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

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tag: junto

Disquiet Junto Project 0232: No Input

The Assignment: Record a piece of music exploring the concept of "no-input mixing."

andypiper

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, June 9, 2016, with a deadline of 11:59pm wherever you are on Monday, June 13, 2016.

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

Disquiet Junto Project 0232: No Input
The Assignment: Record a piece of music exploring the concept of “no-input mixing.”

This week’s project explores the concept of no-input mixing. For background, including a tutorial, this Synthtopia article, summarizing more detailed coverage by the Department of Performance Studies at Texas A&M, might prove useful:

http://www.synthtopia.com/content/2014/10/27/no-input-mixing-tutorial/

Step 1: Read up, if it’s not already familiar, on the concept of “no-input mixing,” which involves creating feedback by taking the output of a mixer and plugging it into the input of the same mixer, thus exposing and building on inherent (i.e., noisy) sonic properties of the device.

Step 2: Experiment with no-input mixing.

Step 3: Record a short piece of no-input mixing music.

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, June 9, 2016, with a deadline of 11:59pm wherever you are on Monday, June 13, 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 “disquiet0232.” Also use “disquiet0232” 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 232nd weekly Disquiet Junto project — “Record a piece of music exploring the concept of ‘no-input mixing.'” — at:

http://disquiet.com/0232/

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 associated with this project is by Andy Piper and it is used thanks to a Creative Commons license:

https://flic.kr/p/5N7TPV

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Query for Junto Participants

To chat or not to chat — and where, and how

I sent an email out to the Disquiet Junto announcement list. The tl;dr version of this email is:

Would you participate in a Slack channel for Junto members, or are there other places you’d find useful for member communication?

The main uses for communication I’ve seen are:

• project-specific chatter (current, future)
• compositional/productivity tips
• gear/technique tips
• Junto satellite operations (concerts, albums, etc.)
• long-distance, asynchronous camaraderie (varied, naturally)

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Disquiet Junto Project 0231: Field Complement

The Assignment: Compose a piece to align with, from memory, 60 seconds of everyday sound.

anthonyeaston

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 0213:

This project was posted in the late afternoon, California time, on Thursday, June 2, 2016, with a deadline of 11:59pm wherever you are on Monday, June 6, 2016.

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

Disquiet Junto Project 0231: Field Complement
The Assignment: Compose a piece to align with, from memory, 60 seconds of everyday sound.

This week’s project’s theme involves how composing relates to memory. It is recommended that you read through all the steps in the project before proceeding to attempt to execute it.

These are the steps:

Step 1: Find a place, preferably outdoors, where you can sit for 5 to 15 minutes without being disturbed. This place should have a fair amount of inherent noise to it, and that noise should be variable, not static — i.e., not the long held drone of an overwhelmingly loud HVAC system, but the bustle of a street corner, or of a playground, or, if weather or other circumstances keep you indoors, perhaps of a busy cafe.

Step 2: Bring with you a portable recording device as well as something on which you can quietly take a small number of written (or typed) notes. You may wish to do a test recording to be certain that your note-taking isn’t part of the audio recording.

Step 3: Settle into the space and get a sense of its sounds. Listening closely.

Step 4: Make a field recording of one full minute, or a little longer, of continuous sound in this place. While recording the sound, use time codes to make note of any memorable sonic instances. Keep track not only of when a sonic instance begins, but also of its duration.

Step 5: Trim the field recording to exactly 60 seconds.

Step 6: Without listening back to the field recording, compose and record a 60-second piece intended to complement it. Refer back to your time-code notes to align composed instances with those real-world instances that you recall having distinguished your field recording. You can use whatever instrumentation you like, but it is recommended that you use no more than one or two instruments. You should not employ any field recordings in your composed piece. Sonically, the “composed” material should be distinct from the field audio.

Step 7: When your composed piece is completed, layer the two tracks together into one new 60-second work. They should be played back at equal volume, more or less. You can adjust a little to achieve the impression of balance between the field recording and the composed work. The only editing you can do is to fade in and out, if that is so desired.

Step 8: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 9: Annotate your track with a brief explanation of your approach and process.

Step 10: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Background: Longtime Junto participants/listeners may recognize this as a light revision of a project from back in March 2013.

Deadline: This project was posted in the late afternoon, California time, on Thursday, June 2, 2016, with a deadline of 11:59pm wherever you are on Monday, June 6, 2016.

Length: The length of the finished piece should be about 60 seconds.

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 “disquiet0231.” Also use “disquiet0231” 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 231st weekly Disquiet Junto project — “Compose a piece to align with, from memory, 60 seconds of everyday sound” — at:

http://disquiet.com/0231/

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 associated with this project is by Anthony Easton and it is used thanks to a Creative Commons license:

https://flic.kr/p/2U3Zr8

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Disquiet Junto Project 0230: Design I

Interpret a graphic score (never before performed or realized) from the mid-1970s.

20160430_165841-1

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, May 26, 2016, with a deadline of 11:59pm wherever you are on Monday, May 30, 2016.

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

Disquiet Junto Project 0230: Design I
Interpret a graphic score (never before performed or realized) from the mid-1970s.

These are the steps for the project:

Step 1: View the graphic score, by Glenn Sogge, at the following URL:

http://goo.gl/hOQOSg

Step 2: Record a piece of music that interprets the score as a work of musical notation.

Step 3: Annotate your track with a brief explanation of your approach and process.

Step 4: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Background: The score was provided by Junto participant Glenn Sogge. Here’s a bit about his background: “I had finished my BFA at the School of the Art Institute of Chicago a couple years before. I had begun my studies at Northwestern University before that. I studied with Frédéric Rzewski at SAIC and had taken a music & theater course with Berio at NU. The periodical Source was a major inspiration as were the compositions of Cage. Being the son of a sculptor and wood worker, I suppose the interconnections of the plastic arts (space, time, materials) have always been an influence. With a smattering of jazz in my history, improvisation was important so open ended scores that gave the performers room to explore were of special interest. This piece was probably done in the last year or so before I stopped composing for about 35 years (I got seduced by computers and programming among other things.) My son facilitated my reentry to the world of electronic music with a Minibrute last summer and I have been burnishing the bits like crazy since then.”

Deadline: This project was posted in the late afternoon, California time, on Thursday, May 26, 2016, with a deadline of 11:59pm wherever you are on Monday, May 30, 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 “disquiet0230.” Also use “disquiet0230” 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 230th weekly Disquiet Junto project — “Design I: Interpret a graphic score (never before performed or realized) from the mid-1970s” — at:

http://disquiet.com/0230/

The graphic score is by Glenn Sogge, more from whom at:

https://soundcloud.com/glenn-sogge/

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/

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Disquiet Junto Project 0229: Fourth Worldizing

Use a favorite trick of legendary sound designer Walter Murch.

murch-thx

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 shortly after noon, California time, on Thursday, May 19, 2016, with a deadline of 11:59pm wherever you are on Monday, May 23, 2016.

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

Disquiet Junto Project 0229: Fourth Worldizing
Use a favorite trick of legendary sound designer Walter Murch.

Background: At 2:14 in the following YouTube clip of an interview about the concept of “worldizing” with sound-design legend Walter Murch he plays a bit of a movie, THX-1138, and then describes the process of recording something to get an exaggerated sense of the space in which it was recorded: “If you are in an ordinary sized room and play the voice at four times speed … and you record it on the other tape recorder, also running at this very fast speed, then when you play the other recorder back at normal speed you get the original sound but you get the space of the room as if it was four times larger than it really is.” (Just to expand the idea a bit, the project’s title, “Fourth Worldizing,” is a nod to musician Jon Hassell.)

https://www.youtube.com/watch?v=_py6jVyOqUY

These are the steps for the project:

Step 1: Using the trick Murch has provided, make something of it.

Step 2: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 3: Annotate your track with a brief explanation of your approach and process.

Step 4: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in shortly after noon, California time, on Thursday, May 19, 2016, with a deadline of 11:59pm wherever you are on Monday, May 23, 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 “disquiet0229.” Also use “disquiet0229” 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 229th weekly Disquiet Junto project (“Fourth Worldizing: Use a favorite trick of legendary sound designer Walter Murch”) at:

http://disquiet.com/0229/

Thanks to Steve Ashby (ashbysounds.com) and Jakob Thiesen (jakobthiesen.flavors.me) for beta testing it.

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 associated with this project from the film THX-1138.

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