midnight Frames”

This is me learning about iOS apps by reworking audio recorded at midnight

This is a minute of sound recorded just past midnight and then subsequently reworked digitally:

The audio plays on three separate channels, the source tracks slightly out of sync, each channel being muted at random, with a little live, real-time human interaction on my part to nudge the listenability and sense of overall composition. That is, “human interaction” distinct from the human interaction involved in the process of setting up the whole random-mute system.

It’s an experiment in making something just using the iPad. The mixer is the iOS app AUM and the mute is being triggered in an iPad app called Xynthesizr. There is a bit of effects being implemented on the three channels. One is being lent an echoing depth, thanks to the Dahlia Delay app. One is getting lightly distorted, thanks to the Saffron Saturator app. And one is being lightly tweaked with some filters internal to the AUM app.

I have a lot to learn about all these apps. This began as me trying to get the AUM muting triggered by the Fugue Machine app, but that inter-app functionality evaded me for more than one channel. The Xynthesizr worked fairly smoothly, largely because someone introduced me to the MIDI Wrench app, which let me figure out the note values of what’s being emitted by Xynthesizr, so I could assign them directly to be interpreted as on/off signals by AUM. All of which said, I’m still fumbling about with the tools, finding my way. The image accompanying this track is a screenshot of the AUM app with the three channels in view:

File Apr 20, 9 27 53 AM

This is a reworking of a single minute of audio recorded by Forelight. The original track is titled “Midnight {disquiet0160-oneminutepastmidnight}.” It was part of the 160th weekly Disquiet Junto project. That 160th project was the first in an ongoing series, collectively titled One Minute Past Midnight, that explore nocturnal ambience.

The original source track by Forelight is at soundcloud.com/forelight.

More on the One Minute Past Midnight series here: oneminutepastmidnight.com.

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Disquiet Junto Project 0224: Cold Embrace

Make music with the sound of a refrigerator as its foundation.

timothyallen

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 project 0224:

This project was posted in the afternoon, California time, on Thursday, April 14, 2016, with a deadline of 11:59pm wherever you are on Monday, April 18, 2016.

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

Disquiet Junto Project 0224: Cold Embrace
Make music with the sound of a refrigerator as its foundation.

This week’s project was inspired, in part, by an April 13, 2016, talk that the artist Jeff Kolar gave to students in the class on sound that I teach.

Step 1: Record the sound of a refrigerator, preferably the one in your own kitchen.

Step 2: Listen to the recording to get a sense of the hum, the tonality, and the rhythm or rhythms inherent in that audio.

Step 3: Create an original piece of music augmenting that tonality and rhythm. It’s preferable you simple add material to the field recording, but you can also use the field recording as source material.

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 afternoon, California time, on Thursday, April 14, 2016, with a deadline of 11:59pm wherever you are on Monday, April 18, 2016.

Length: The length is up to you, though between one and three minutes feels 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 “disquiet0224-coldembrace.” Also use “disquiet0224-coldembrace” 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 224th weekly Disquiet Junto project (“Make music with the sound of a refrigerator as its foundation.”) at:

http://disquiet.com/0224/

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 at:

http://disquiet.com/forums/

The image associated with this project is by Timothy Allen and is used thanks to a Creative Commons license:

https://flic.kr/p/yQWAr/

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Disquiet Junto Project 0223: Layered Sameness

Record multiple, slightly varying takes on the same looped composition in this project by Monome's Brian Crabtree.

4552265503_7c65e7995c_z

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 project 0223:

This project was posted in the morning, California time, on Thursday, April 7, 2016, with a deadline of 11:59pm wherever you are on Monday, April 11, 2016.

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

Disquiet Junto Project 0223: Layered Sameness
Record multiple, slightly varying takes on the same looped composition in this project by Monome’s Brian Crabtree.

This week’s project was developed by Brian Crabtree, who along with Kelli Cain makes the Monome, the adventurous grid music interface.

The project is an exploration in repeatability, phasing, and density.

Step 1: Compose a relatively simple, short(ish), performable moment to be repeated as a loop, such as notes on a guitar, or clapping, or vocalizing, or some other live performance technique.

Step 2: Choose how many times you’ll play the loop in a row. Aim for a total duration of a minute or two, but feel free to deviate from this suggestion.

Step 3: Record yourself performing this loop, without a metronome.

Step 4: On a new track, record yourself again performing the same number of loops for roughly the same amount of time without listening to the previous take(s) or to a metronome.

Step 5: Repeat step 4 between 4 and 40 times.

Step 6: Adjust master levels. If desired, pan each track randomly.

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 morning, California time, on Thursday, April 7, 2016, with a deadline of 11:59pm wherever you are on Monday, April 11, 2016.

Length: The length is up to you, though between one and two minutes feels 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 “disquiet0223-layeredsameness.” Also use “disquiet0223-layeredsameness” 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 223rd weekly Disquiet Junto project (“Record multiple, slightly varying takes on the same looped composition in this project by Monome’s Brian Crabtree”) at:

http://disquiet.com/0223/

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 at:

http://disquiet.com/forums/

The image associated with this project is by Teresa Alexander-Arab and is used thanks to a Creative Commons license:

https://flic.kr/p/7WgxWg

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