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: software

Two Programs in Collaboration

A SuperCollider experiment

Multiple lines thread through this piece, one slow and muffled, like a water-logged bandoneon, the other chipper and vibrant, like a tiny robotic vibraphone with a glitchy chip. What it is is an experiment, apparently, in letting two pieces of software share data with each other in real time. The musician at the helm(s) of these softwares, programmed in SuperCollider, goes by Data Mads, who likens the composition to an experiment in code that is “selfaware.”

Video originally posted at YouTube. More on the processes at sccode.org.

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Disquiet Junto Project 0276: 808 Blockchain Beats

The Assignment: Make 808-style beats based on the blockchain.

Each Thursday in the Disquiet Junto group, 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. A SoundCloud account is helpful but not required. 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’s deadline is 11:59pm wherever you are on Monday, April 17, 2017. This project was posted in the morning, California time, on Thursday, April 13, 2017.

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

Disquiet Junto Project 0276: 808 Blockchain Beats
The Assignment: Make 808-style beats based on the blockchain.

Many thanks to Jon Phillips for proposing and helping to develop this project.

Step 1: This week we’re making music informed and inspired by blockchain. If you’re not familiar with blockchain, this concise summary might be of use:

The Blockchain is a distributed database that maintains a continuously growing list of ordered records called blocks. Each block contains a timestamp and a link to a previous block. The most well known and original implementation is the Bitcoin Blockchain which is often described as a peer-to-peer (p2p) public ledger of all transactions. Blockchain technologies offer a consensus mechanism of indirect coordination, which provides the ability to achieve large-scale and systematic cooperation in an entirely distributed and decentralized manner. Blockchains can be considered as hyper-political and global governance tools, capable of managing social interactions on a large scale and dismissing traditional central authorities. Specific uses include accounting, identity management, record keeping systems, voting, and land registries.

The source of the summary:

https://en.m.wikipedia.org/wiki/Blockchain

Now, if blockchain is too technical and you aren’t using bitcoin as the new gold ;) then use the images that come to mind: block & chain, and use 808 sounds to make some beats.

Step 2: Make a beat informed by blockchain that uses or is in someway inspired by the 808 drum machine.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0276” (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

http://llllllll.co/t/808-blockchain-beats-disquiet-junto-project-0276/

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’s deadline is 11:59pm wherever you are on Monday, April 17, 2017. This project was posted in the morning, California time, on Thursday, April 13, 2017.

Length: The length is entirely up to the participant.

Title/Tag: When posting your track, please include “disquiet0276” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, 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.

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 online, please be sure to include this information, and if possible link to the original track:

More on this 276th weekly Disquiet Junto project — “808 Blockchain Beats: Make 808-style beats based on the blockchain”— at:

https://disquiet.com/0276/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

http://llllllll.co/t/808-blockchain-beats-disquiet-junto-project-0276/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is from:

https://en.m.wikipedia.org/wiki/Blockchain/

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Surface Pro 4 Meets a Soft Synth

A little video about touch screen music software

I have a Microsoft Surface Pro 4 for the next few weeks. I don’t think I’m going to keep it, but I may yet switch from my MacBook Air to the Surface Pro 5 when that device comes out, supposedly later this quarter (early 2017). This video is simply a glimpse at how the touch screen works for music, specifically in this case how the Aalto synth, from Madrona Labs, works. Aalto is running here from within Ableton Live. The sound quality is poor because I’m just using my phone for both the video and the audio.

The short version is that the screen is great for this sort of software, something with lots of virtual knobs and patch cords and buttons intended for touchpad/cursor use. Aalto is fine with a keyboard and trackpad, but it’s even better with the touch screen. (Less great was finding an angle that would allow me to play the instrument and yet have the screen fairly visible. This is the best I could manage. I’m not much of a videographer. I annotated the video using iMovie. My iMovie skills are pretty limited, so forgive the junior-grade typography.)

The main thing that happens once you start using a synth like Aalto with a touch screen is that things that aren’t touchable, such as the shape of an envelope, suggest themselves as touchable. Perhaps software will become more touchable as time proceeds, with some features only available on touch screens. As a friend said elsewhere, once some things are touchable, you want everything to be touchable.

Shortly after I posted the video, Randy Jones of Madrona Labs took note of it and said interface adjustments were possible: “Nice. Yes, I could probably do something with those envelope areas.”

In related news, late last year I started this modest subreddit for Surface Pro audio discussion: reddit.com/r/winSurfaceMusic.

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Disquiet Junto Project 0239: Code Requiem

The Assignment: Compose a short composition in memoriam for a piece of recently deceased software.

deadcode

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 morning, California time, on Thursday, July 28, 2016, with a deadline of 11:59pm wherever you are on Monday, August 1, 2016.

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

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

Disquiet Junto Project 0239: Code Requiem
The Assignment: Compose a short composition in memoriam for a piece of recently deceased software.

Please note the instructions below, in light of SoundCloud closing down its Groups functionality.

Project Steps:

Step 1: Compose a short composition in memoriam for a piece of recently deceased software.

Five More Important Steps When Your Track Is Done :

Step 1: Upload your completed track to the Disquiet Junto group on SoundCloud (this task will continue until the August 22 sunsetting of that service). It’s here:

Step 2: This is a new task, if you’ve done a Junto project previously. In the comment field to the track mention @disquiet. This will ping me to add the track to a playlist.

Step 3: Per the instructions below, be sure to tag your track #disquiet0239

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 morning, California time, on Thursday, July 28, 2016, with a deadline of 11:59pm wherever you are on Monday, August 1, 2016.

Length: The length is up to you. Between one 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 “disquiet0239.”Also use “disquiet0239”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 239th weekly Disquiet Junto project — “Compose a short composition in memoriam for a piece of recently deceased software”— at:

https://disquiet.com/0239/

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/

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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-black 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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