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tag: remix

Disquiet Junto Project 0233: Netlabel (NND Remix)

The Assignment: Make one track from three different netlabels, courtesy of a Creative Commons license.

jetlee

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 morning, California time, on Thursday, June 16, 2016, with a deadline of 11:59pm wherever you are on Monday, June 20, 2016.

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

Disquiet Junto Project 0233: Netlabel (NND Remix)
The Assignment: Make one track from three different netlabels, courtesy of a Creative Commons license.

Seeing the “ND” tag on a netlabel release is a major buzzkill. The “ND” tag denotes a Creative Commons license that rules out creating derivative work. Fortunately lots of netlabels do allow for creative reuse, and this occasional series of collaborative remixes seeks to celebrate that activity, and encourage other netlabels to switch off the ND tag. Take “NND” to mean “not no derivatives.”

Step 1: Download the three tracks that will provide source audio for this remix:

Use the first 30 seconds of “HNY” off the album Wormbole by ʞık (Karl & Karlik) on the Bump Foot netlabel:

http://www.bumpfoot.net/bump207.html

Use the first 30 seconds of “Pepper Jelly” off the album Recombinations by Andre Darius and Riley Theodore on the Haze netlabel:

https://hazenetlabel.bandcamp.com/album/recombinations

Use the first 30 seconds of “Autista 3” off the album Autista by Pablo Reche on the Impulsive Habitat netlabel:

http://www.impulsivehabitat.com/releases/ihab113.htm

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

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 late morning, California time, on Thursday, June 16, 2016, with a deadline of 11:59pm wherever you are on Monday, June 20, 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 “disquiet0233.”Also use “disquiet0233”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 233rd weekly Disquiet Junto project — “Make one track from three different netlabels, courtesy of a Creative Commons license”— at:

https://disquiet.com/0233/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Join the Disquiet Junto at:

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:

https://disquiet.com/forums/

Image associated with this project is by Jet Lee and it is used thanks to a Creative Commons license:

blender

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Playing a Tape Cassette by Hand

Listening to a new device, the HC-TT

static1.squarespace

This little device, called the HC-TT, is a “human controlled tape transport.” It plays standard tape cassettes with no motor, no automation. The only power is a turn of that large knob. The knob moves backward and forward, allowing for gestural effects, as demoed in this Instagram from the account of the manufacturer, the Brooklyn-based Landscape:

A video posted by Landscape (@landscape_hc_tt) on

In this next example, it’s paired with a looping machine, the Elektron Octatrack:

A video posted by Landscape (@landscape_hc_tt) on

There’s a large set of audio examples at Landscape’s SoundCloud account, drawing from flamenco, hip-hop, business self-help, and other sound sources:

The tape cassette has proved to be a useful tool for musicians in recent years to inexpensively release physical documents of their recordings. It’s also prevalent as an instrument, for such things as old-school tape echo and looping, thanks to both reclaimed reel-to-reel systems and cassettes. The HC-TT brings a modern, gadget-maker ingenuity to the medium.

More on the HC-TT at hc-tt.com. It ships with a power supply and “one randomly selected old cassette tape.”

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Remixing the Chamber Ambient Music of Christina Vantzou

Steve Hauschildt reworks "Stereoscope"

Christina Vantzou’s first three solo albums of chamber ambient music are numbered, like Led Zeppelin’s before hers. There is Nº1, Nº2, and Nº3, the most recent of which was released late last year. Naturally the collection of remixes is seen as an iteration, not a release unto itself. Its title: 3.5. She’s assembled a great crew to rework the originals, and the first track, Steve Hauschildt’s take on her “Sterepscope,”was posted a few days ago as a promotion. Other participants in 3.5 include Robert Aiki Aubrey Lowe (aka Lichens), Loscil, John Also Bennett, Tara Jane O’Neil, the Sight Below, CORIN, and Francesco Donadello. Bennett played all the synthesizers on Nº3, Vantzou told me when I interviewed her last year (“The Bell Jar Filter”). Bennett and Loscil also contributed to the Nº2 Remixes collection, and Loscil was also on the Nº1 Remixes album. If the original “Stereoscope”was quiet and unassuming, with a glitchy undercurrent that suggested rain on a living-room window, then Hauschildt’s rendition is full-on orchestral. (You can stream the original at youtube.com for comparison.)

Track originally posted at soundcloud.com/platform. The album will be available as of March 18 at christinavantzou.bandcamp.com. More from Vantzou at christinavantzou.com.

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Disquiet Junto Project 0207: Remixing Marilli

Rework source audio from Michel Banabila's 1983 album, Marilli.

20151217-mr

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.

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

This project was posted in the early afternoon, California time, on Thursday, December 17, 2015, with a deadline of 11:59pm wherever you are on Monday, December 21, 2015.

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

Disquiet Junto Project 0207: Remixing Marilli
Rework source audio from Michel Banabila’s 1983 album, Marilli.

Step 1: Michel Banabila, the Dutch musician, this past week released a freely downloadable album of reworkings of his 1983 album, Marilli. (Full disclosure: I contributed a track to the remix collection.) He’s provided three brief samples from the album for the Junto to remix. The first step is to download the three samples from the Dropbox folder at this link:

https://goo.gl/JmDEfB

Step 2: Create a new track using only those three samples.

Step 3: Upload your completed track from Step 2 to the Disquiet Junto group on SoundCloud.

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

Deadline: This project was posted in the early afternoon, California time, on Thursday, December 17, 2015, with a deadline of 11:59pm wherever you are on Monday, December 21, 2015.

Length: The length is up to you, though between one and three minutes seems appropriate.

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 “disquiet0207-remixingmarilli.”Also use “disquiet0207-remixingmarilli”as a tag for your track.

Download: Having provided the samples, Banabila has asked that you assign a Creative Commons license allowing for downloads but not for subsequent reworkings or commercial use.

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

More on this 207th weekly Disquiet Junto project (“Rework source audio from Michel Banabila’s 1983 album, Marilli”) at:

Disquiet Junto Project 0207: Remixing Marilli

The audio was sourced from the 1983 album Marilli by the album’s composer, Michel Banabila. This project marks the release of the 2015 album Marilli Remixed:

https://banabila.bandcamp.com/album/marilli-remixed-free-download

More on the Disquiet Junto at:

https://disquiet.com/junto/

Join the Disquiet Junto at:

Subscribe to project announcements here:

http://tinyletter.com/disquiet

Disquiet Junto general discussion takes place at:

https://disquiet.com/forums/

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Remixing Michel Banabila’s Marilli (1983)

Along with 19 other people

I was asked by Michel Banabila to contribute a remix to Marilli Remixed, a collection of reworkings of tracks from his very first album, Marilli, released in 1983. I selected the fourth track on the first side of the LP.

The original was elegant, but had percussion throughout. I wanted the ambient quality more formalized, and the percussion a little more muted and arhythmic.

The full list of contributors to Marilli Remixed is: Andrés G. Jankowski, Andrew Lagowski, Arno Peeters, Bogumil Misala, Mike Kramer, Hanyo van Oosterom, Hero Wouters, Jos Smolders, Koos Derwort, Rutger Zuydervelt (Machinefabriek), Marc Weidenbaum, Martin Hoogeboom, Naoyuki Sasanami, Peter Van Cooten, Frans de Waard (QST), Radboud Mens, Roel Meelkop, Theo Calis, Wouter Veldhuis, and Lukasz Szalankiewicz. The full album is available for download at banabila.bandcamp.com.

. . .

Here are some notes on my remix. I’ll note in advance, they’re fairly technical, as a notebook entry on what went into this, and what I learned in the process.

I used the my modular synthesizer (mostly filters, and a little triggered live sampler), the software Audacity (to sequence it, and also for some effects), and my Monome (running the mlr patch in the software Max).

First I stretched a relatively percussion-less segment of the original track to get an ambient bed, yielding in the end something about 30 seconds long. I set it to run eight times in a row, overlapping to varying degrees at each repeat.

Then I extracted a small percussion loop from the original. I did a “live performance” of that percussion loop with the Monome (four simultaneous tracks: one straight through, two running tighter sub-loops against each other a little quieter, and one in reverse even quieter still, though it’s also the last bit to fade out of that sequence, so it has a little moment in the sun). The loop ran a little slower than the original, and I used a small Novation Launch Control to manage the relative volume of the four tracks within mlr.

And then I used my modular synthesizer to create variations on the ambient bed, which I layered in at various stages.

In the end I had eight tracks in Audacity:

The 1st and 3rd tracks are the eight sequential repeats of the ambient sound bed, each intersection overlapping to varying degrees.

The 2nd track is a filtered version of the ambient bed, which has a slow LFO on it (giving it a light Laurie Anderson”“ish “ha ha ha” feel) and some echo. This was done on the modular using a filter (either the A-121 or the A-136 or the Z2040 — my notes are unclear — influenced by a digital LFO, the Hikari Sine, and then run through an Eko module).

The 4th is the “live performance” on the Monome of the percussion loop, running mlr. It has four tracks of the loop doing different things. I used a Novation Launch Control to balance the volume of those four tracks.

The 5th is a copy of the ambient sound bed, pitched lower for the full length of the loop. This gives it that deep vibe for the penultimate repeat of the ambient bed. In track 1 at that same stage the volume of the original ambient bed is a little quieter, to let the deep version sound even louder than it is, in relative terms.

The 6th track is a copy of the ambient bed but pitched higher, and I just use it for a very short moment, a final peak before the track fades out.

And the 7th and 8th are two different instances of the same tweak of the ambient bed, which I did in the modular using a Harvestman Polivoks. It’s a tingling, slightly irritating sound, a momentary breach in the ambience.

The whole idea is it opens with this expanse, and then goes to something a little tribal, and then returns to the expanse. I’ll be honest about my influences here. The ambient bed is striving toward Brian Eno’s Thursday Afternoon, and the rhythmic part has Peter Gabriel’s soundtrack to The Last Temptation of Christ in mind. The first appearance of the Polivoks “irritant” is then repeated toward the end to provide a sense of reflection on where the piece started, but in between is that percussion performance. The deep vibe in track 5 gives an orchestral sense of closure, and the peak in track 6 is little filigree, like the clouds breaking, before it all ends.

At least that’s where I ended up. It wasn’t where I started. When I started, it was all gonna be about this firecracker/rattle sound in the original, but in the end I went a totally different direction.

Again, the full album is available for download at banabila.bandcamp.com. More from Banabila at twitter.com/banabila and banabila.com.

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