Michael Ash Sharbaugh [RSS]: Recent Episodes

Michael Ash Sharbaugh

POP | SPACEROCK | AMBIENT | EXPERIMENTAL

the PERSON, the SOUND : Michael Ash Sharbaugh is a composer of music and poetry, a lead vocalist and synthesist who hails from Philadelphia, PA. Since 1985, Michael has released hundreds of recordings, but known primarily for his atmospheric pop ("Give Yourself Completely"), jarring spacerock ("Dying in the Killing Jar"), and ambient-experimental works ("Infrastructure," "point65c," "Three Aimless Clouds").

Michael's sound is a synergy of 'darkwave-y' electronica and 'trip-hop-y' psychedelia: bass-laden rhythms form the gravity for his own breathy vocals and his soundscapes of dizzying synths and 'found sounds.' His ambient and experimental musics are soothing, and somewhat 'alien' to the ear: they float and shimmer, meander, and -- more often than not -- haunt.

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the INFLUENCES : Duran Duran, The Weeknd, Blondie, Depeche Mode, Billy Idol + Steve Stevens, Stone Temple Pilots, Dead Can Dance, Siouxsie & The Banshees, This Mortal Coil, Air, Naked Eyes, Tears for Fears, Alice in Chains, John Barry, Leslie Bricusse, The Chameleons [UK], Brian Eno, The Cocteau Twins, ABBA, The Bee Gees, Claude Debussy, Frederick Chopin, Guillaume de Machaut, Early Music, Renaissance music, Baroque music, and Joe Meek.

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duranduran #theweeknd #blondie #depechemode #billyidol #stevestevens #deadcandance #siouxsieandthebanshees #air #tearsforfears #johnbarry #lesliebricusse #claudedebussy #mauriceravel #frederickchopin #eriksatie #brianeno #thecocteautwins #abba #beegees #joemeek #chameleons #octoberproject #patbenatar #haroldbudd #lindseybuckingham #nakedeyes #aha #ceefarrow #omd #thismortalcoil #stonetemplepilots #aliceinchains #baroque #renaissance #earlymusic #theweeknd

(Isaak; arr. Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ] : vocals, drums and drum machine programming, synthesizer and sequencer-programming, guitar arpeggio, samples and sample-editing, and 'found sounds'Composed, Arranged, and Recorded ca. 1989 to April 26, 2023. to March 12, 2026.sm105 [FV] [VOX] [RAW] [24AIF].-+-the world was on fireand no one could save me but youstrange what desire can make foolish people doi never dreamed that i'd love somebody like youand i never dreamed that i'd lose somebody like you(no i) don't wanna fall in love(no i) don't wanna fall in lovewith youwhat a wicked game to playi never felt this waywhat a wicked thing to dolet me dream of youwhat a wicked thing to say --'i never felt this way'what a wicked thing to do --make me dream of you!(no i) don't wanna fall in love(no i) don't wanna fall in lovewith youwith youwith you-+-

(Book, Lucero, Paskowitz, Paskowitz, Perdichizzi; arr. Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synths and sequencer-programming, samples and sample-editing, and 'found sounds'~BONES1327~ [__]: guitarsComposed and Recorded ca. 1998 to October 10, 2025.sm91 [FV] [RAW] [48-32AIF].-+-hey, what's the point of this?oh hey, what's your favorite song?maybe we could hum along?well, I think you're smartyou sweet thingtell me your namei'm dying hereah-ooh, got you where I want you, oh yeahah-ooh, got you where I want you, oh yeahhey, maybe just a smile?oh hey, did you know that i can dance?could we talk for a while?well, I think you're smart,you sweet thing,tell me your signi'm dying hereah-ooh, got you where i want you, yeahah-ooh, got you where i want youwhere i want you, i want you, yeah(suffer, sufferme don't get no rougherrub it up, baby girl, torture me like no othersuffer, sufferme don't get no rougherwhen me rock me, baby, put me pain on me, loversuffer, sufferme don't get no rougherrub it up, baby girl, torture me like no othersuffer, sufferme don't get no rougherwhen me rock me, baby, put me pain on me, lover)i think you're smartyou sweet thingtell me your namei’m dying hereah-ooh(suffer, suffer, me don't get no rougher)rub it up, baby girl, torture me like no other)got you where i want you(suffer, suffer, me don't get no rougher)yeah, i've got you where I want you(suffer, suffer, me don't get no rougher)yeah, i've got you where I want you, want you, want yougot you where i want youi've got you where i want yougot you where i want you-+-

(Isaak; arr. Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh] : drums and drum machine programming, guitar arpeggio, synthesizer and sequencer programming, samples and sample editing, and 'found sounds'Composed, Arranged, and Recorded ca. 1989 to April 26, 2023. to March 12, 2026.sm104 [FV] [INST] [RAW] [24AIF].

sm49 [16AIF] [co] [for download]] by Michael Ash Sharbaugh

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Mainieri; arr. Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synths and sequencer programming, samples and sample editing, and 'found sounds'Bones1327 of FUTURE SMITH [ ]: guitarsComposed and Recorded ca. 1987 to June 16, 2025.sm57B [RE-VOX] [eM 1] [24WAV].-+-Together, Michael Ash Sharbaugh and Bones1327 make up the duo, ÆR. You can discover them here ... on SoundCloud: [ https://soundcloud.com/aer-official ]

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(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh]: vocals, drums and drum machine programming, synthesizers and sequencer programming, sampler and sample-editing, and 'found sounds'blazearmani [ n/a - 'https://freesound.org/people/Blazearmani/ ]: synthesizers and sequencer programmingCarlos Carty [___]: dizi fluteComposed and Recorded ca. Novermber 13 to October 12, 2025.sm35 RAW + RAP] [RAW] [48-32AIF].

1 ] - "A Foray into the Eleven Exhalted Exorcismic Elements" [2025 "interludes [ I ]" REMASTER] (Sharbaugh) [110 BPM]-2 ] - "Give Yourself Completely (reprise)" (2025 "interludes [ I ]" REMASTER) (Hallam | Sharbaugh) [120 BPM]-3 ] - "Nightmarish Monotony (Yer Rare)" (2025 "interludes [ I ]" REMASTER) (MTWD | Sharbaugh) [120 BPM]-4 ] - "Bush Honey" (2024 "interludes [ I ]" REMASTER] (Junker | Sharbaugh) [73 BPM]-+-(Hallam | Junker | MTWD | Sharbaugh)Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocals, synthesizers and sequencer programming, sampler and sample editing, drums and drum machine programming, and 'found sounds'Adrian Hallam [ @adrianhallam ]: synthesizers and sequencer programming and drums and drum machine programming [on "Give Yourself Completely (reprise)"]Juncherre Beatz [Henrick Junker] [ https://soundcloud.com/juncherre-beatz ]: drums and drum machine programming, synths and sequencer programmingMTWD [ @mtwd ]: drums and drum machine programming, synthesizers and sequencer programming, and 'found sounds' [on "Nightmarish Monotony (Yer Rare)"]-+-Composed and Recorded ca. March 2, 2019 and April 14,2024.Compiled, Edited, and Remixed and Re-Recorded ca. July 1, 2024, and Remastered ca. August 17, 2025.sm7B3 [eM 01] [24WAV].-+-

The debut track from Me and my new duo, ÆR ... alongside BONES1327 of FUTURE SMITH!https://soundcloud.com/aer-official-+-(Alice in Chains; arr. Michael Ash Sharbaugh)ÆR https://soundcloud.com/aer-official Composed and Recorded ca. 1992 to May 13, 2025.sm76 [VOX] [eM 2s] [24WAV].-+-know me brokenlike my masterteach me, dark childlove hereafter-into the flood againsame old trip is was back thenso i made a big mistaketry to see it once my way-drifting bodysole desertionflying not yetquite the notion-into the flood againsame old trip is was back thenso i made a big mistaketry to see it once my way-into the flood againsame old trip is was back thenso i made a big mistaketry to see it once my way-am i wronghave i run too far to get homehave i goneand left you here aloneam i wronghave i run to far to get home [yeah]have i goneand let you here aloneif ... i ... could ... would ... you-+-

"... no longer a work-in-progress! It's DONE!!!"~ Michael-+-(McMann [McMahon] & Mainieri; arr. Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synths and sequencer programming, samples and sample editing, and 'found sounds'BONES1327 of FUTURESMITH [ ]: guitarsComposed and Recorded ca. 1987 to June 16, 2025.sm57B [RE-VOX] [eM 1] [24WAV].-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synths and sequencer programming, samples and sample editing, and 'found sounds'Composed and Recorded May 17 to 26, 2025.sm21as [eM 01] [24WAV].-+-blessedwe arehereagaindressedwe arein dew-drop petalsi love youyou know it's true-listen tomy heart againlend meyour handand take these kisses-i love youyou know it's true-i love all of youi love all of youi love all of youi love allofyou-+-

(Cocq | Sharbaugh)Julsy [ https://soundcloud.com/julsy ] (Julie Cocq | Montpellier, France]: synthesizer and sequencer programming, electronics and sample editingMichael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and sequencer programming, sampler and sample-editing, and 'found sounds'Composed and Recorded ca. April 22, 2013.Remastered ca. September 26, 2024.sm6 [LMTD] [eM 01] [24WAV].-+-Based on Julsy's original sketch/work-in-progress, "Sans Nom," circa 2013.-+-T=79.88-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: drums and drum machine programming, synthesizers and sequencer programming, samples and sample-editing, guitars, and 'found sounds'Composed and Recorded ca. December 22 to 30, 2024.sm24 [eM 01] [24WAV].

"This version of this release is available on My EP, 'Post-Partum Appendices.'" ~ Michael-+-(Sharbaugh)Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: samples and sample-editing, synthesizers and sequencer programming and 'found sounds'Composed and Recorded ca. November 17 to 18, 2024.Mastered ca. January 14, 2025.([int RAWs] [eM04lClEQ]) sm3 [24FLAC] (PPA 2025 MASTER).

"This is an alternate, non-stop, high-quality (24-bit), streaming version -- exclusive to Soundcloud -- of My EP, 'Post-Partum Appendices.'"~ Michael-+-1 ] - "Vast Ionic Charges in an Angel's Eye" (PPA 2025 MASTER)2 ] - "My Pulse's Pride" (PPA 2025 MASTER)3 ] - "Amidst Winter Branches" (PPA 2025 MASTER)4 ] - "The Paradise Beside Me" (PPA 2025 MASTER)-+-(Sharbaugh)Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocals, guitars, drums and drum machine programming, synthesizer and sequencer programming, sampler and sample-editing, and 'found sounds'Composed and Recorded ca. November 17 to December 22, 2024.Interstitial 'musical' interludes recorded ca. January 3 to 8, 2025.Mastered January 14, 2025.[int RAWs] sm25 [eM04lClEQ] [24WAV].-+-

"This version of this release is available on My EP, 'Post-Partum Appendices.'" ~ Michael-+-(Sharbaugh)Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: drums and drum machine programming, samples and sample-editing, guitars, synthesizers and sequencer programming, and 'found sounds'Composed and Recorded ca. December 8 to 17, 2024.Mastered ca. January 14, 2025.([int RAWs] [eM04lClEQ] sm3 [24FLAC] (PPA 2025 MASTER).-+-"... dedicated to the coldest days of Winter."~ Michael

"This version of this release is available on My EP, 'Post-Partum Appendices.'" ~ Michael-+-(Sharbaugh)Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: drums and drum machine programming, synthesizers and sequencer programming, samples and sample-editing, guitars, and 'found sounds'Composed and Recorded ca. December 22 to 30, 2024.Mastered ca. January 14, 2025.([int RAWs] [eM04lClEQ]) sm3 [24FLAC] (PPA 2025 MASTER).-+-

"This version of this release is available on My EP, 'Post-Partum Appendices.'" ~ Michael-+-(Campbell | Sharbaugh; arr. Michael Ash Sharbaugh)Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: drums and drum machine programming, synthesizers and sequencer programming, sampler and sample-editing, guitars, and 'found sounds'Matt Campbell [ @mattcmusic ]: guitar and synthesizer ('interlude')Composed and Recorded ca. November 18 to 28, 2024.Mastered ca. January 14, 2025.([int RAWs] [eM04lClEQ]) sm3 [24FLAC] (PPA 2025 MASTER).-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: drums and drum machine programming, samples and sample-editing, guitars, synthesizers and sequencer programming, and 'found sounds'Composed and Recorded ca. December 8 to 17, 2024.sm33apo [eM 01] [24WAV].-+-"... dedicated to the coldest days of Winter."~ Michael

(Farrar; arr. Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, guitars, synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds'Composed and Recorded ca. 1979 to May 26, 2022.Remastered and Remixed [an edit without 'INTRO' > the "TANZmix"] ca. October 30, 2024.sm75 [edit 01] [VOX] [em 01] [2024 REMASTER] [TANZmix] [24AIF] [48kHz].-+-"This song is dedicated to Heather Vanderpool: 'Thanks for introducing Me to 'Xanadu-proper.'"~ Michael Ash Sharbaugh-+-come take My handYou should know MeI've always been in Your mindYou know I will be kindI'll be guiding Youbuilding Your dreamhas to start nowthere's no other road to takeYou won't make a mistakeI'll be guiding You-Ya have to believe We are magicnothing can stand in Our wayhave to believe We are magicdon't let Your aim ever strayand if all Your hopes survivedestiny will arriveand bring all Your dreams alivefor You-from where I standYou are home freethe planets align -- it's so rarethere's promise in the airand I'm guiding Youthrough every turnI'll be near YouI'll come every time You callI'll catch You when Ya fallI'll be guiding You-Ya have to believe We are magicnothing can stand in Our wayhave to believe We are magicdon't let Your aim ever strayand if all Your hopes survivedestiny will arriveand bring all Your dreams alivefor Youand bring all Your dreams to lifefor You-[ haaaaaa >>> ]-Ya have to believe We are magicnothing can stand in Our wayhave to believe We are magicdon't let Your aim ever strayand if all Your hopes survivedestiny will arriveand bring all Your dreams alivefor Youand bring all Your dreams to lifefor You-

(Campbell | Sharbaugh; arr. Michael Ash Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: drums and drum machine programming, synthesizers and sequencer programming, sampler and sample-editing, guitars, and 'found sounds'Matt Campbell [ https://soundcloud.com/mattcmusic ]: guitar and synthesizer ('interlude')Composed and Recorded ca. November 18 to 28, 2024.Mastered ca. December 17, 2024.sm42 [eM03] [24WAV].-+-"Matt's Emotional Ambient Synthscape (100 bpm)" by Mattc90 [License: Attribution 4.0]https://freesound.org/s/336858/-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: samples and sample-editing, synthesizers and sequencer programming and 'found sounds'Composed and Recorded ca. November 17 to 18, 2024.sm11 [eM 01] [24WAV].

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: drums and drum machine programming, synths and sequencer-programming, sampler and sample-editing, and 'found sounds'Composed and Recorded ca. September 21 to October 7, 2024.sm23 [eM 1] [48+24WAV].-+-sandyb: "NATIVE FLUTE FIGURE 01" [ License: Attribution 4.0 ]https://freesound.org/s/85790/ -- -+-

This work is track 1 on Michael Ash Sharbaugh's 2024 EP release, "Interludes."-+-(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers, drum machines and drum machine programming, and 'found sounds'Composed and Recorded ca. March 2, 2019.Remastered ca. July 1, 2024.[sm7] [short] [EP-Interludes] sm7B3 [eM1] [24FLAC].-+-T = 110 BPMkey | scale = A-sharp / B-flat minor-+-" ... for Jonathan Akira Hartnett, Friend & Mentor, March 2, 2019."~ M-+-

This work is track 2 on Michael Ash Sharbaugh's 2024 EP release, "Interludes."-+-(Sharbaugh)Adrian Hallam [ https://soundcloud.com/adrianhallam ]: drums and drum machine programming and bass synthMichael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, drums and drum machine programming, and 'found sounds'Composed and Recorded ca. September 28 to November 12, 2020.Remastered ca. July 1, 2024.[sm31] [EP-Interludes] sm7B3 [eM1] [24FLAC].-+-"Give Yourself Completely.""Don't ever Wander Far."-+-Warm 'thanks' [!] for the supportive contributions furnished by long-time collaborator, Adrian Hallam: his rough sketch, "Chasing Your Tail" [2020], inspired this track.This song is dedicated to Amy Dixon Alarcon.-+-

This work is track 3 on Michael Ash Sharbaugh's 2024 EP release, "Interludes."-+-(MTWD | Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: drums and drum machine programming, synths and sequencer programming, sampler and sample editing, and 'found sounds'MTWD [ https://soundcloud.com/mtwd ]: drums and drum machine programming, synths and sequencer programming, sampler and sample editing, and 'found sounds'Carlos Carty [ https://soundcloud.com/carloscarty ]: dizi fluteComposed and Recorded ca. 2016 to April 14, 2024.Remastered ca. July 1, 2024.sm19 [EP-Interludes] sm7B3 [eM1] [24FLAC].-+-

This work is track 4 on Michael Ash Sharbaugh's 2024 EP release, "Interludes."-+-(Juncherre Beatz | Sharbaugh)Juncherre Beatz [ @juncherre-beatz ]: drums and drum machine programming, loops, and synthesizersMichael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocals, drums and drum machine programming, loops, synthesizers, and 'found sounds'Composed and Recorded ca. August 2019 to February 2, 2020.sm54 [2022 REMASTER] [em 01] [24WAV].-+-“B U S H H O N E Y”never was one to hold my tonguefear is last | and I am youngnever ever gonna hold back my handfrom your skin | cos you’re my land-cos you - are an all-night partyyou - not a one-night standyou - lead me to the fieldsI beckon you-never was one to hold my tonguefear is last | and I am youngnever ever gonna hold back my handfrom your skin | cos you’re my land-cos you - are an all-night partyyou - not a one-night standyou - lead me to the fieldsI beckon you-ooooo – I don’t want to spook you,but I’ve got to tell ya,‘you’re my forever girl’I’m puttin’ my cards right on the tablecos you have been my worldif there’s any chancewe could reign forever –side-by-side –let the dream unfurl …-+-This song is dedicated to Amy Dixon Alarcon.-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: drums and drum machine programming, synths and sequencer programming, samples and sample editing, and 'found sounds'Violette Boulanger [ n/a ]: [experimental and treated] violinsComposed and Recorded ca. July 20 to September 1, 2024.sm42 [INST] [eM] [24WAV].

(Duran Duran; arr. Michael Ash Sharbaugh)Carlos Carty [ https://soundcloud.com/carloscarty ]: Chinese dizi flute and "Canyon Queña"Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synthesizers and sequencer programming, and 'found sounds'Composed and Recorded ca. 1982 to May 21, 2021.Remastered ca. March 27, 2024.sm71 [eM13] [24WAV].-+-"Thank You for the amazing 'trackage,' Mr. Carlos Carty! I was extremely fortunate to have Your talents aboard this track!"~ M A S-+-"This opus was much less a cover of Duran Duran's original version, and much, MUCH more a cover of The Sneaker Pimps' cover version of this song!"~ M A S-+-

"This is a preview of My new EP entitled "interludes [I]," which is slated for pre-release on August 2nd, and initial release on National Black Cat Appreciation Day -- August 17th, 2024.Look to Apple Music, Spotify, the iTunes Store, and Pandora, and elsewhere on those dates to procure Yourself a copy, and/or a 'listening seat.'"~ Michael-+-01 ]> "A Foray into the Eleven Exhalted Exorcismic Elements" 2024 interludes [I] remaster-02 ]> "Give Yourself Completely (reprise)" (2024 interludes [I] remaster)(Hallam | Sharbaugh)-03 ]> "Nightmarish Monotony (Yer Rare)" (2024 interludes [I] remaster)(MTWD | Sharbaugh]-04 ]> "Bush Honey" (2024 interludes [I] remaster](Sharbaugh)-+-(Hallam | MTWD | Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers and sequencer programming, sampler and sample editing, drums and drum machine programming, and 'found sounds'Adrian Hallam [ https://soundcloud.com/adrianhallam ]: synthesizers and sequencer programming and drums and drum machine programming [on "Give Yourself Completely (reprise)"]MTWD [ https://soundcloud.com/mtwd ]: drums and drum machine programming, synthesizers and sequencer programming, and 'found sounds' [on "Nightmarish Monotony (Yer Rare)"]Composed and Recorded ca. March 2, 2019 and April 14,2024.Compiled, Edited, and Remixed and Re-Recorded, and Mastered ca. July 1, 2024.sm7B2 [eM 01] [24WAV].-+-

(MTWD | Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: drums and drum machine programming, synths and sequencer programming, sampler and sample editing, and 'found sounds'MTWD [ https://soundcloud.com/mtwd ]: drums and drum machine programming, synths and sequencer programming, sampler and sample editing, and 'found sounds'Carlos Carty [ https://soundcloud.com/carloscarty ]: dizi fluteComposed and Recorded ca. 2016 to April 14, 2024.sm19 [eM 04-Mi-hi Ci-lo B-up] [24WAV].

(Sharbaugh)Michael Ash Sharbaugh []: synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds'Composed and Recorded ca. 1987 to March 22, 2013.Remastered ca. March 4, 2024.Released ca. March 30, 2024.-+-

(Sharbaugh)Michael Ash Sharbaugh []: synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds'Composed and Recorded ca. 1987 to March 22, 2013.Remastered ca. March 4, 2024.Released ca. March 30, 2024.-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds'Composed and Recorded ca. 1987 to March 22, 2013.Remastered ca. March 4, 2024.Released ca. March 30, 2024.-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds'Composed and Recorded ca. 1987 to March 22, 2013.Remastered ca. March 4, 2024.Released ca. March 30, 2024.-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds'Composed and Recorded ca. 1987 to March 22, 2013.Remastered ca. March 4, 2024.Released ca. March 30, 2024.-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds'Composed and Recorded ca. 1987 to March 22, 2013.Remastered ca. March 4, 2024.Released ca. March 30, 2024.-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds'Composed and Recorded ca. 1987 to March 22, 2013.Remastered ca. March 4, 2024.Released ca. March 30, 2024.-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds'Composed and Recorded ca. 1987 to March 22, 2013.Remastered ca. March 4, 2024.Released ca. March 30, 2024.-+-

(Diaz | Sharbaugh | Winterer)Daniel Diaz [ https://soundcloud.com/daniel-diaz ]: bass guitarKrakenkraft & Etherkraken [Andreas Winterer] [ https://soundcloud.com/winterer ]: synthesizers and 'found sounds'Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizer and 'found sounds'Composed and Recorded ca. March 7 to 27, 2024 -- in France, Germany, and The United States of America.sm5 [RAW] [32AIF].-+-... "I went with my gut feeling until I had the feeling that I couldn't contribute any more." ~ Andreas Winterer ..."Having pasted that just above this explanation of My process for this week's Junto project, I state that that was My mantra in composing My part -- about 5 or 6 notes on a KORG DW8000 synth. I recorded My part once, and then edited it with various intensities of extensive time compression techniques over a period of 4 hours, until I was pleased, and felt that My contribution was no more than a simple whisper within this piece that My collaborators had recorded."~ Michael [Ash Sharbaugh]-+-Based on Daniel Diaz and Krakenkraft & Etherkraken's work, "Reflecting Fragility" (disquiet0637 > 'right (2 of 3)':https://soundcloud.com/winterer/reflecting-fragility-disquiet0637?in=disquiet/sets/disquiet-junto-project-0637-+-Daniel Diaz' piece, "Live Bass Soundscape - disquiet0636":https://soundcloud.com/daniel-diaz/live-bass-soundscape-disquiet0636-+-More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: drums and drum machine programming, synths and sequencer programming, samples and sample editing, and 'found sounds'Composed and Recorded ca. March 20, 2024.sm23 [eM 01] [24WAV].-+-

(Hallam | Potterton | Sharbaugh)Adrian Hallam [ https://soundcloud.com/adrianhallam ]: guitarAndrew Potterton [ https://soundcloud.com/andrew-potterton ]: synthesizers, drum and synthesizer programmingMichael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, and 'found sounds'Composed and Recorded ca. November 28, 2014 to January 1, 2015.sm8 [LANDRlo] [FLAC].-+-This work was inspired by--and contains--Andrew Potterton's following samples:"K Kiddies": http://www.soundsnap.com/k_kiddies"a tunje": http://www.soundsnap.com/node/23043-+-

(Walden; arr. Sharbaugh)Jon Lock [ https://soundcloud.com/jon-lock-5 ]: bass guitar and guitarMichael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synthesizers, and 'found sounds'Composed and Recorded ca. 1981 to July 17, 2021."Re-done" ca. March 13, 2024.sm50exp [2024 RE-DEUX] sm2 [32AIF] [48k].-

(Farrar; arr. Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, guitars, synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds'Composed and Recorded 1979 to May 26, 2022.Remixed and Re-Done ca. March 13, 2024.sm75 [The Molly Pride Mix] [RAW] [32AIF] [edit 01].-+-"This song is dedicated to Heather Vanderpool: 'Thanks for introducing Me to 'Xanadu-proper.'"~ Michael Ash Sharbaugh-+-come take My handYou should know MeI've always been in Your mindYou know I will be kindI'll be guiding Youbuilding Your dreamhas to start nowthere's no other road to takeYou won't make a mistakeI'll be guiding You-Ya have to believe We are magicnothing can stand in Our wayhave to believe We are magicdon't let Your aim ever strayand if all Your hopes survivedestiny will arriveand bring all Your dreams alivefor You-from where I standYou are home freethe planets align -- it's so rarethere's promise in the airand I'm guiding Youthrough every turnI'll be near YouI'll come every time You callI'll catch You when Ya fallI'll be guiding You-Ya have to believe We are magicnothing can stand in Our wayhave to believe We are magicdon't let Your aim ever strayand if all Your hopes survivedestiny will arriveand bring all Your dreams alivefor Youand bring all Your dreams to lifefor You-[ haaaaaa >>> ]-Ya have to believe We are magicnothing can stand in Our wayhave to believe We are magicdon't let Your aim ever strayand if all Your hopes survivedestiny will arriveand bring all Your dreams alivefor Youand bring all Your dreams to lifefor You-

This uploaded track is a brief glimpse into My newly completed, brief, 13-minute [ + or - ] EP, "es|tu|dios." Although slated for release in April of this year, I invite You, My SoundCloud peers, to judge, and to criticize it prior to its release."~ Michael [Ash Sharbaugh]-+-1] "Fall Again, Rise Again"(Sharbaugh)-~-2] "Linnaeus' Lovely Day"(Sharbaugh)-~-3] "The Last Stand"(Sharbaugh | Sobel)-~-"Divinity"(M.T.W.D. | Sharbaugh)-+-Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synths and sequencer programming, and 'found sounds' (all songs)Mike Sobel [ https://soundcloud.com/mikesobel ]: [acoustic] guitar ("The Last Stand")M.T.W.D. [ https://soundcloud.com/mtwd ]: drums and drum machine programming, and synths and sequencer programming ("Divinity")womb_affliction (Katarina Rose) [ https://soundcloud.com/womb_affliction ]: vocals ("Fall Again, Rise Again")Adrian W. Hallam [ https://soundcloud.com/adrianhallam ]: [dubby] guitar ("Divinity")-+-Composed and Recorded ca. 2013 to 2023.Remastered ca. February 29, 2024.sm5 [non-stop] [RAW] [32AIF].

([Sharbaugh] -> [all tracks] | [Rose | Sharbaugh] -> [track 4] | [Dean | Sharbaugh] > [track 7])Michael Ash Sharbaugh [ @michael-ash-sharbaugh ] [on all tracks]: vocals and lyrics, drums and drum machine programming, synthesizers and sequencer programming, sampler and sample editing, and 'found sounds'Erokia [Jordan Dean] [ https://soundcloud.com/user-968301525-56177770 ] [on "Jaded"]: synthesizers and sequencer programmingWomb Affliction [Katrina Rose] [ https://soundcloud.com/womb_affliction ] [on "My Thoughts Scatter Like Colour"]: vocals and lyrics-+-Composed and Recorded ca. April 18 to November 12, 2023.Compiled ca. November 6 to 12, 2023.sm18 [non-stop] [RAW] [32AIF].-+-

(Gore [arr. Michael Ash Sharbaugh])Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synthesizers and sequencer programming, sampler and sample editing, and 'found sounds'Composed and Recorded ca. 1987 to January 19, 2019.Remastered ca. October 17, 2023.sm428 [VOX] [short] [2023 REMASTER] [eM 01] [24WAV].-+-... the instrumental version:https://soundcloud.com/michael-ash-sharbaugh/i-want-you-now-drums-bass-instrumental-mix-instrumental-michael-ash-sharbaugh-+-I want you nowtomorrow won't dothere's a yearning insideand it's showing throughreach out your handsand accept my lovewe've been waiting for too longenough is enoughI want you nowmy heart is achingmy body is burningmy hands are shakingmy head is turningdo you understandit's so easy to choosewe've got time to killwe've got nothing to loseI want you nowand I don't mean to soundlike one of the boysthat's not what I'm trying to doI don't want to belike one of the boysI just want you now'cos I got a lovea love that won't waita love that is growingand it's getting latedo you know what it meansto be left this waywhen everyone's gonethe feelings they stayI want you now-+-

(Gore [arranged by Sharbaugh and Klevling])Ivan Klevling [ https://soundcloud.com/ill-dub-productions | https://soundcloud.com/wizardshoes | https://soundcloud.com/dark-korvettes ]: guitars and 'steel-stringed atmospherics'Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, electronics, drums and drum machine programming, synthesizers and sequencer programming, sampler and sample editing, and 'found sounds'Composed and Recorded ca. 1990 to January 19, 2019.Remastered ca. October 17, 2023.sm185 [The Seared Searatonin Master] [2023 REMASTER] [VOX] [eM 02] [24WAV].-+-... the instrumental version:https://soundcloud.com/michael-ash-sharbaugh/blue-dress-ambient-inst-+-... for other Michael Ash Sharbaugh + Friends' Depeche Mode covers, see ...https://soundcloud.com/michael-ash-sharbaugh/sets/depeche-mode-by-michael-ash-+-[tempo = 65 BPM]-+-put it onand don't say a wordput it onthe one that I preferput it onand stand before my eyesput it onplease don't question whycan you believesomething so simplesomething so trivialmakes me a happy mancan't you understandsay you believejust how easyit is to please mebecause when you learnyou'll know what makes the world turnput it onI can feel so muchput it onI don't need to touchput it onhere before my eyesput it onbecause you realiseand you believesomething so worthlessserves a purposeit makes me a happy mancan't you understandsay you believejust how easyit is to please mebecause when you learnyou'll know what makes the world turn-+-

(Idol | Sharbaugh | Stevens; arr. Michael Ash Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals and [mid-section] lyrics, drums and drum machine programming, synthesizers and sequencer programming, sampler and sample editing, and 'found sounds'Billy Gewin [ https://soundcloud.com/billy-gewin ]: bass guitarsJacob Kersey [ n/a ]: trumpetsColt Elvis Simmons (C Fo Fifth) [ https://soundcloud.com/cfofifth ]: "breathy gasps" and "hey"; inspiration for My mid-section rhythm, 'rap,' and lyricsComposed and Recorded ca. 1983 to April 17, 2020.Remastered ca. October 15, 2023.[2023 REMASTER] [eM 03] [24WAV].-+-"My #ode to Billy Idol and [My Favorite] guitarist, Steve Stevens, took 8 months to complete, and [the 2023 remaster] was just [rte-]released today [-Halloween 2023] [on all streaming services and retailers] across the interwebs.I wish to thank trumpeteer, Jacob Kersey, bassist, Billy Gewin, and Good Friend, Colt Elvis Simmons, for their creative contributions toward this project!David Grace [ https://soundcloud.com/david-grace-songs ]: thanks for the rap section suggestions!I am very proud, and highly thankful!"~ M-+-#eightiesmusic #darkpopsong #eyeswithoutaface #billyidol #stevestevens #michaelashsharbaugh #rebelyell-+-"I realize she's a siren disguisedher lullaby is injected as her teeth inciseshe's highly infectiousshe's makin' me fecklessI follow a deathwish when I hear her breath hisseyes without a faceher lips do encaseshe's like Eve with an apple'Arsenic and Old Lace'[yet I'm drinkin' her down]what's all this fuss 'bout a psychedelic trip[when she can murder me and still be hip]I'm so blue --- she's out thereso ... I'll say my prayerssay my prayerssay my prayers"-+-

(Sharbaugh)AnalogByNature [ https://soundcloud.com/analogbynature ]: mixing and final mash-up mixdownMichael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synthesizers and sequencer programming, sampler and sample editing, 'found sounds,' mixing, production, and masteringComposed and Recorded ca. January 2014 to July 13, 2023 to October 21, 2023.(The mash-up was composed ca. October 21, 2023.)sm2 [eM02] [24WAV].-+-Michael Ash Sharbaugh's original recordings:"Divinity" https://soundcloud.com/michael-ash-sharbaugh/divinity Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocals, drums and drum machine programming, guitar 'flourishes,' synthesizers and sequencer programming, and 'found sounds'MTWD [ @mtwd ]: synthesizers and drum programmingAdrian Hallam [ @adrianhallam ]: guitar (solo)Composed and Recorded ca. December 2013 to January 2014.sm13 [LANDR].+"Trapped (You Need Love" https://soundcloud.com/michael-ash-sharbaugh/trapped-you-need-love Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocals, synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds'Composed and Recorded ca. July 4 to July 13, 2023.sm48D [VOX] [RAW] [32AIF].-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizersComposed and Recorded ca. March 20 to 23, 2015.Remastered ca. October 15, 2023.sm4 [2023 REMASTER] [eM 08] [24WAV]..-+-Michael Ash Sharbaugh on March 23, 2015:"In an attempt to accept this week's Disquiet Junto assignment — 'create an original, multi-part piece with a single audio source,' I chose a prerecorded track of a single atmospheric pad to form an aural bed of sound. I then time-compressed it greatly, so I could use it for a droney, low-end, 'percussive' background and, also, as fodder for a higher-frequency, foreground melody. I recorded these three tracks together, but was disappointed with their resultant complexity; thus, I abandoned hopes of entering it into this week's Disquiet Junto 0168 -- 'Three of a Kind,' -- project, and began to add parts using various synthesizers.The resultant piece, 'Dwaal I,' is spacious and hazy, and named after an informal word of South African origin, 'dwaal,' which means 'a dreamy, absent-minded, or befuddled state.'"~ Michael-+-"More on this 168th Disquiet Junto project — 'Create an original, multi-part piece with a single audio source' — at:http://disquiet.com/2015/03/19/disquiet0168-threeofakind/More on the Disquiet Junto at:http://disquiet.com/juntoJoin the Disquiet Junto at:http://soundcloud.com/groups/disquiet-junto/Disquiet Junto general discussion takes place at:http://disquiet.com/forums/ "~ Marc Weidenbaum-+-

(Sharbaugh)Womb Affliction (Katarina Rose) [ https://soundcloud.com/womb_affliction ]: [lyrics and] vocalsMichael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: drums and drum machine programming, synthesizers and sequencer programming, sample editing and sequencing, and 'found sounds'Composed and Recorded ca. October 9 to October 30, 2023.sm66M [VOX] [RAW] [32AIF].-+-[ Image by balintseby on freepik.com ]-+-The lyrics and vocal affects have been 'lifted' -- borrowed -- from Womb Affliction's [Katarina Rose's] two songs, "Deeper" [ https://soundcloud.com/womb_affliction/deeper ] and "I Feel Colors" [ https://soundcloud.com/womb_affliction/i-feel-colors ].-+-"Katarina, thank You. You are a true talent and inspiration." ~ Michael-+-

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizer and sequencer programming, sampler and sample editing, drums and drum machine programming, and 'found sounds' Composed and Recorded ca. September 3 to 4, 2023. sm5 [eM 01] [24WAV].

-~-

"I often just sit down with the intention of 'writing' an [audio] track. When I experience no inspiration, or have no idea for a concept of an original recording, I usually turn to the Diquiet Junto prompt of the week to set-out to compose one.

This week was no different:

I read the disquiet prompt -- 'record a simple track at 60 BPM in 4/4 that will be reworked subsequently by other musicians' -- Sunday evening, and started that minute. I worked seven straight hours on it without getting out of My seat.

I set-out to create something simple, tonally, and mode- and key-wise, and something that did not have a bunch of changes or sections, that COULD be easily reworked into a more, highly complex piece.

Recording a lone, aggressive, staccatto, string patch and looping it led Me to recording another variation with slight percussion, and then I just added a long, time-expanded bed of a violin being tuned judiciously in sections.

I added a 'head' [introduction] and a 'tail' [cadence], and that was it.

Here is, ' ... to the Beach, Asunder.'"

~ Michael Ash Sharbaugh

-~-

"More on this 609th weekly Disquiet Junto project, Speed Limit Pt 1 (The Assignment: Record a track at precisely 60 BPM with the intention someone will subsequently rework it), at: https://disquiet.com/0609/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0609-speed-limit-pt-1/ "

~ Marc Weidenbaum

-~-

(Sharbaugh) Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: drums and drum machine programming, synths and sequencer programming, sampler and sample editing, and 'found sounds' Composed and Recorded ca. August 21 to August 30, 2023. sm31CE [eM 05] [24WAV].

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers, 'found sounds,' and 'found sound' manipulation David Seidel: [ n/a ]: sine wave generation and manipulation Composed and Recorded ca. March 7 to 13, 2014. sm5b [2023 REMASTER] [[eM 01] [24WAV] [from iTunes].

-+-

"(This finished piece is based upon an unfinished work that was intended to fulfill the requirements for the 114th March 7-10, 2014 Disquiet Junto project, 'disquiet0114-60Hz,' which -- to paraphrase for simplicity's sake -- was 'to compose a piece of music using only pre-recorded sine waves.' Below is my description of the process.)"

~ Michael

-+-

"Prior to importing the sine wave chunks, I first fixed the tempo of my DAW to 60 BPM to reflect the frequency of the sine waves within. Therefore, with respect to the piece’s title, “Infrastructure” (named in deference to a phrase in Marc Weidenbaum’s liner notes in David Seidel’s release), I could introduce sonic elements at exact temporal multiples and divisions of the number, “60”—reflective of the frequency of those electrons flowing throughout my native United States [US].

Unsure as to whether I broke the rules or not, I layered the five chunks together, muted sections of chunks 1 and 5 in order to form a seamless bed at the instant of one minute, with beginning chunk 1 left raw and ending chunk 5 fed through a distortion and reverb.

I then chopped sections from each of the others. Those sections I had chopped up were multiplied and pitch-shifted several times to form a Bb-minor chord, a Db-diminished chord, and an F-major chord. Each ‘chord’, strained as it sounded, was fed into the same distortion bus as chunk 5, which sometimes overpowered the smaller chorded chunks due to its immense low frequency power; thus, some were barely audible.

After hours and days thinking of how to make this piece musical, I realized that all waveforms are made up of sine waves. Seeking a piano waveform and a vocal waveform, I experimented. I time-compressed several sections of the chunks and layered them, which resulted in several usable sounds distinguishable from the longer, droning chunk beds—a percussive, which I elongated by 11 measures, a ‘bleep’|‘blip’|‘bloop’, which I elongated by 4 measures, and a wind sound, which I elongated to 11 measures and then shortened yet again to 4 measures. I used these sounds to punctuate the chordal changes—the Bb-minor, the Db-diminished, and the F-major chords.

Even the reverb settings were dialed in to represent the infrastructure of the US, what with rectangular room spaces (skyscrapers) and reflective surfaces representative of concrete.

After the Disquiet Junto deadline had passed, I took up the project again added a multitude of synth lines, Rhodes-ey piano licks, and muted percussion tracks. I topped the piece off with subtle throat-singing samples from FreeSound.org:

storm#16.wav: http://www.freesound.org/people/djgriffin/sounds/22023/ tibetan chant 3.wav: http://www.freesound.org/people/djgriffin/sounds/15363/ "

~ Michael

-+-

"More on this 114th Disquiet Junto project — “Combine elements of Dave Seidel’s album ~60 Hz (Irritable Hedgehog)” — at:

http://disquiet.com/2014/03/06/disquiet0114-60hz/

More on the Disquiet Junto at:

http://disquiet.com/?p=16588

Join the Disquiet Junto at:

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

The source audio is from Dave Seidel’s ~60 Hz album, released on the Irritable Hedgehog record label. More on the album at:

http://recordings.irritablehedgehog.com/album/dave-seidel-60-hz "

~ Marc Weidenbaum

-+-

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: guitar, synthesizers, and 'found sounds' Composed and Recorded July 5 to 21, 2014. sm7 [2023 REMASTER] [eM 03] [24WAV].

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds' Composed and Recorded ca. July 4 to July 13, 2023. sm48D [VOX] [RAW] [32AIF].

-+-

i'll make a bet with myself and give it some time animal magnetism rarely keeps me waiting in line

it's far too early to give up the wine 'cos loves gonna happen, and life's gonna treat me fine

(STEP OUTSIDE YOURSELF) (LOOK AROUND) (JUST BREATHE)

funny ... you never answered before but somethin's pricked your ears, and you don't wanna lose your score

i've been uneasy just biding my time trapped in a corner, anxiously awaiting some sign

(LOVE YOURSELF) (LOOK AROUND) (JUST BREATHE)

love ... oh, love ... (you need love) bad ... so bad ... (you need love)

-+-

(Sharbaugh) Katarina Rose [ https://soundcloud.com/womb_affliction ]: 'upper-register female' vocal Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: drums and drum machine editing, synthesizers and sequencer programming, sampler and sample editing, and 'found sounds' Composed and Recorded ca. May 4 to May 14, 2023. sm33G [eM 01] [24WAV].

-+-

"This track was composed whilst appreciating the 'sonic spirits' of two inspirational Friends ...

David Grace + Jonathan Akira Hartnett."

~ Michael

-+-

womb_affliction:

"whimsical female vocal"

https://freesound.org/people/womb_affliction/sounds/330662/#

-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: base composition and electronic manipulationsComposed and Recorded ca. July 29, 2014 and May 27, 2023.Base Composition: "Balm" [disquiet0135-soundofsummer] sm4lev.sm1 [RAW] [32AIF].-+-"For this week's Disquiet Junto assignment -- 0595 ("Filter Progression"), I was called to "make music by processing a static sound."White noise or a field recording had been suggested in the assignment's notes, and My mind harkened way back to a junto assignment in July of 2014, when We were called to "try to record one minute of sound that would suggest to the listener the pleasing experience of air conditioning — of the air being cooled on a hot summer day" [disquiet0135].I recalled how much that junto assignment had been the closest I had done professionally to a field recording (an air conditioner), and used that track -- "Balm sm4lev" -- as the basis for this week's study in frequency and resonance.In My DAW, I first saturated it with the FabFilter "Saturn 2" saturator, then ran the signal through WAVES' "Renaissance Bass" in order to accentuate the track's lowest, prominent frequenc[y/ies] (65Hz to 75Hz), and then put it through FabFilter's "Pro-Q3," and, finally, SoundToys' "Phase Mistress."Throughout all steps, I set out to accentuate the bassiest freqs present in the track:1] I saturated 65-75 Hertz;2] I automated the high-pass and low-pass filters of the "Pro-Q 3," slowly rolling both poles up/down -- respectively -- to 65 to 75 Hertz just prior to the tracks highest volume level;3] I phased the signal, concentrating on 70Hz as the accentuated target frequency and resonance concentration, peaking the effect and its mix to apex at the track's loudent point.Voila! Whoop (there it is!)."~ Michael-+-"More on this 595th weekly Disquiet Junto project, Filter Progression (The Assignment: Make music by processing a static sound), at: https://disquiet.com/0595/About the Disquiet Junto: https://disquiet.com/junto/Subscribe to project announcements: https://tinyletter.com/disquiet-junto/Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0595-filter-progression/"~ Marc Weidenbaum

(Walden; arr. Sharbaugh)Jon Lock [ https://soundcloud.com/jon-lock-5 ]: bass guitar and guitarMichael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synthesizers, and 'found sounds'Composed and Recorded ca. 1981 to July 17, 2021.Remixed and Remastered ca. May 24, 2023.sm50exp [2023 REMIX + REMASTER] sm1 [em 02] [24WAV].-+-

(encym | Hanrath | Kitzmann | Sharbaugh)Andreas Kitzmann [ https://soundcloud.com/andreas-kitzmann-27370936 ]: [electric?] guitar loop improvisationencym [ https://soundcloud.com/encym ]: acoustic and electric guitars improvisationsMichael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: editing, mixing, and 'found sounds'W:I:L-o´the-wisp [ https://soundcloud.com/flyingtonefish ]: 'theremin' and synthesizer 'solo' improvisationComposed and Recorded ca. April 19 to 21, 2023.sm13-02 [eM 03] [24WAV].-+-"I was completely enthralled by Andreas', Roland's, and Wilfried's musical 'answer' to the last Junto assignment (0593 -- a trio recorded at 'asynchronous' times and places). I lovingly dissected their sonic opus, and concocted My own answer to this week's Junto challenge -- 0594, the 'Threemix.'I first diced the intro of Andreas' initial, guitar loop, kept only its first two 'notes,' expanded and looped them to 64.35 BPM -- and repeated them throughout the piece.encym's guitar meanderings were sliced into brief phrases. I ended up with thirty of them, yet used only two of them to offset Andreas' forceful drones. Also featured are two improv sections of His at very low volumes, in order to suggest an subtle 'undulation' in the piece.encym's tonality was originally pitched one semitone higher ('Western-scale'); thus, I lowered (pitch-shifted) it a single semitone. The result is consonance.(One of My fave 'happy accidents' occured while isolating a brief, percussive 'dink' during encym's guitar part [a fingering error?]; that dink -- when saturated, and run through a slap-back and ping-pong delay series -- provided a 'drum' beat that backed the piece.)As the work nears its cadence, enter Wilfried, with His wond'rous 'theremin' riff, of which I isolated one recorded flourish, and repeated it four times. The motif He played introduces itself at a low volume level, fed through two delays and a reverb, which deepened in intensities as the motifs progressed. What makes this piece special for Me is the highly complex -- and joyfully painstaking -- effects automations I crafted throughout it. It took hours of mathematical computations, and programming, in order to make the piece -- itself seemingly 'simple' and 'droney' -- to 'sound' so complex."~ Michael-+-"Disquiet Junto Project 0594: 'Threemix'The Assignment: Remix an asynchronously produced trio.Step 1: You’re going to make a remix of a track from the most recent Disquiet Junto project, which was a collection of trios constructed over the course of three weeks. Listen through the playlist, and check out any additional tracks in the discussion forum:https://soundcloud.com/disquiet/sets/disquiet-junto-project-0593https://llllllll.co/t/disquiet-junto-project-0593-the-charm/Step 2: You might elect to use some of the constituent parts of the series, so do seek out the solo and duet that led to your chosen trio and feel free to employ those, too. Check out the respective llllllll.co threads:https://llllllll.co/t/disquiet-junto-project-0591-the-loneliest-number/https://llllllll.co/t/disquiet-junto-project-0592-better-than-one/ "~ Marc Weidenbaum-+-"The complete work from which this remix borrowed constituent parts can be found here:https://soundcloud.com/flyingtonefish/wilfried-hanrath-with-andreas-kitzmann-encym-encounters-in-the-disquiet0593-The subsequent duet penned by Andreas Kitzmann and encym can be found here, at disquiet0592:https://soundcloud.com/encym/tete-a-tete-disquiet0592-Andreas Kitzmann's lone, discrete track, which was destined for the initial Disquiet Junto assignment, "disquiet0591," can be found here:https://soundcloud.com/andreas-kitzmann-27370936/disquiet0591 "~ Michael-+-

([Sharbaugh] -> [all tracks] | [Konstandinitis|Sharbaugh] -> [track 5])Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocalizations, synthesizers and sequencer programming, sampler and sample programming, guitar, and 'found sounds'DarkStar83 [ @darkstar83 ]: synthesizers and sequencer programming and 'found sounds' [track 5]Composed and Recorded ca. 2013 to March 26, 2023.sm5 [non-stop].

([Sharbaugh] -> [all tracks] | [Konstandinitis|Sharbaugh] -> [track 5])Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocalizations, synthesizers and sequencer programming, sampler and sample programming, guitar, and 'found sounds'DarkStar83 [ @darkstar83 ]: synthesizers and sequencer programming and 'found sounds' [track 5]Composed and Recorded ca. 2013 to March 26, 2023.sm5 [non-stop].

([Sharbaugh] -> [all tracks] | [Konstandinitis|Sharbaugh] -> [track 5])Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocalizations, synthesizers and sequencer programming, sampler and sample programming, guitar, and 'found sounds'DarkStar83 [ @darkstar83 ]: synthesizers and sequencer programming and 'found sounds' [track 5]Composed and Recorded ca. 2013 to March 26, 2023.sm5 [non-stop].

([Sharbaugh] -> [all tracks] | [Konstandinitis|Sharbaugh] -> [track 5])Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocalizations, synthesizers and sequencer programming, sampler and sample programming, guitar, and 'found sounds'DarkStar83 [ @darkstar83 ]: synthesizers and sequencer programming and 'found sounds' [track 5]Composed and Recorded ca. 2013 to March 26, 2023.sm5 [non-stop].

([Sharbaugh] -> [all tracks] | [Konstandinitis|Sharbaugh] -> [track 5])Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocalizations, synthesizers and sequencer programming, sampler and sample programming, guitar, and 'found sounds'DarkStar83 [ @darkstar83 ]: synthesizers and sequencer programming and 'found sounds' [track 5]Composed and Recorded ca. 2013 to March 26, 2023.sm5 [non-stop].

([Sharbaugh] -> [all tracks] | [Konstandinitis|Sharbaugh] -> [track 5])Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocalizations, synthesizers and sequencer programming, sampler and sample programming, guitar, and 'found sounds'DarkStar83 [ @darkstar83 ]: synthesizers and sequencer programming and 'found sounds' [track 5]Composed and Recorded ca. 2013 to March 26, 2023.sm5 [non-stop].

([Sharbaugh] -> [all tracks] | [Konstandinitis|Sharbaugh] -> [track 5])Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocalizations, synthesizers and sequencer programming, sampler and sample programming, guitar, and 'found sounds'DarkStar83 [ @darkstar83 ]: synthesizers and sequencer programming and 'found sounds' [track 5]Composed and Recorded ca. 2013 to March 26, 2023.sm5 [non-stop].

([Sharbaugh] -> [all tracks] | [Konstandinitis|Sharbaugh] -> [track 5])Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocalizations, synthesizers and sequencer programming, sampler and sample programming, guitar, and 'found sounds'DarkStar83 [ @darkstar83 ]: synthesizers and sequencer programming and 'found sounds' [track 5]Composed and Recorded ca. 2013 to March 26, 2023.sm5 [non-stop].

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and sequencer programming, sampler and sample editing, and 'found sounds'Composed and Recorded April 29, 2023.sm5 [eM 02] [24WAV].-+-" ... just another 'exercise' to end-out the hallowed month of April [2023]. April always holds much promise for My creative musical output -- has since I was 17-years-old in '87. Cheers to April!!!"~ Michael-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: guitar arpeggio, samples and sample editing, synthesizers and sequencer programming, and 'found sounds'Composed and Recorded ca. April 2 to April 10, 2023.sm43 [eM default] [24WAV].-+-"This composition features the following Creative Commons Attribution 3.0, and Creative Commons 0, licenses, respectively:'Jovian Synth 4' by thatjeffcarter >>>https://freesound.org/people/thatjeffcarter/sounds/144989/'Working Your New Guitar Idea' by itinerantmonk108 >>>https://freesound.org/s/681622/"-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and sequencer programming and 'found sounds'Composed and Recorded ca. 1992. Transferred from Tascam Porta-One four-track cassette to digital and remixed ca. 2007. Remastered ca. March 12, 2023.[Bp][3B+Sb15c] [LANDRlo].

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and 'found sounds'Composed and Recorded ca. April 23 to April 24, 2013.sm6 [2023 REMASTER] [eM 01] [24WAV].-+-"Inspired by, and dedicated to, the sound-works of the musical artist known as ÐѦRḲϟ✞ѦR83 [DarkStar83] -- Konstantinos Konstadinidis [ https://soundcloud.com/darkstar83 ]."~ Michael-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: electric guitar 'swipes,' synthesizers, and 'found sounds'Composed and Recorded ca. March 20, 2023.sm6 [eM 01] [24WAV].

(Konstantinidis | Sharbaugh)DarkStar83 [Konstantinos Konstantinidis] [ https://soundcloud.com/darkstar83 ]: [software] synthesizersMichael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: guitar [feedback], synthesizers, samplers, and sequencer programming, and 'found sounds'Composed and Recorded ca. July 25, 2022 to March 11, 2023.sm13 [eM 01] [24WAV].-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: piano, synthesizers, drums and drum machine programming, sequencer programming, and 'found sounds'Composed and Recorded ca. January 18, 2021.Remastered ca. February 2, 2023.sm6 [eM 02] [24AIF].-~-"Today, having had the studio [MY studio] available to Me, I diverted My attention away from a dobro piece I was working on with a Friend, Gil Borguez, and decided to set out to create something brand new.I always know the Marc Weidenbaum's [and Everyone's] disquiet junto project will furnish some ideas, should I wish to participate; thus, I checked My email, and discovered this week's assignment, "Jam Time [part 1]," and just, simply, 'got to work.'The notes and three-chord-structure of "Monk's Placid Pillow," I realized earlier -- but after the fact -- somewhat loosely parallels, and carries the rudimentary chord structure, of My Friend, Gil's dobro song, "Cry." I can't be blamed, really, because Gil's song is all I've been working on for days -- it's fixed in My darned psyche!Cautiously, and desiring to not 'finish' the piece, I ceased My work upon it, and submit it here for the consideration of Others."~ Michael-~-"More on this 472nd weekly Disquiet Junto project — Jam Time (1 of 3) / The Assignment: Record the first third of a trio that others will complete — at:https://disquiet.com/0472/More on the Disquiet Junto at:https://disquiet.com/junto/Subscribe to project announcements here:https://tinyletter.com/disquiet-junto/Project discussion takes place on llllllll.co:https://llllllll.co/t/disquiet-junto-project-0472-jam-time/There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.Image associated with this project is by Meg Jones, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:https://flic.kr/p/mDRT9https://creativecommons.org/licenses/by-nc-sa/2.0/ "~ Marc [Weidenbaum]---"Monk's Placid Pillow" contains a Creative Commons Attribution license from 'looper' Cold Womb Descent [ https://freesound.org/people/ColdWombDescent/ ]. The sample is called "CWD_F_accidental beat," and can be found at ...https://freesound.org/people/ColdWombDescent/sounds/511975/

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds'Composed and recorded ca. November 2012 to February 6, 2013.Remastered ca. January 30, 2023.sm21 [2023 REMASTER] [eM 05] [24WAV].-~-"Dedicated to an Old, Good Friend."~ M A S-~-when a man is kindhe lays down his coatto flickers of shared pastsmemorized in rotetickled he may belike feathers under skincaught unawares of this lifeand how it did beginhe’s more than simply tryinghe succeeds where napoleon fellno fears of affections dyingoh what secrets he could tellwhen a man is kindhe lingers by the dooras her presence slips awayhe wishes for just moments moredrowning manwho will save you from yourselffrom those speckled rosesthat decorate your shelfhe’s more than simply tryinghe succeeds where napoleon fellno fears of affections dyingoh what secrets he could tell-+-

(Sharbaugh)Esteban G. Anastasio [ https://soundcloud.com/esteban-anastasio ]: electric guitarMichael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers and sequencer programing, drums and drum machine programming, and 'found sounds'Composed ca. 1987.Recorded ca. 1987 and 2000.[2022 REMASTER] [eM 03] [24WAV].-+-"Esteban! STEB! Your playing was inspirational, spot-on, and rocketed this tune to an entirely NEW level -- way back in 2000!Thanks so much, My Friend and Maestro!"~ Michael [December 30, 2022]-+-i don't need to hear funeral rites to know our love is deadno requiems - no masses - no white lilies - can't you understandthe sun is not eternaland the moon would fade if the sun should fall-i have no jurisdiction posted on your heart, i understandso i guess there's no point in asking you for an empty handthis dance was not eternali never dreamed that our sun would fall-'cos burning in your eyes passions find their only flamei'm just a boy watching his world disintegrate --just a boy watching love turn to ashesforever and a day -- when will fall the rainbehind eyes strong enough to blameof a girl watching love turn to ashes-'cos burning in your eyes passions find their only flamei'm just a boy watching his world disintegrate --just a boy watching love turn to ashesforever and a day -- when will fall the rainbehind eyes strong enough to blameof a girl watching love turn to ashes-'cos burning in your eyes passions find their only flamei'm just a boy watching his world disintegrate --just a boy watching love turn to ashesforever and a day -- when will fall the rainbehind eyes strong enough to blameof a girl watching love turn to ashes-to ashes ...-+-

(Sharbaugh)Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: all instruments, electronics, tapes, samples, and 'found sounds'Composed and Recorded ca. March 24 to March 25, 2013.Remastered ca. November 9, 2022.sm7 [eM 02] ['The Adoring Undulation Master' - 2022] [24WAV].-+-"Inspired by -- and lovingly dedicated to -- the works of Elizabeth Veldon [ https://soundcloud.com/elizabethveldon ] and Peter Hamlin (a.k.a. 'The Holocene') [ https://soundcloud.com/peterhamlin ]."~ Michael (2013)-+-Featured on Michael Ash Sharbaugh's 2013 digital album release, "Penumbra":http://michaelashsharbaugh.bandcamp.com/album/penumbra-+-

(Langley | Sharbaugh | The NME)Michael Langley [ https://soundcloud.com/michael_langley ]: guitar and bass guitarThe NME [ https://soundcloud.com/thenmebeats ]: drum machine, [pre-recorded] loop, synthesizer and sequencer programming, and base [pre-recorded] loop productionMichael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, background vocals, drums and drum machine programming, synthesizers and sequencer programming, and 'found sounds'Composed and Recorded ca. September to October 13, 2013.Remastered ca. November 8, 2022.sm21ml [eM01] [The Silvery Confection Master - 2022] [24WAV].-+-... a collaboration with ...Michael Langley: https://soundcloud.com/michael_langleyThe NME: https://soundcloud.com/thenmebeats..."Deepest thanks to these artists for their 'funkified' contributions!"~ Michael-+-The work that inspired this piece can be heard here:https://soundcloud.com/thenmebeats/free-beat-live-+-

(Deak | Sharbaugh) Christian Frick [ n/a ]: bass guitar Marc T. Rowe [ n/a ]: electric guitars Elizabeth ___?___ [ n/a ]: background vocals Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: lead vocals, background vocals, drums and drum machine programming, synthesizers and sequencer programming, electric guitar processing, and 'found sounds' Composed ca. 1987. Recorded ca. 1998 - 2000. Remastered ca. November 8, 2022. m28 [more wet in beg] ['The Melting Sun Master' - 2022] [eM01] [24WAV].

-+-

"Penned IN and ABOUT an early-20th century 'haunted' house in Philadelphia during the 80s, and recorded in 2000, 'The Chandelier' is a stream-of-consciousness lyrical documentation of My experiences there as a child back in the 70s. The home was owned by the co-writer's parents, and had a distinct chandelier where most of the paranormal activity would center around. Since childhood, it had frightened Me."

~ Michael

-+-

what do you say won't you come out come out today come and play in my garden i'll let you play with my toys

why can't you see light in the form of ecstacy drop your glass but don't break the table lemon chards abound your ears

so hear me - hear me so hear me - [yes] - hear me

(feel it in deep, feel it in high, feel it inside you ...)

hanging alone in a sleepy room gold in its flavoured glow perspired perfumes [from] yesterday yesterday

(feel it in deep, feel it in high, feel it inside you like you're going to die)

-

dim the hallway frozen pictures stare dim the hallway nobody's there the sun melts in your blood the sun melts in your blood feel it in deep feel it in high feel it inside you like your going to die

-

the chandelier won't fall on you, my love the chandelier won't fall

the chandelier the chandelier

+-

(Lindholm | Sharbaugh) Marc T. Rowe [ n/a ]: acoustic and electric guitars Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds' Composed and Recorded ca. 1990 to July 19, 2013. Remastered ca. November 3, 2022. sm14 [the "Zone V-HI" master] [24WAV].

-+-

An extended, unmastered, instrumental version of this song -- with three parts -- can be heard here:

https://soundcloud.com/michael-ash-sharbaugh/the-temptation-trilogy

-+-

"A VERY special thank you to Erik Lindholm [ n/a ], whom I wrote this song with back in 1990: appreciate you letting me spin my own version."

~ Michael

-+-

here held tightly to her side light so easy to see the needs that I possess inside gain possession of me

caught on fire a sudden fire baby so alive with flames and there seems like no tomorrow tomorrow to this game

-

feels so cool in your skin it's like neon in your veins it knows no compassion it knows no grace so Lord forgive me Lord understand the power of temptation's hand

-

strange sometimes it seems so strange at times I cannot fight and though I'm not bruised or defeated I'm bleeding from my soul

temptation's lie burns like fire baby a never-ending flame though I say prayers for tomorrow tomorrow's just the same

-

feels so cool in your skin it's like neon in your veins it knows no compassion it knows no grace so Lord forgive me Lord understand the power of temptation's hand

-+-

(Gore [arranged by Sharbaugh and Klevling]) Ivan Klevling [ https://soundcloud.com/ill-dub-productions | https://soundcloud.com/wizardshoes | https://soundcloud.com/dark-korvettes ]: guitars and 'steel-stringed atmospherics' Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, electronics, drums and drum machine programming, synthesizers, 'atmospherics,' and 'found sounds' Composed and Recorded ca. 1990 to January 19, 2019. sm185 (the 'Bladed Butterfly' master [2022]) [eM13] [24WAV].

-~-

... the instrumental version:

https://soundcloud.com/michael-ash-sharbaugh/blue-dress-ambient-inst

-~-

... for other Michael Ash Sharbaugh + Friends' Depeche Mode covers, see ...

https://soundcloud.com/michael-ash-sharbaugh/sets/depeche-mode-by-michael-ash

-~-

[tempo = 65 BPM]

-~-

put it on and don't say a word put it on the one that I prefer put it on and stand before my eyes put it on please don't question why can you believe

something so simple something so trivial makes me a happy man can't you understand say you believe just how easy it is to please me

because when you learn you'll know what makes the world turn

put it on I can feel so much put it on I don't need to touch put it on here before my eyes put it on because you realise and you believe

something so worthless serves a purpose it makes me a happy man can't you understand say you believe just how easy it is to please me

because when you learn you'll know what makes the world turn

(Depeche Mode, arr. Michael Ash Sharbaugh) Liam J. Boyle [ @liamjboyle ]: electric guitar [choruses] Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synthesizers and sequencer programming, and 'found sounds' Barry Snaith [ @barry_snaith ]: electric guitars [verses, choruses, instrumental, and cadence] and 'pyrotechnic' guitar solo Composed and Recorded ca. 1990 to March 20, 2022. sm50 [eM 10] [24WAV].

-+-

"Liam and Barry ... thank You so much for your lending Your imaginations to this work, and for inspiring Me always, and for continuously adding so many deeper, cerebral dimensions to My works that I could never hope to do alone!"

~ Michael

-+-

(Withers) StarMaker karaoke app for Android [cellphone]: music Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocal Recorded ca. 2021 | 2022. version 01.

(Finn) StarMaker (karaoke app for Android phone): music and background vocals Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: lead vocal Recorded ca 2021 | 2022. version 01.

(Farrar; arr. Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, guitars, synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds' Composed and Recorded 1979 to May 26, 2022. sm75 [EDIT 01] [32AIF].

-+-

This song is dedicated to Heather Vanderpool: "Thanks for introducing Me to 'Xanadu'-proper."

~ Michael Ash Sharbaugh

-+-

come take My hand You should know Me I've always been in Your mind You know I will be kind I'll be guiding You

building Your dream has to start now there's no other road to take You won't make a mistake I'll be guiding You

-

Ya have to believe We are magic nothing can stand in Our way have to believe We are magic don't let Your aim ever stray

and if all Your hopes survive destiny will arrive

and bring all Your dreams alive for You

-

from where I stand You are home free the planets align -- it's so rare there's promise in the air and I'm guiding You

through every turn I'll be near You I'll come every time You call I'll catch You when Ya fall I'll be guiding You

-

Ya have to believe We are magic nothing can stand in Our way have to believe We are magic don't let Your aim ever stray

and if all Your hopes survive destiny will arrive

and bring all Your dreams alive for You

and bring all Your dreams to life for You

-

[ haaaaaa >>> ]

-

Ya have to believe We are magic nothing can stand in Our way have to believe We are magic don't let Your aim ever stray

and if all Your hopes survive destiny will arrive

and bring all Your dreams alive for You

and bring all Your dreams to life for You

-

(Barry Gibb) Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocal StarMaker [an Android phone app]: music Recorded ca. May 18, 2022. _____.

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers Composed and Recorded ca. 1992. [sketch] E4TK [raw].

(Duran Duran; arr. Sharbaugh)  Bonetender [ @bonetender ]: electric guitars  Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synthesizers and sequencer programming, and 'found sounds'  Composed and Recorded ca. 1982 to March 16, 2022.  sm83 [eM-The Mellow High Mix 02] [24WAV].

-+-

"The original version of this song made Me who I am today: I heard #duranduran 's original version for the first time when I was 13, whilst doing homework at the dining room table, and was floored by its beauty.

By the time the song was halfway through, I knew that I wanted to make something as #haunting -ly beautiful, and set out to write #music and #poetry for the rest of My life.

This cover is a #homage to that ‘forever feeling’ -- of #dedication, and of the endless #devotion to My #musical craft. (’Till #death shall #music and I part!)

I have a #video in the works for it, and plan to release #remix -es soon!"

~ Michael

-+-

(Donovan | Sharbaugh) Chuck Donovan [ n/a ]: acoustic guitars and bass guitars Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synthesizers, and 'found sounds' Composed and Recorded ca. 1986. m9ß [VOX] [raw] [___MP3].

-

sister of mine i think it's time you buried your ashes in the sand visions of birds in circles while your heart writhes in pain

blue exists only in colour seashells only in the sand and you seem in such a hurry to understand

[give me] all your pennies for a rainy day [give me] save your pennies for a rainy day

here and now you seem constricted by different senses i saw you swimming in dialogues of jokes forbidden desperations of gothic mercury grazed by flames of possession gardens and paths you never tread

[give me] all your pennies for a rainy day [give me] save your pennies for a rainy day

[give me] all your pennies for a rainy day [give me] save your pennies for a rainy day

[give me] all your pennies for a rainy day [give me] save your pennies for a rainy day

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: tape machine, synthesizers and sequencer programming, and 'found sounds' Composed and Recorded ca. 1990. [lam-sA] [raw].

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and sequencer programming and 'found sounds' Composed and Recorded ca. 1990. [Blk-sB] [raw].

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and sequencer programming and 'found sounds' Composed and Recorded ca. 1990. [Blk-sB] [raw].

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: bass guitar, synthesizers and sequencer programming, and 'found sounds' Composed and Recorded ca. 1991. [Blk-sB] [raw].

(Rowe) Marc T. Rowe [ n/a ]: acoustic and electric guitars Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: guitar treatments, synthesizers, production and engineering, and 'found sounds' Composed and Recorded ca. 1998 to December 19, 1999. [INST demo] m1 [raw] [16AIF].

(Anastasio | Sharbaugh) Esteban Anastasio [ n/a ]: electric guitar Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: drums and drum machine programming, synthesizers and sequncer programming, and 'found sounds' Composed and Recorded ca. 1800s to November 10, 2000. [ENTRY_post-STEB-F].

(Barry | Bricusse) Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocals StarMaker (phone [Android] app): music Recorded on a cellphone ca. March 17, 2022. V4 [for Jonathan Beckenstein].

This performance is dedicated for 'Sir' Jonathan Beckenstein [ https://soundcloud.com/jonathan_beckenstein ].

(Bart) Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocals StarMaker (phone [Android] app): music Recorded on a cellphone ca. February 18, 2019. 01.

(Radiohead [Yorke]) Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocals StarMaker (phone [Android] app): music Recorded on a cellphone ca. January 28, 2022. [Slow Piano Version] [early 2022 - 2022-01-28] [raw] [MP3].

(Peterson | Sharbaugh) Calebass (Mikael Peterson) [ https://soundcloud.com/calebass ]: vocals, acoustic guitar, percussion and drums, and melodica Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: lyrics, 'steely' guitar, drums and drum machine programming, synthesizer and sequencer programming, and 'found sounds' Recorded by Mikael Peterson [Calebass] [ https://soundcloud.com/calebass ] and Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]. Mixed, Produced, and Engineered by Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]. Words and Lyrics by Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]. Composed and Recorded ca. December 7th, 2021 to February 14th, 2022. sm19 [edit01] [eM] [24WAV].

-+-

"Bittermouth II" has two 'sister' recordings that preceded it, "Bittermouth I" [ https://soundcloud.com/michael-ash-sharbaugh/bittermouth-disquiet0520-on-the-clock-sm7 ], and "Bittermouth II" [ https://soundcloud.com/michael-ash-sharbaugh/bittermouth-ii ]-- both instrumentals; this one, "Bittermouth III," features Calebass singing My following lyrics:

-+-

with bittermouth I take You in

arrested in thought adorned in sin

betrothed am I to another's hand yet succumb so swiftly to this Siren's strand

where can My Savior anchor His feet? where might He gild His lungs with an air so sweet?

nowhere close is what I fear once chance taken the cost so dear

with bittermouth i take You in detesting this thought the sinister sin

of My Lover's entropy

-+-

"I, for years, had wanted to collaborate with this fine, unique artist, Calebass; this is the fruit of that labour.

Thank You, Mikael!

"

~ Michael

-+-

(Morissette) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals StarMaker (phone [Android] app): music Recorded on a cellphone ca. January 30, 2022. sm3 [DUET] [DAW] [edit 02] [raw] [32AIF].

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizer and sequencer programming, drum machine and drum machine programming, and 'found sounds' Composed and Recorded ca. 1992. Transferred and Remixed April 11, 2013. Pre-Mastered January 21, 2022. sm16[vox] [edit 01] [2022 Pre-Master] [32AIF].

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and sequencer programming and 'found sounds' Composed and Recorded ca. January 12 to 14, 2022. sm3 [edit01] [32AIF].

(Sharbaugh | Whitham)

(Peterson | Sharbaugh) Calebass (Mikael Peterson) [ https://soundcloud.com/calebass ]: acoustic guitar, percussion and drums, and melodica Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: 'steely' guitar, drums and drum machine programming, synthesizer and sequencer programming, and 'found sounds' Recorded by Mikael Peterson [Calebass] [ https://soundcloud.com/calebass ] and Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]. Mixed, Produced, and Engineered by Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]. Words and Lyrics by Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]. Composed and Recorded ca. December 7th, 2021 to January 3rd, 2022. sm13 [32AIF] [raw].

-+-

"Bittermouth II" has a 'sister' recording, which preceded it, "Bittermouth I" [ https://soundcloud.com/michael-ash-sharbaugh/bittermouth-disquiet0520-on-the-clock-sm7 ].

-+-

"I, for years, had wanted to collaborate with this fine, unique artist, Calebass; this is the fruit of that labour.

Thank You, Mikael!

"

~ Michael

-+-

(Lock | Sharbaugh) Jon Lock [ https://soundcloud.com/jon-lock-5 ]: drums and drum machine programming, bass guitar, guitars, and synthesizers Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synthesizer and sequencer programming, and 'found sounds' Composed and Recorded ca. December 7 to December 29, 2021. sm57 [edit 01] [CB01] [24WAV].

-+-

[Ya] think You've got it all figured out now love Me, leave Me I'm never enough [no] for more than one night don't put up a fight

[ooo ... the coo and the caw]

if Ya had any sense You'd let Me alone not love Me, leave me or hang up the phone [no] just like last night why do We fight?

[ooo ... the coo and the caw]

-

I hear the crow's baneful caw and I return with a dove's chicane coo

-

We've passed beyond the shade of a doubt, Girl, You test Me, pressed Me now I'm out of Your world [yeah] but just like a glove You fit Me, My Love

[ooo ... the coo and the caw]

if I had some gold for every lie that You told I'd be filthy rich, Dear, and ever so bold [yeah] maybe I'd smite maybe I'd bite

[ooo ... the coo and the caw]

-

I hear the crow's baneful caw and I return with a dove's chicane coo

-

Ya think You've got it all figured out, Girl, Ya love Me, leave Me I'm never enough [no] for more than one night don't put up a fight

[ooo ... the coo and the caw]

if I had some gold for every lie that You told I'd be filthy rich, Dear, and ever so bold [yeah] maybe I'd smite maybe I'd bite

[ooo ... the coo and the caw]

-

I hear the crow's baneful caw and I return with a dove's chicane coo

chicane coo

chicane coo

-

[enough]

-+-

(Hallam | Sharbaugh) Adrian Hallam [ https://soundcloud.com/adrianhallam ]: drum machines and drum machine programming, synthesizers and synthesizer programming Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers, drum machines and drum machine programming, and 'found sounds' Composed and Recorded ca. 2015 to March 21, 2019. Remastered ca. December 30, 2021. sm51 [24WAV] [eM] [the "Midnight Marten Mix"].

-+-

T = 102 BPM

(working title: "Sandcastle[s]")

-+-

Here lies the original mix from 2019:

https://soundcloud.com/michael-ash-sharbaugh/onyx-the-sable-stone-mix

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: 'steely' guitar, synthesizers and sequencer programming, drum machine, and 'found sounds' Composed and Recorded ca. December 22 to 23, 2021. sm7 [edit 01] [eM01] [24WAV].

-+-

"I was working on the recording of another work -- "The Shadow of Your Smile" [ https://soundcloud.com/michael-ash-sharbaugh/the-shadow-of-your-smile ] -- when I had 'mistakenly' recorded the two main sequences that make up this tune. I had, at the time, hoped to add them to the "Shadow" song, but, alas, they did not fit, but -- BOY[!!!] -- did they sound great nestled side by side one another as discrete tracks!

Therefore, I continued working on "Shadow," and put them on the desktop backburner in a folder called "put these audio files together." After remembering Marc's prompt a week ago -- "stop procrastinating and do ... some musical idea you’ve been putting off doing all year ... a riff, a new approach to an instrument you use, reworking an existing track ... whatever’s been on your mind," I busted them out, and just did it!

This 'junto' piece is almost a week late, but, as I have done with many other works based on Marc's prompts for the Disquiet Junto, I opened that aforementioned folder, and edited the hell out of the two tracks (snipping them into sections and juxtaposing them over a 3-minute duration), and added more sound (coyote calls, synth flute, and ambience-giving plug-ins -- delay, reverb, chorus, and phaser), and release it now.

Happy Holidaze, Everybody!"

~ Michael Ash Sharbaugh

-+-

"More on this 520th weekly Disquiet Junto project — On the Clock (The Assignment: Get that thing done before the end of the year) — at: https://disquiet.com/0520/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0520-on-the-clock/

There’s also a Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion."

~ Marc Weidenbaum, Disquiet Junto Founder

(Sharbaugh) Thomas C. Grant: guitar Michael Ash Sharbaugh: vocal, synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds' Composed and Recorded ca. September 6th to October 4th, 2017. Remastered ca. November 25, 2021. sm62 [eM02soft] [edit02] [24AIF].

-

well there’s a woman I just met and now my heart’s already in debt

she’s the lady upstairs who has soaked in all my stares

I bet there be stars in her room bet there be stars in her room

now she’s the sweetest girl I’ve known she keeps her candles all aglow

she’s my lady upstairs and now she soaks up all my stares

—

there be stars in her room they hiss and quiver with the Moon they astound and they surround they leave me bound and drowned like her loving

—

now there’s a woman I adore she strikes me deep within my core

she be a maiden yet untouched by a love like mine and now she’s clutched

there be stars in her room there be stars in her room

—

there be stars in her room they hiss and quiver with the Moon they astound and they surround they leave me bound and drowned like her loving

—

they astound and they surround they leave me bound and drowned

they astound, they surround I was lost, but now I’m found

This song is dedicated to Amy Dixon Alarcon.

This is a musical composition edited -- no ... created -- by Margarethe Maierhofer-Lischka, utilizing a conglomerate of small, musical pieces written by Me and all of My Fellow Disquiet Junto compadres. We are helmed and gathered by Marc Weidenbaum.

My piece, "Overcast + Undertaken" [ https://soundcloud.com/michael-ash-sharbaugh/overcast-and-undertaken-disquiet0478 ], was composed for it between February 26 to March 2, 2021.

It originally 'aired' on Radio Helsinki on March 29, 2021 at 7:30 PM; it was published for streaming on the Rcba.com website at https://cba.fro.at/507597 on July 4, 2021.

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: guitar, synthesizers, and 'found sounds' Composed and Recorded ca. November 7 to 8, 2021. sm14 [eM-lo-01] [24WAV].

-

" This work is much more complex than it needed to be: between the myriad and numerous layered sounds and textures, to the short-lived juxtoposition of the two chords – Bm and Dm, which share note F, I got carried away, and swept away (candid details below).

I first laid down the droning Bm guitar (after listening to the band, Cigarettes After Sex, for days), The project was heading towards an ambient reckoning, but, then, a long-time + close Friend and Lover hurt Me. It then took a sinister turn.

I followed up on the guitar by layering [haphazardly] as many pads and sounds I could on top of the two chords without giving a thought, almost, but DID pay attention to the rhythm and cadences. I manipulated the volume curves of each and every track with the utmost of detail after having gotten them out of My system, becoming an audience to the resulting layers, rather than a cognizant, controlling composer.

It was a flurry of manic activity exorcising My hurt; this is the product. "

~ Michael

-

" Disquiet Junto Project 0514: Chord Channels The Assignment: Take two chords and connect them over time.

Step 1: The goal of this project is to produce a slow piece of music in which you move back and forth between two chords. Choose two chords that have at least one note in common.

Step 2: Map out the notes of each chord.

Step 3: Compose a piece of music in which the individual notes of each chord slowly appear and disappear, so that at any point in time part of one chord, or part of both chords, or perhaps even both chords in their entirety can be heard. "

~ Marc Weidenbaum

-

(Armstrong) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocal StarMaker cellphone karaoke app: music [v 1].

(Depeche Mode) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocal StarMaker [an Android phone karaoke app]: music Recorded 2021-10-27 [Simon Le Bon's birthday]. _____.

This performance is dedicated to a Friend + Peer ... Professor Oddfellow [ https://soundcloud.com/prof-oddfellow].

(Depeche Mode) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals StarMaker [an Android phone app]: music Recorded ca. 2019. _____.

(Barry Gibb) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocal StarMaker [an Android phone app]: music Recorded ca. October 26, 2021. _____.

(Depeche Mode) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocal StarMaker cellphone app: music Recorded ca. October 26, 2021. _____.

(Morissette) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocal StarMaker (phone [Android] app): music Recorded on a cellphone ca. 2020. _____.

(Gouldman and Stewart) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocal Starmaker Studios [karaoke app]: music Recorded October 26, 2021 [06:10 AM]. _____.

(MacDonald and Salter; arr. Michael Ash Sharbaugh) Jon Lock [ https://soundcloud.com/jon-lock-5 ]: bass guitar Grace Newton [ https://soundcloud.com/gfolky ]: vocals Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synthesizers, and 'found sounds' Composed and Recorded ca. 1972 to October 23, 2021. Remastered ca. October 26, 2021. sm89 [eM-09] [24WAV].

Our Spotifies:

Jon Lock: [ https://open.spotify.com/artist/4Pd4eR9g6BAnzEu50b2BPt?si=kjfG29LJRzu3c6Rre1GVCQ ] Grace Newton: [ https://open.spotify.com/artist/5xYKLQX2aThChf3rBq1Ywv?si=OHj299L9Smu176rUh_VwmQ ] Michael Ash Sharbaugh: [ https://open.spotify.com/artist/0ZJcUKJJgHJXV4ZIkV9RSJ?si=TldsvSZbS9adY1MstAC1TQ ]

[(Duran Duran) Le Bon, Rhodes, Taylor, Taylor, Taylor, arranged by Steady Delta and Michael Ash Sharbaugh] Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, bass synthesizer, drum machine programming, and found sounds Steady Delta [https://soundcloud.com/steadydelta ]: synthesizers, synthesizer and drum machine programming Composed and Recorded ca. 1983 to August 19, 2016. Remastered October 17, 2021. sm33b [eM].

Mixed by Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]. ('Thanks' go to Russell Sinfield [ https://soundcloud.com/russell-sinfield ] and Steady Delta [ https://soundcloud.com/steadydelta ] for their invaluable guidance during the mixing process!)

“Secret Oktober”

wise on a birthday party in a world full of surprising fireworks and sudden silence (shhh!)

lies on a stranger’s bed the new day breaks like a speeding train or an old friend—ever expected, but never knocking

holding your own in a battered car all night parties, cocktail bars, and smile when the butterfly escapes the killing jar

sure eyes awake before the dancing is over wise or naked in secret oktober

freefall on a windy morning shore nothing but a fading track of footsteps could prove that you’d ever been there

spoken on a cotton cloud like the sound of gunshots taken by the wind and lost in distant thunder

racing on a shining plane tomorrow you’ll be content to watch as the lightning plays along the wires and you’ll wonder

sure eyes awake before the dancing is over wise or naked in secret oktober sure eyes awake before the dancing is over wise or naked in secret oktober

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers and synth programming Composed and Recorded ca. 1991. Remastered October 3, 2021. [original Fave] [m1] [eM] [Come Back + Stay Light] [24WAV].

Wildflower lead Me down to where You sleep where I awoke so fearlessly awake from nightmares warned of the abduction

Angel Girl, the candle's end is near cut Me now sever Me from this breeze

hear Me, Baby hear Me, Baby I bear all My blood to You so afraid I found hunger these few days we have known abandon Me

Wildflower, tell Me now, if You please how You inject so painlessly You stand by the window miles from My affections

Angel Girl, from the highways across the world sever Me from this breeze

hear Me, Baby hear Me, Baby I bear all My blood to You You know You keep Me alive with that something I fear abandon Me

oh no, Baby oh no, Baby You know how You make Me feel You’ve been standing there holding a gun in Your hand don’t use it …

… please

(Lancidel | Sharbaugh) Elizabeth ___?___: 'heavenly' background vocal Marc T. Rowe: acoustic and electric guitars Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synthesizers and synth programming, and 'found sounds' Composed ca. 1991 - 1992. Recorded ca. 1998 - 2000. Re-Mastered ca. September 20, 2021. [ca. 1999] [m48 - NORMD] sm2 [CB02] [24WAV].

(Mandel | Webster; arr. Lock and Sharbaugh) Jon Lock [ https://soundcloud.com/jon-lock-5 ]: maracas, guitars, bass guitar, and synthesizers Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocal, drum machine programming, synthesizers and sequncer programming, and 'found sounds' Composed and Recorded ca. 1965 to September 18, 2021. sm23 [CB01] [24WAV].

Michael dedicates his vocal performance to fellow artist, Jennifer Rickerby [ https://soundcloud.com/user-770908807 ].

"Jon ... thank You: You definitely 'knocked it out of the park,' Bro! Your instrumental performances were exquisite!"

~ Michael

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: drums and drum machine programming, synthesizers and synth programming, and 'found sounds' Composed and Recorded ca. 1992. LilBluBottle.W:FISHm15.

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: keyboard synthesizers and 'found sounds' Composed and Recorded ca. [?] to May 18, 2000. (REG) [E4TK] [circa 2000].

(Sharbaugh) Esteban Anastasio: electric guitar [pre-loop] Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and 'found sounds' Composed and Recorded ca. October 5, to November 23, 2000. [LO-MIX] [m3 - T1B].

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals [?!] Composed and Recorded ca. August 20, 2021. sm2 [edit] [32AIF].

-~-

"Whew! Just completed this project, and, boy ... am I pooped; most disquiet projects/experiments 'write themselves,' but this one was exhausting: due to the absolutely open-ended nature of Marc's prompt, I had nowhere to begin; I just had to 'go with it.'

I quickly laid down some vocal sounds into the DAW and then imported them into a software tool I don't normally use: Roni's 'Amazing Slow Downer.' [It's fab and smooth-quality!] I only had recorded a minute or two of vocalizations, so I slowed them down drastically -- some to 20% of their original speed. I also pitched them up and down so as to make my personal voice unrecognizable. Then I imported them back into my DAW and started composing.

It feels as if I have never been so deliberate with the placement of sound files and volume edits: I spent four hours formulating a 'three-part rhythm' out of the amorphous vocalized sections I had.

I orchestrated them painstakingly, and then 'effected' them -- some on-the-fly, since I naturally had blooming intentions in mind for both the sounds, themselves, and the overall piece, as I composed it.

Here it is: 'Knell.' I chose the name for the dark and eerie nature of the piece."

~ Michael Ash Sharbaugh

-~-

"More on this 503rd weekly Disquiet Junto project — Sing Song (The Assignment: Record a song using only your voice transformed beyond recognition) — at: https://disquiet.com/0503/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0503-sing-song/

There’s also a Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion.

The image associated with this project is by John, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

https://flic.kr/p/2hMq7fw

https://creativecommons.org/licenses/by-nc-sa/2.0/"

~Marc Weidenbaum

(Walden; arr. Sharbaugh) Jon Lock [ https://soundcloud.com/jon-lock-5 ]: bass guitar and guitar Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synthesizers, and 'found sounds' Composed and Recorded ca. 1981 to July 17, 2021. sm50exp [CB01] [24WAV].

-

(Farner; arr. Jon Lock and Michael Ash Sharbaugh) Jon Lock [ https://soundcloud.com/jon-lock-5 ]: drums and drum machine programming, guitars, 'Rhodes piano,' 'piano,' 'Clavinet,' and bass guitar Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, and 'found sounds' Composed and Recorded ca. 1970 to June 19, 2021. sm30 [CB01] [24WAV].

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and 'found sounds' Composed and Recorded ca. June 21, 2021. sm4 [32WAV].

-

"I bought some new effects plug-ins tonight -- W. A. Productions' "Orchid" chorus and "Satyrus" distortion, and wanted to try them out. Rather than simply record random sounds and audition the plug-ins, I thought, "why not compose a piece?" I remembered I hadn't participated in the 'junto' for a few weeks, so checked this week's assignment out: "Compose the sound of a single imaginary insect."

Well ... I missed the word, "single," and, instead, recorded a whole swarm, as per the working title of the assignment.

I laid down a single synth pad note, and changed random sections of its pitch upward to mimic the 'singing' of an "imaginary insect." I then copied and pasted several copies, and tended to time-expanding them all by different ratios (anywhere from 163% to 700%). I ran them through my new plug-ins, distortion first.

Pondering how an insect typically makes noise (by rubbing external body parts), I then took two [or three] different samples of squeaky and creeky doors, and layered them alongside the synth pad notes. I time-expanded the doors by a similar range of ratios, and took (cut-and-pasted, and, yet, more time-expansion) the most insect-like sounds that were interesting, and tried to construct a single pattern from them.

I spent about 4 hours aligning the tracks to rival an insect-like sound pattern.

Oh, and it's intended to be a swarm, and not a single insect, but that should not matter: the disquiet junto progenitors and members and participants have fine imaginations, and will probably forgive me, instead granting the 24-second sound I composed, in effect, a single insect."

~ Michael

-

"More on this 494th weekly Disquiet Junto project — Insect Menagerie (The Assignment: Record a 20-second clip of the sounds of an insect that you yourself have invented) — at: https://disquiet.com/0494/

Thanks to Tobias Reber and Musikfestival Bern for collaboration on this project. More on the festival at:

https://www.musikfestivalbern.ch/ https://www.instagram.com/musikfestival_bern https://www.facebook.com/musikfestivalbern

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0494-insect-menagerie/

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

The image associated with this project is by dr_relling, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

https://flic.kr/p/6RPmAq

https://creativecommons.org/licenses/by/2.0/"

~ Marc Weidenbaum

(Duran Duran; arr. Michael Ash Sharbaugh) Carlos Carty [ https://soundcloud.com/carloscarty ]: Chinese dizi flute and "Canyon Quena" Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synthesizers, and 'found sounds' Composed and Recorded ca. 1982 to May 21, 2021. sm71 [CB02] [24WAV].

-

"Thank You for the amazing 'trackage,' Mr. Carlos Carty! I was extremely fortunate to have Your talents aboard this track!"

~ M A S

(Sharbaugh; arr. Professor Oddfellow and Neons Gone Mad) Professor Oddfellow + Neons Gone Mad [ https://soundcloud.com/prof-oddfellow ]: synthesizers, percussion, video, and production Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, percussion, and 'found sounds' Composed and Recorded November 2012 to April 30, 2021. ______.

- See the full video here: https://www.youtube.com/watch?v=ZIQJp2Jqlnk

-

"Once again, Professor Oddfellow and His Minions have chosen a tune of Mine to remix; this time, it's My 'Fog Rise Echo,' from November of 2012 -- the 1st tune I wrote out of Grad School.

I am blessed, Gents! Thanks!"

~ Michael

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: audio editing and manipulation and production Composed and Recorded ca. 2020 to April 18, 2021. sm3 [orig] [32fpWAV].

-

"I had just purchased a new audio plug-in -- Drip, and wished to try it out. I did not want to test it on any former projects' tracks of mine, so I opted to open a new file on my DAW. Then, I saw Marc's email detailing this week's disquiet junto project.

I downloaded and imported the audio file authored by Chris Kallmyer, and listened to it three times, choosing what portion to edit out and use as a soundbed. I cut a chosen section out, and edited it down to a usable musical measure; the tempo approximated 70.56 beats-per-minute.

I copied and pasted seventeen repetitions of it side by side, and I then effected it with a Blue Cat chorus, SoundToys' MicroShift, and a lush and lovely reverb called Oril River. I automated the reverb to venture from 100% dry to 100% wet over the course of the seventeen bars to give the idea that the chime-bed was fading far-off into the distance over the course of the tune.

I then accidentally found some scraps of audio on my DAW workbench and took them to be happy accidents. I used them, editing out singular tones and rather brief passages. I placed them at the beginning, middle, and end of the soundbed, merely following instinct as I went, eventually forming a coherent composition, which reminded me of clock-chiming; thus, the name of the work.

Funny thing is, I forgot to test and utilize my new Drip plug-in. LOL!"

~ Michael

-

More on this 485th weekly Disquiet Junto project — Strange Weather (The Assignment: Remix the pure sounds of Chris Kallmyer’s traveling wind chimes to your own musical purposes) — at: https://disquiet.com/0485/

More on Chris Kallmyer at: chriskallmyer.com.

Major thanks to Alex Hawthorn for support: alexhawthorn.com

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0485-strange-weather/

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

Image associated with this project is by Chris Kallmyer and used with the artist’s permission.

(Traditional; arr. Michael Ash Sharbaugh) Gary Reeves [ https://soundcloud.com/mountain-songs ]: 'facilitation' and co-production Jamie Rhind [ https://soundcloud.com/jamie-rhind ]: organ Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers and sequencer programming, drums and drum machine programming, 'found sounds,' and production Composed and Recorded ca. ? to April 17, 2021. sm65 [CB05] [24WAV].

-

"I am desirous to thank both Gary Reeves and Jamie Rhind for their expert opinions, patience, perserverence, and art-work on this song; it would not effervese with such life had they not been part of the project!"

~ Michael

-

"The House of the Rising Sun" contains varied Creative Commons licensed samples:

"Vocodor" by tripjazz "G_Ghostchord_128" by DWSD "women_scream_AAA" by thanvannispen "sidechained build up at 128bpm" by djfroyd "synth loop at 128bpm" by djfroyd "EDM style Hook" by SSS_Samples

-

(Conley | Sharbaugh) Prof. Oddfellow [ https://soundcloud.com/prof-oddfellow ]: spiritual radio and haunted grandfather clock Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds' Composed and Recorded ca. October 16, 2015 to March 2, 2021. ___.

What a blessing to have Professor Oddfellow [ https://soundcloud.com/prof-oddfellow ] and His Crew run My mix of "Closer" through Their spirit radio connected to Their haunted grandfather clock! You can see the video episode of Prof. Oddfellow's "Penetralia" that features His performance along Our tune here:

https://www.youtube.com/watch?v=6U0aHaPrx0U

You can follow and subscribe to Professor Oddfellow on You Tube here:

https://www.youtube.com/channel/UCda8pJTvzwH3-Towb1AHhEw

-

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and 'found sounds' Composed and Recorded ca. February 26 to March 2, 2021. sm3.

-

T = 89

-

I aimed immediately ,when I saw this Disquiet Junto prompt, to finish it quickly, using found sounds and light synthesizer treatments. I was inspired instantly about this upcoming aural 'quilt', or "Collage"; Marc's words were My mantra:

"Create a 'musical collage,' however you might define it, likely using the equivalent of cut and paste. When doing so, consider the sense in which your collage might itself become part of a subsequent collage." [~ Marc Weidenbaum ( https://soundcloud.com/disquiet )]

What won'drous words. I set out to find something I could fragment into little pieces, juxtapose, and sew together, like a quilt, a proper piece of music in a perfect little 'square tidbit' that could be infixed into a larger aural tapestry, and be pixelized, and fragmentory, and, thus, stand on its own without being noticed.

I mangled a very lengthy piano improvisation, and kept but seconds of the original, chopped them up, and juxtaposed them against what a Friend, Prof. Oddfellow [ https://soundcloud.com/prof-oddfellow ], has called, " a mechanical toad."

I then added synthesizer treatments.

~ Michael

-

More on this 478th weekly Disquiet Junto project – Collage of Collages (The Assignment: Make a collage that will become part of a larger collage.) – at:

https://disquiet.com/0478/

The project is a collaboration with the radio show Kopfkino, initiated by Margarethe Maierhofer-Lischka. More on Kopfkino at:

https://cba.fro.at/series/kopfkino 10

More on the Disquiet Junto at:

https://disquiet.com/junto/ 1

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co 1:

https://llllllll.co/t/disquiet-junto-project-0478-collage-of-collages/

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

(Child | Farriss) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocal Composed and Recorded circa 2006 to February 9, 2021.

Taken from a karaoke video that was recorded on a Google Pixel 2 XL cell-phone.

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocal, synthesizers, and 'found sounds' Created, Composed, and Recorded ca. 1998. [Mix 3] [sm5].

(Baut | Sharbaugh) Roger Allen Baut [ https://soundcloud.com/roger-allen-baut ]: concept founder, producer, inspiration Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: host, producer, episode creator Compiled and Recorded ca. August and September, 2014. sm5.

This episode of the "Blue Sky Highway" is dedicated to the vision, memory, and goodness of guru Roger Allen Baut [b. 1946 - d. 2018].

~Michael Ash Sharbaugh

=#=

Roger Allen Baut's "Blue Sky Highway" | episode 010: "Calliope's Tears

001-> Gothic Storm Music: "The Universe in a Teardrop" [ n/a ] 002-> Giyo: "Are the Animals Gone" [ https://soundcloud.com/gi-yo/are-the-animals-gone ] 003-> Julsy (feat. Quiet Sun): "Before Hibernation" [ https://soundcloud.com/julsy/before-hibernation-quiet-sun ] 004-> poem: Yosa Buson [18th c] 005-> Luciole Langevine, The Inconsistent Jukebox, and Renaud Deback: "L'Inhumanite" [ https://soundcloud.com/barry_snaith/linhumanite-renaud-duback-barry-snaith-luciole-langevine ] 006-> Hazel Iris: "Spacey Jane" [ https://soundcloud.com/hazel-iris ] 007-> Mr. Fist: "Calling Forth the Spirit" [ n/a ] 008-> poem: Yosa Buson [18th c.] 009-> Zeb Machine: "Destiny" [ n/a ] 010-> Bam Spacey: "Taigon" [ https://soundcloud.com/bam-spacey ] 011-> Moeblestuck Beckman [?]: "L'Armiture" [?] [ n/a ] 012-> poem: Matsuo Basho [17th c.] 013-> Noise Lab: "The Missing" [ n/a ] 014-> Eyes Without a Face: "In and Out of Time" [ n/a ] 015-> LeClair: "Winter Marches On" [ https://soundcloud.com/stefanleclair/winter-marches-on ] 016: > poem: Kobayashi Issa [18th to 19th c.] 017-> Agitation Phi: "Ohm Sweet Ohm" [ https://soundcloud.com/agitationphi ]

=#=

The "Blue Sky Highway" ... in Roger's words:

"The 'Blue Sky Highway' (BSH) [ https://soundcloud.com/blue-sky-highway ] [ https://thecreativenexus.blogspot.com/p/the-blue-sky-highway_19.html ] is an online radio broadcast that features music, song, and spoken word to facilitate contemplation, awareness, and relaxation.

Presently, the BSH [ ... ] may be visited on blogtalkradio [ https://thecreativenexus.blogspot.com/p/the-blue-sky-highway_19.html ], [ ... ], and SoundCloud [ https://soundcloud.com/blue-sky-highway ]! [ ... ]

The Blue Sky Highway for Season One was Roger Allen Baut (Chasing Tao [ https://soundcloud.com/roger-allen-baut ]) founder, producer, host and program concept, with Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ] co-producer and guest host for four episodes of Season One (Episodes 005, 006, 008 and 010), and Adrian Hallam [ https://soundcloud.com/adrianhallam ], music consultant."

~ Roger Allen Baut [b. 1946 - d. 2018]

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(Baut | Sharbaugh) Roger Allen Baut [ https://soundcloud.com/roger-allen-baut ]: concept founder, producer, inspiration Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: host, producer, episode creator Compiled and Recorded ca. May 22, 2014. sm8.

This episode of the "Blue Sky Highway" is dedicated to the vision, memory, and goodness of guru Roger Allen Baut [b. 1946 - d. 2018].

~Michael Ash Sharbaugh

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Roger Allen Baut's "Blue Sky Highway" | episode 008: "Through the Broken Doorway" by Michael Ash Sharbaugh

001-> Michael Ash Sharbaugh: "The Broken Doorway" [ https://soundcloud.com/michael-ash-sharbaugh/the-broken-doorway ] 002-> DarkStar83: "The Mary Celeste" [ https://soundcloud.com/darkstar83/the-mary-celeste ] 003-> Rocky Mountain [feat. Brian Reeves]: "Sorry, I'm Not Good at That Sort of Thing" [ https://soundcloud.com/mountain-songs/sorry-im-no-good-at-that-sort ] 004-> poem: Yosa Buson [18th c.] 005-> Headphones Record [feat. Jim Naked]: "In the Wild" [ n/a ] 006-> A Beautiful Place: "Hello, World" [ n/a ] 007-> Phonograph Johnson: "Pteryldactylope" [ https://soundcloud.com/snuffythevampireslayer/pterodactylope ] 008-> poem: Yosa Buson [18th c.] 009-> Mountain Ash Forest: "Northern Light" [ n/a ] 010-> Fermented Foam Fishes: "Wander Fog" [ https://soundcloud.com/phermentable-foam-fishes/space-tech-keep-it-low ] 011-> Messages in Light: "The Journey 2: The Harvest" [ https://soundcloud.com/messagesinlight/10-the-journey-2-the-harvest ] 012-> poem: Yusa Buson [18th c.] 013-> Adrian Hallam [formerly known as Blue Room Green]: "Falling in Slow Motion" [ https://soundcloud.com/adrianhallam/falling-in-slow-motion ] 014-> Patrick Edward Fagan: "Light of Day" [ n/a ] 015-> Mush: "I Have Everything; I'm Waiting" [ https://soundcloud.com/mushmusic/i-have-everything-im-waiting ] 016-> poem: Yosa Buson [18th c.] 017-> MonoGirl: "Sheep [demo version]" [ https://soundcloud.com/mono-girl/sheep-live-recording ] 018-> Masaya Ozaki [ https://soundcloud.com/masayaozaki ]: "Ice" 019-> Irradiated Camera: "Baltic" [ https://soundcloud.com/irradiated_camera/baltic ] 020-> poem: Yosa Buson [18th c.]

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The "Blue Sky Highway" ... in Roger's words:

"The 'Blue Sky Highway' (BSH) [ https://soundcloud.com/blue-sky-highway ] [ https://thecreativenexus.blogspot.com/p/the-blue-sky-highway_19.html ] is an online radio broadcast that features music, song, and spoken word to facilitate contemplation, awareness, and relaxation.

Presently, the BSH [ ... ] may be visited on blogtalkradio [ https://thecreativenexus.blogspot.com/p/the-blue-sky-highway_19.html ], [ ... ], and SoundCloud [ https://soundcloud.com/blue-sky-highway ]! [ ... ]

The Blue Sky Highway for Season One was Roger Allen Baut (Chasing Tao [ https://soundcloud.com/roger-allen-baut ]) founder, producer, host and program concept, with Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ] co-producer and guest host for four episodes of Season One (Episodes 005, 006, 008 and 010), and Adrian Hallam [ https://soundcloud.com/adrianhallam ], music consultant."

~ Roger Allen Baut [b. 1946 - d. 2018]

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(Baut | Sharbaugh) Roger Allen Baut [ https://soundcloud.com/roger-allen-baut ]: concept founder, producer, inspiration Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: host, producer, episode creator Compiled and Recorded ca. April 4, 2014. BSH [006 - TIN] sm6 - 6.

This episode of the "Blue Sky Highway" is dedicated to the vision, memory, and goodness of guru Roger Allen Baut [b. 1946 - d. 2018].

~Michael Ash Sharbaugh

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Roger Allen Baut's "Blue Sky Highway" | episode 006: "The Imperfect Nest"

001-> Madoka: "Dropped" [ n/a ] 002-> Raiku: "There For You" [ n/a ] 003-> Static in Verona: "Rosemary (Bury Me)" [ https://soundcloud.com/staticinverona/rosemary-bury-me ] 004-> Stephan Desmeulles [?]: "Insulated" [ n/a ] 005-> Lady of Fire Poetry [feat. Tanisha Jackland]: "Evolving Eden" [ https://soundcloud.com/ladyofire/evolving-eden ] 006-> Julsy and Michael Ash Sharbaugh: "Glitter Sun Harbour" [ https://soundcloud.com/michael-ash-sharbaugh/glitter-sun-harbour-julsy-and ] 007-> Steph Sweet and Steve Vercelloni: "Lost in a Storm" [ https://soundcloud.com/steve-vercelloni ] [ https://soundcloud.com/steph-sweet ] 008-> Paul Emery [?]: "BloodSucker" [?] [ n/a ] 009-> The GunPrinter: "Belong" [ n/a ] 010-> Guiville [feat. Courtney Odom]: "Silence" [ https://soundcloud.com/guiville/silence ] 011-> The Inconsistent Jukebox and Iohannes: "Endless Flight" [ https://soundcloud.com/barry_snaith/endless-flight-iohannes-the-1 ] 012-> The Capistrano Birds: "The End of Days (Acoustic Version - First Take)" [ https://soundcloud.com/thecapistranobirds/end-of-days-acoustic-version ] 013-> quarkstrangenesscharm: "De Lange Leegt" [?] [ https://soundcloud.com/quarkstrangesscharm/de-lange-leegte ] 014-> Vix (Vicks) [?]: "Dark Fix" [ n/a] 015-> PsY SurF: "Playa De Redonda" [?] [ https://soundcloud.com/psysurf ]

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The "Blue Sky Highway" ... in Roger's words:

"The 'Blue Sky Highway' (BSH) [ https://soundcloud.com/blue-sky-highway ] [ https://thecreativenexus.blogspot.com/p/the-blue-sky-highway_19.html ] is an online radio broadcast that features music, song, and spoken word to facilitate contemplation, awareness, and relaxation.

Presently, the BSH [ ... ] may be visited on blogtalkradio [ https://thecreativenexus.blogspot.com/p/the-blue-sky-highway_19.html ], [ ... ], and SoundCloud [ https://soundcloud.com/blue-sky-highway ]! [ ... ]

The Blue Sky Highway for Season One was Roger Allen Baut (Chasing Tao [ https://soundcloud.com/roger-allen-baut ]) founder, producer, host and program concept, with Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ] co-producer and guest host for four episodes of Season One (Episodes 005, 006, 008 and 010), and Adrian Hallam [ https://soundcloud.com/adrianhallam ], music consultant."

~ Roger Allen Baut [b. 1946 - d. 2018]

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(Baut | Sharbaugh) Roger Allen Baut [ https://soundcloud.com/roger-allen-baut ]: concept founder, producer, inspiration, co-host Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: host, producer, episode creator Compiled and Recorded ca. February 24, 2014. sm6.

This episode of the "Blue Sky Highway" is dedicated to the vision, memory, and goodness of guru Roger Allen Baut [b. 1946 - d. 2018].

~Michael Ash Sharbaugh

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Roger Allen Baut's "Blue Sky Highway" | Episode 005: "Air Castles" by Michael Ash Sharbaugh

001-> Blue Room Green [Adrian Hallam]: "Prism" [ https://soundcloud.com/adrianhallam/prism ] 002-> ambientsketchbook: "To Find Heaven" [ https://soundcloud.com/ambientsketchbook/to-find-heaven ] 003-> Michael Ash Sharbaugh and Adrian Hallam: "The Parting" [ https://soundcloud.com/michael-ash-sharbaugh/the-parting-michael-ash ] 004-> poem: Matsuo Basho [17th c.] 005-> Rizzi: "Sonar Vortex" [ https://soundcloud.com/rizzi ] 006-> Zach Zinn: "Pulling Arrows" [ https://soundcloud.com/zach-zinn/pulling-arrows ] 007-> Shoot the Wendy Bird: "Lady in White" [ https://soundcloud.com/shoot-the-wendy-bird/lady-in-white-shoot-the-wendy ] 008-> poem: Matsuo Basho [17th c.] 009-> Denominated Dreams: "The Strongest Boat on My Wife's Sea" [ https://soundcloud.com/pepper-pepper-2/the-strongest-boat-on-my-wifes ] 010-> Gardi LeGeux [?]: "Lazy Rider" [ n/a ] 011-> Super Miracle Dream Team: "Polaroid # 13" [ https://soundcloud.com/super-miracle-dream-team/polaroid-13 ] 012-> poem: Matsuo Basho [17th c.] [?] 013-> Lucho Ripley: "Dos Preludios" [ https://soundcloud.com/lucho-ripley/dos-preludios-1 ] 014-> Pipe Choir 2 [?]: "Light to Light" [ https://soundcloud.com/pipe-choir-2 ] 015-> The B D Method: "Pride River" [ ? ] 016-> poem: Matsuo Basho [17th c.] 017-> slushy [?]: "Lady Flambee [I Spy Catskin Jack Mix]" [?] [ n/a ] 018-> Brumes: "Martin's Scale" [ https://soundcloud.com/brumes/martins-scale ] 019-> Kenji Kishii: "Interlude #1: With Hawaiian Birds, Waves, Bells" [ https://soundcloud.com/kenchanpp/interlude-1-w-hawaiian-birds ] 020-> poem: Matsuo Basho [17th c.] 021-> poem: Roger Allen Baut: "Air Castles" | music: Herbs Are Flying: "In a Grey Light" [ n/a ]

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The "Blue Sky Highway" ... in Roger's words:

"The 'Blue Sky Highway' (BSH) [ https://soundcloud.com/blue-sky-highway ] [ https://thecreativenexus.blogspot.com/p/the-blue-sky-highway_19.html ] is an online radio broadcast that features music, song, and spoken word to facilitate contemplation, awareness, and relaxation.

Presently, the BSH [ ... ] may be visited on blogtalkradio [ https://thecreativenexus.blogspot.com/p/the-blue-sky-highway_19.html ], [ ... ], and SoundCloud [ https://soundcloud.com/blue-sky-highway ]! [ ... ]

The Blue Sky Highway for Season One was Roger Allen Baut (Chasing Tao [ https://soundcloud.com/roger-allen-baut ]) founder, producer, host and program concept, with Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ] co-producer and guest host for four episodes of Season One (Episodes 005, 006, 008 and 010), and Adrian Hallam [ https://soundcloud.com/adrianhallam ], music consultant."

~ Roger Allen Baut [b. 1946 - d. 2018]

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(Child | Farriss) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocal Composed and Recorded circa 2006 to March 2, 2018.

Taken from a karaoke video that was recorded on a Google Pixel 2 XL cell-phone.

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: pianos, synthesizers, drums and drum machine programming, sequencer programming, and 'found sounds' Composed and Recorded ca. January 18, 2021. sm6 [16WAV].

Today, having had the studio [MY studio] available to Me, I diverted My attention away from a dobro piece I was working on with a Friend, Gil Borguez, and decided to set out to create something brand new.

I always know the Marc Weidenbaum's [and Everyone's] disquiet junto project will furnish some ideas, should I wish to participate; thus, I checked My email, and discovered this week's assignment, "Jam Time [part 1]," and just, simply, 'got to work.'

The notes and three-chord-structure of "Monk's Placid Pillow," I realized earlier -- but after the fact -- somewhat loosely parallels, and carries the rudimentary chord structure, of My Friend, Gil's dobro song, "Cry." I can't be blamed, really, because Gil's song is all I've been working on for days -- it's fixed in My darned psyche!

Cautiously, and desiring to not 'finish' the piece, I ceased My work upon it, and submit it here for the consideration of Others. I uploaded a 16-bit, 44.1kHz WAV file to SoundCloud for Others to download, but can provide a higher-quality, 32-bit floating point version, if anyone desires one.

More on this 472nd weekly Disquiet Junto project — Jam Time (1 of 3) / The Assignment: Record the first third of a trio that others will complete — at:

https://disquiet.com/0472/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0472-jam-time/

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

Image associated with this project is by Meg Jones, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

https://flic.kr/p/mDRT9

https://creativecommons.org/licenses/by-nc-sa/2.0/

"Monk's Placid Pillow" contains a Creative Commons Attribution license from 'looper' Cold Womb Descent [ https://freesound.org/people/ColdWombDescent/ ]. The sample is called "CWD_F_accidental beat," and can be found at ...

https://freesound.org/people/ColdWombDescent/sounds/511975/

(Ledwidge | Sharbaugh) Chris Ledwidge [ https://soundcloud.com/chrisledwidge ]: (real) piano and recording production Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and recording production Composed and Recorded ca. January 2021. Disquiet 0473 [2 Of 3] [L - R Separated Mix] sm2.

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This disquiet junto 0473 [part 2 of 3] track, "The Wolf's Baleen," was inspired by the disquiet junto 0472 [part 1 of 3] recording by Chris Ludwidge [https://soundcloud.com/chrisledwidge ] called "No. 34 in Am" [ https://soundcloud.com/chrisledwidge/no-34-in-am-disquiet0472 ].

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"I was so overwhelmed by the work by composer, Chris Ludwidge, and his disquiet junto 0472 piece, "No. 34 in Am," that I promptly downloaded it and got to work for this week's Disquiet Junto assignment, 'Placebo Effect."

I had but three hours to compose my piece, "The Wolf's Baleen," and knew I would have to fly into it. What struck me about the floating fragments of Chris' piece was how much it reminded me of some of Brian Eno's piano fragments and treatments on "Ambient #1: Music for Airports"; thus, I set out instinctively to complement Chris' tinklings on the piano: I first learned his piano figures, mimicked them, and based emphatic stylings upon certain notes (namely the B-flat note), adding treatments, such as a rhythmic delay and erratic reverberation changes.

I would write more, but my time has run out at the studio.

Thanks, Chris!"

~ Michael

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More on this 473rd weekly Disquiet Junto project — Placebo Effect (1 of 3) / The Assignment: Record the second third of a trio that others will complete — at:

https://disquiet.com/0473/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0473-placebo-effect/

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

Image associated with this project is by Israel Avila, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

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

https://creativecommons.org/licenses/by-nc-sa/2.0/

(Sharbaugh) Adrian Hallam [ https://soundcloud.com/adrianhallam ]: drums and drum machine programming and bass synth Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, drums and drum machine programming, and 'found sounds' Composed and Recorded ca. September 28 to November 12, 2020. sm31 [24WAV] [CB1].

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"Give Yourself Completely."

"Don't ever Wander Far."

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Warm 'thanks' [!] for the supportive contributions furnished by long-time collaborator, Adrian Hallam: his rough sketch, "Chasing Your Tail" [2020], inspired this track.

This song is dedicated to Amy Dixon Alarcon.

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(Sharbaugh [and 'others']) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: 'found sounds' Composed and Recorded ca. 2013 to July 26, 2020. sm5 [32fpWAV] [eM].

During this tenuously denormalized environment that we, as humans, face currently amid the COVID-19 epidemic, most musicians [and non-musicians] are discovering ample time on their hands that can be utilized for creative endeavors; hence, for this week's disquiet junto, I imagined, as Marc had stated, "[an] idea of looking ahead, of projecting, and inhabiting that projection," and set out to produce a work of sound that might become representative of manners of compositions by musicians and non-musicians, alike, briefly ahead in the future.

To that end, I struck off into this project intending to be pure audience to the piece; that is, I desired build a soundscape that was completely out of my control, and to which I never input a single note or sound via my usual musical tools and instruments. Six months from now, I imagine the word's aural archive will have grown in its number of works created by non-musicians with no musical instruments, save a computer for retrieving, and mixing, pre-composed soundfiles.

But, of course, when composing and mixing a project in a DAW, egotistical control and inward aesthetic always prevails in my case -- I had to choose and edit several huge beds of sound, layer them side-by-side, and judge the manners in which they collided and existed together (i.e., volume fades, effects, and panning).

I chose the pre-recorded online file archive of freesound.org as my nest egg of sound options: I entered the words "space" and "a-note" into the search field over a period of five hours, and auditioned, chose, and melded, seven distinct soundfiles that were ten- to ninety-minutes in length, as might a non-musician [?1], and mixed them together -- of course to my aesthetic (i.e., volume fades, effects, and panning).

This is the result: "In the Orbit of a Victorian Fireplace."

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"More on this 447th weekly Disquiet Junto project, Listen Ahead (The Assignment: Make some music for the near future), at:

https://disquiet.com/0447/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0447-listen-ahead/

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

-

The soundfiles contained in this composition can be found below.

"factoryplace" by Omar Alvarado https://freesound.org/people/Omar%20Alvarado/sounds/474157/

"Alien Soundscape - Long" by Speedenza https://freesound.org/people/Speedenza/sounds/198532/

"mix mfo3b7 113" by ERH https://freesound.org/people/ERH/sounds/138436/

"Spaceship Ambience" by revolt2563 https://freesound.org/people/revolt2563/sounds/443499/

"Glass Aquaphone Drone 2" by be-steele https://freesound.org/people/be-steele/sounds/322990/

"A Spaceship Fly-by" by InspectorJ https://freesound.org/people/InspectorJ/sounds/397948/

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(Cohen, arr. Michael Ash Sharbaugh) Jonathan Beckenstein [ https://soundcloud.com/jonathan_beckenstein ]: guitars Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, drum machine and drum machine programming, and 'found sounds' Composed and Recorded ca. 1984 to July 8, 2020. sm43 [24WAV] [CB].

"Hallelujah" contains a Creative Commons [Attribution License] sample of Adam Wayne Gistarb's "Guitar & Mexican Flute."

https://freesound.org/people/deleted_user_4401185/sounds/242088/

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Jonathan:

Thank you! It was a pleasure working beside Ya. I've admired You for a long time. As expected, Your parts were 'right-on': deft + dreamy, and completely wonderful! They truly infused this song with a grounding of warmth and vitality! ;)

~ Michael

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Apple Music: http://itunes.apple.com/album/id/1524503630

Spotify: https://open.spotify.com/album/01vwoFVqcTjUg1Qqf6iLpn

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(Idol | Stevens, arr. by Michael Ash Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocal, synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds' Billy Gewin [ https://soundcloud.com/billy-gewin ]: bass guitars Jacob Kersey [ n/a ]: trumpets Colt Elvis Simmons (C Fo Fifth) [ https://soundcloud.com/cfofifth ]: "breathy gasps" and "hey"; inspiration for mid-section rhythm, 'rap,' and lyrics Composed and Recorded ca. 1984 to April 17, 2020. sm167 [eM] [24WAV].

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"My #ode to Billy Idol and [My Favorite] guitarist, Steve Stevens, took 8 months to complete, and was just released today across the interwebs.

I wish to thank trumpeteer, Jacob Kersey, bassist, Billy Gewin, and Good Friend, Colt Elvis Simmons, for their creative contributions toward this project!

David Grace [ https://soundcloud.com/david-grace-songs ]: thanks for the rap section suggestions!

I am very proud, and highly thankful!"

~ M

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eightiesmusic #popsong #eyeswithoutaface #billyidol #stevestevens #michaelashsharbaugh #rebelyell

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" I realize she's a siren disguised her lullaby is injected as her teeth incise she's highly infectious she's leavin' me feckless I follow a deathwish when I hear her breath hiss eyes without a face her lips do encase she's like Eve with an apple 'Arsenic and Old Lace' [yet I'm drinkin' her down] what's all this fuss 'bout a psychedelic trip [when she can murder me and still be hip] I'm so blue --- she's out there so ... I'll say my prayers say my prayers say my prayers "

"Smoke Signals" (Hallam | Sharbaugh) Adrian Hallam [ https://soundcloud.com/blue-room-green ]: synthesizers, drum machines, and found sounds Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers, drum machines, and found sounds Composed and Recorded ca. February 2014 to October 14, 2018. sm125 [eM] [24WAV].

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"Boy Toy" (Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synthesizers, and 'found sounds' Composed and Recorded circa 2017 to March 6, 2020. sm125 [eM] [24WAV].

This song was initially heralded by the release of Me and Adrian Hallam's [https://soundcloud.com/adrianhallam ] instrumental, folktronic piece, "Smoke Signals" [ https://soundcloud.com/michael-ash-sharbaugh/smoke-signals-intro ].

Click here to listen to "Boy Toy" by itself, click below:

https://soundcloud.com/michael-ash-sharbaugh/boy-toy

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synthesizers, and 'found sounds' Composed and Recorded circa 2017 to March 6, 2020. sm126 [eM] [24WAV].

This song was initially inspired by the cadence of Me and Adrian Hallam's [https://soundcloud.com/adrianhallam ] instrumental, folktronic piece, "Smoke Signals" [ https://soundcloud.com/michael-ash-sharbaugh/smoke-signals-intro ].

Click here to listen to "Smoke Signals" and "Boy Toy" seamlessly blended, as it was originally intended to be:

https://soundcloud.com/michael-ash-sharbaugh/smoke-signals-boy-toy/s-7AOa9

I've trudged these streets so long let me tell you why my little baby's gone her love used to make me high like a rose in the springtime now there's only mud and rain my little baby's gone what to do with all this pain

I was your boy-toy 'cos you played around with me my heart my body are reeling I bear the scars of 'never good enough for you' so long, baby, we're through

she used to be my chapel with an altar far and wide accepted all my alms boy, she could make my steeple rise to the clouds in the springtime now there's only mud and rain my little baby's gone what to do with all this pain

I was your boy-toy 'cos you played around with me my heart my body are reeling I bear the scars of 'never good enough for you' so long, baby, we're through

I was your boy-toy 'cos you played around with me my heart my body are reeling I bear the scars of 'never good enough for you' so long, baby, we're through

I was your boy-toy 'cos you played around with me my heart my body are reeling I bear the scars of 'never good enough for you' so long, baby, we're through

This song is dedicated to Amy Dixon Alarcon.

(Juncherre Beatz | Sharbaugh) Juncherre Beatz [ @juncherre-beatz ]: drum programming, and synthesizers Michael Ash Sharbaugh [ @michael-ash-sharbaugh ]: vocals, drum machines and programming, loops, synthesizers, and 'found sounds' Composed and Recorded ca. August 2019 to February 2, 2020. sm54 [24WAV].

“B U S H H O N E Y”

never was one to hold my tongue fear is last | and I am young

never ever gonna hold back my hand from your skin | cos you’re my land

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cos you - are an all-night party you - not a one-night stand you - lead me to the fields I beckon you

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never was one to hold my tongue fear is last | and I am young

never ever gonna hold back my hand from your skin | cos you’re my land

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cos you - are an all-night party you - not a one-night stand you - lead me to the fields I beckon you

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ooooo – I don’t want to spook you, but I’ve got to tell ya, ‘you’re my forever girl’

I’m puttin’ my cards right on the table cos you have been my world

if there’s any chance we could reign forever – side-by-side – let the dream unfurl …

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(Peters | Sharbaugh) John Stacey Peters: keys, keyboards, and synth | synthesizer Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocal, drum machine programming, synth | synthesizer, and 'found sounds' Composed and Recorded circa March 2001. Remixed circa September 27, 2019. sm3 [part IB + IIA] [16AIF].

(Peters | Sharbaugh) John Stacey Peters: keys, keyboards, and synth | synthesizer Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocal, drum machine programming, synth | synthesizer, and 'found sounds' Composed and Recorded circa March 2001. Remixed circa September 26, 2019. sm1 [new Main] [16AIF].

(Hallam | Sharbaugh) Adrian Hallam [ https://soundcloud.com/adrianhallam ]: synths | synthesizers, drum machine and drum machine programming Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synths | synthesizers, drum machine and drum machine programming, and 'found sounds' Composed and Recorded ca. September 19, 2019. sm15 [16AIF].

(Hallam | Sharbaugh) Adrian Hallam [ https://soundcloud.com/adrianhallam ]: drum machine, drum programming, synth bass, synths | synthesizers Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: drum machine, synths | synthesizers, piano, 'found sounds' Composed and Recorded ca. April 2019 to August 29, 2019. sm25 [24-bit, 44.1kHz] [t = 120].

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[ "dia -" (through) + "-lect-" (language) + "-ida" (of the insect family) ]

=

'through the language of the insect family'

(Gallup | Hartley | Smith | Tolhurst) Liam J. Boyle: bass guitar, guitars, and drum programming Michael Ash Sharbaugh: vocals Composed and Recorded ca. 1979 to February 2, 2016. sm15 [ARIA (B)].

To hear more of Liam J. Boyle's musical works, visit his SoundCloud page: https://soundcloud.com/liamjboyle

A huge thank you to Liam J. Boyle for 'taking me in' on this track. I loved the experience, and hope to do it again!

"A Forest" (Gallup | Hartley | Smith | Tolhurst)

Come closer and see See into the trees Find the girl While you can Come closer and see See into the dark Just follow your eyes Just follow your eyes

I hear her voice Calling my name The sound is deep In the dark I hear her voice And start to run Into the trees Into the trees

Into the trees

Suddenly I stop Though I know it's too late I'm lost in a forest All alone The girl was never there It's always the same I'm running towards nothing Again and again and again and again and again and again …

(Joel) Billy Joel: all lyrics, music, and original background recording Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: foreground karaoke-style vocals Recorded ca. 2016.

(Hallam | Sharbaugh) Adrian Hallam [ https://soundcloud.com/adrianhallam ]: drum machines and drum machine programming, synthesizers and synthesizer programming Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers, drum machines and drum machine programming, and 'found sounds' Composed and Recorded ca. 2015 to March 21, 2019. sm51 [24WAV] [CB DX + Bass] [the 'Sable Stone' mix].

T = 102 BPM

(working title: "Sandcastle[s]")

--

(Hallam | Sharbaugh) Adrian Hallam [ https://soundcloud.com/adrianhallam ]: synthesizers, drum machine and sequencer programming, guitar Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers, drum machines and programming, and 'found sounds' Composed and Recorded ca. August 28, 2016 to February 1, 2019. sm33D [24WAV][CB Darling Dream House].

(Original 'working title': "Darling Dream")

(traditional; sung by The Chung Sisters; arranged by Michael Ash Shabaugh) Michael Ash Sharbaugh: synthesizers and found sounds The Chung Sisters: vocals Composed and Recorded ca. 2001 to December 23, 2014. sm81 [ARIA(C)].

"A Ri Rang" (or "Arirang") is a traditional Korean folk song that is, by many, considered Korea's unofficial national anthem. 'Arrirang' is named for one or several mountain passes in Korea, where it is told that a mythical maiden was murdered by her unrequited lover. However, this tragic story has been tamed, and has been further romanticized into one recounting, simply, a maiden who complains about her unresponsive lover.

The version here, to which I remixed and added instrumentation, was recorded by The Chung Sisters in the late 1960s. It is from a extremely rare vinyl LP entitled "Traditional Folk Songs."

(Sharbaugh) Michael Ash Sharbaugh: all instruments and found sounds Composed and Recorded ca. early June 1990. Transferred and Remixed ca. March 10, 2013. sm5 [Limitless][CB Oceanic][24WAV].

Featured on Michael Ash Sharbaugh's digital release, "Penumbra": http://michaelashsharbaugh.bandcamp.com/album/penumbra

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers, drum machines and drum machine programming, and 'found sounds' Composed and Recorded ca. March 2, 2019. sm7 [32fpAIF] [short].

T = 110 BPM

key | scale = A-sharp ||| B-flat minor

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers, drum machines, and 'found sounds' Composed and Recorded ca. February 21, 2019. sm3.

As per 'Copernican,' Jonathon Keats' and Marc Weidenbaum's disquiet junto [ https://soundcloud.com/disquiet ] experimental assignment this week, "record a piece of music intended for an alien species," I opted to not spend a lot of time on the project; I opted for two to three hours, thereby removing Myself from 'romancing,' 'massaging,' and 'logisticizing' this work into a 'Western-Earth-music,' dead-end corner, thereby dismissing the call of the assignment.

I -- in My most experimental mindsets -- have always explored the time constituent of musics; that is, I have always been interested and mystified by hearing the harmonic structures, rhythms, and secret surprises that await one when music is slowed down on a tape-based recording and, albeit with sonic artifacts, time-expanded grossly.

It's inspiring to hear what lay just 'in-between the cracks' of a familiar, or unfamiliar, recording; hence, I began by creating a random short phrase of 'music' from a synth, layering it, and time-expanding it by 230%.

From there, I just flowed: I added, and subtracted, and judged, and hated on over 60% of what I laid down; it was either too 'Earth-musical,' or expected, or ubiquitous, Earth-music-wise. [LOL!!!]

I wanted to imagine, and record, what a sentient and aesthetic, alien species would consider an orchestral-trap piece of music.

As for the technical aspects of the process, I exaggerated EQ boosts and cuts, imagining that aliens' hearing apparatus might be unique from ours; I veered away from Earthly musical scales, and even-numbered time-signatures.

I did, however, realize (or, rather, assume ... [mistake?!]) that an alien species would experience the dimension of time similarly to us humans.

I named the piece after a favourite electronic music pioneer, Milton Babbitt, whom I met after His performance at Swarthmore University in the state of Pennsylvania, United States of America, in the early '90s.

Here is the result: "Babbitt ['Copernican']" ...

"More on this 373rd weekly Disquiet Junto project — Copernican Music / The Assignment: Record a piece of music intended for an alien species — at:

https://disquiet.com/0373/

This week’s project was made as a proposition by the artist Jonathon Keats.

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:

https://llllllll.co/t/disquiet-junto-project-0373-copernican-music/

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

The image associated with this project is from one of Keats’ own instruments related to his Copernican artwork, a gravitational radio. Photo credit: Dora Tsui. "

~ Marc Weidenbaum

(Gore [arr. Michael Ash Sharbaugh]) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, loops, drum machines, 'happy accidents,' and 'found sounds' Composed and Recorded ca. 1987 to January 19, 2019. sm428 [24AIF] [CB D + B mix].

... the instrumental version:

https://soundcloud.com/michael-ash-sharbaugh/i-want-you-now-drums-bass-instrumental-mix-instrumental-michael-ash-sharbaugh

--

I want you now tomorrow won't do there's a yearning inside and it's showing through

reach out your hands and accept my love we've been waiting for too long enough is enough

I want you now

my heart is aching my body is burning my hands are shaking my head is turning

do you understand it's so easy to choose we've got time to kill we've got nothing to lose

I want you now

and I don't mean to sound like one of the boys that's not what I'm trying to do I don't want to be like one of the boys I just want you now

'cos I got a love a love that won't wait a love that is growing and it's getting late

do you know what it means to be left this way when everyone's gone the feelings they stay

I want you now

Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals Recorded ca. 2018. version 05.

... a li'l sumptin' recorded on My phone using a karaoke app.

https://soundcloud.com/michael-ash-sharbaugh

... circa mid- 2018.

... 'wuv dis tune!'

M ~

Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals Recorded ca. 2018. version 05.

... a li'l sumptin' recorded on My phone using a karaoke app.

https://soundcloud.com/michael-ash-sharbaugh

... circa early 2018.

... 'wuv dis tune!'

M ~

(Gore [arr. Michael Ash Sharbaugh]) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, loops, drum machines, 'happy accidents,' and found sounds Composed and Recorded ca. 1987 to January 20, 2019. sm428inst [24WAV] [CB D + B mix].

... the vocal version:

https://soundcloud.com/michael-ash-sharbaugh/i-want-you-now-deep-house-mix

...

... [

I want you now tomorrow won't do there's a yearning inside and it's showing through

reach out your hands and accept my love we've been waiting for too long enough is enough

I want you now

my heart is aching my body is burning my hands are shaking my head is turning

do you understand it's so easy to choose we've got time to kill we've got nothing to lose

I want you now

and I don't mean to sound like one of the boys that's not what I'm trying to do I don't want to be like one of the boys I just want you now

'cos I got a love a love that won't wait a love that is growing and it's getting late

do you know what it means to be left this way when everyone's gone the feelings they stay

I want you now

] ...

(Gore [arranged by Sharbaugh and Klevling]) Ivan Klevling [ https://soundcloud.com/ill-dub-productions | https://soundcloud.com/wizardshoes | https://soundcloud.com/dark-korvettes ]: guitars and 'stringed atmospherics' Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, electronics, drum machines, synthesizers, 'atmospherics,' and found sounds Composed and Recorded ca. 1990 to January 19, 2019. sm185inst [24WAV] [CB Deep House master].

... the vocal version:

https://soundcloud.com/michael-ash-sharbaugh/blue-dress-deep-house

...

Tempo = 65 BPM.

[

put it on and don't say a word put it on the one that I prefer put it on and stand before my eyes put it on please don't question why can you believe

something so simple something so trivial makes me a happy man can't you understand say you believe just how easy it is to please me

because when you learn you'll know what makes the world turn

put it on I can feel so much put it on I don't need to touch put it on here before my eyes put it on because you realise and you believe

something so worthless serves a purpose it makes me a happy man can't you understand say you believe just how easy it is to please me

because when you learn you'll know what makes the world turn

]

(Gore [arranged by Sharbaugh and Klevling]) Ivan Klevling [ https://soundcloud.com/ill-dub-productions | https://soundcloud.com/wizardshoes | https://soundcloud.com/dark-korvettes ]: guitars and 'stringed atmospherics' Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, electronics, drum machines, synthesizers, 'atmospherics,' and found sounds Composed and Recorded ca. 1990 to January 19, 2019. sm185 [24WAV] [CB Deep House master].

... the instrumental version:

https://soundcloud.com/michael-ash-sharbaugh/blue-dress-ambient-inst

...

Tempo = 65 BPM.

-~-

put it on and don't say a word put it on the one that I prefer put it on and stand before my eyes put it on please don't question why can you believe

something so simple something so trivial makes me a happy man can't you understand say you believe just how easy it is to please me

because when you learn you'll know what makes the world turn

put it on I can feel so much put it on I don't need to touch put it on here before my eyes put it on because you realise and you believe

something so worthless serves a purpose it makes me a happy man can't you understand say you believe just how easy it is to please me

because when you learn you'll know what makes the world turn

(Hallam | Sharbaugh) Adrian Hallam [ https://soundcloud.com/blue-room-green ]: synthesizers, drum machines, and found sounds Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers, drum machines, and found sounds Composed and Recorded ca. February 2014 to October 14, 2018. sm75 [32fpAIF].

An 'Intro' that heralds its main counterpart -- coming soon -- "Smoke Signals."

(Fus'ar | Mosaschertz | Sharbaugh) Gurbek Fus'ar: synthesizers and other toys Michael Ash Sharbaugh: synthesizers, found sounds, and 'processing' Mosaschertz: guitar and 'noise' Composed and Recorded ca. April to May 2013. sm6 [LANDR].

Inspired by "Sounds from Sunday Afternoon" [ https://soundcloud.com/mosaschertz/sounds-from-sunday-afternoon-1 ] by Mosaschertz [ https://soundcloud.com/mosaschertz ] and Gurbek Fus'ar's [ https://soundcloud.com/gurbek-fusar ] 'small pieces'.

Mosaschertz: https://soundcloud.com/mosaschertz Gurbek Fus'ar: https://soundcloud.com/gurbek-fusar

... a simple thank you to Mosaschertz for lending me the original piece, "Sounds from Sunday Afternoon," and to Gurbek for his hard work and open-mindedness.

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: samples and recordings, sample and recording manipulation Composed and Recorded ca. July 20, 2018. sm5.

"'Akvo' (Esperanto for 'water') is an experimental musical work inspired by the words of Marc Weidenbaum: 'Record a piece of music in tribute to Terry Riley’s 'In C' using only samples of water sounds.' It took two-and-a-half hours to compose.

...

Water--still and silent in its natural, undisturbed state--requires gravity and an object or substrate to commingle with in order to unleash its signature sound; hence, all of My 'water samples' were the captured sounds of water interacting with an object [a concrete pavement, a two-gallon tin bucket, My rounded mouth], or along a substrate [a stream bed].

(Fortunately, it has been raining often for the last week in My southeastern-North American locale. I was able to depend on it to afford Me fresh sounds for this experimental, musical piece; rain arrived, yet again, today!)

The stream that runs behind My home provided Me the sampled fodder for the sustained, yet undulating, pad that appears early on in this one-minute and five-second piece. The stream sample, originally forty-seven seconds long, was time-expanded to about a minute's duration, and then 'juiced' of its harmonic content using various software plug-ins [various choruses].

Against that background, I inserted a sample of water droplets landing in a two-gallon tin bucket with about two inches of water already in it.

Then, I grabbed a bottle of filtered water from my refrigerator, took a generous swig, and captured My mouth making popping noises. I time-expanded the result, and ran it through a panning phaser plug-in.

A loud water droplet with an extremely 'hollow' sonic character provided Me with the base from which to synthesize the melodic notes for the arpeggio that appears twenty-eight seconds into the piece.

I timed all of the resultant rhythms and musical elements instinctually, albeit to coincide with sonic cues already present and suggested within the 'stream' and 'bucket' samples.

Three of the four tracks were all run through three instances of an identical reverb plug-in; each, however, were treated uniquely when it came to setting decay time, equalization, and pre-delay, as to suggest depth and positioning in the stereo field."

~ Michael Ash Sharbaugh

"More on this 342nd weekly Disquiet Junto project ("In Sea" / The Assignment: Record a piece of music in tribute to Terry Riley’s In C using only samples of water sounds) at:

https://disquiet.com/0342/

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:

https://llllllll.co/t/disquiet-junto-project-0342-in-sea/ "

~ Marc Weidenbaum

(Mosaschertz | Sharbaugh) Mosaschertz: guitar and field recording Michael Ash Sharbaugh: synthesizers, field recording, and found sounds Composed and Recorded ca. July 27 to 29, 2015. sm7 [CB Jazzy-High mix] [24WAV].

Inspired and adapted from Mosaschertz' [ https://soundcloud.com/mosaschertz ] field recording of guitar, "guitaring a simple throwback thirstday," at https://soundcloud.com/mosaschertz/guitaring-a-simple-throwback .

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and found sounds Composed and Recorded ca. May 7 to 8, 2016. sm4 [LANDRlo].

Like many musicians, I have favorite chords; like many musical synthesists, I have several favorite synthesizer patches. For this Disquiet Junto assignment—“record a piece of music in which what changes is the treatment of the notes that comprise a single chord,” I chose to use some of my favorite patches. However, they were patches I do not use regularly, if at all.

I loosely and liberally took Marc’s meaning of “note” to mean the physical note of the keyboard or synthesizer—not the tone, or frequency, of the ‘note’ in question. I gracefully took advantage of his instructions; however, I did not alter the pitch maps of my synthesizers: the ‘notes’ are as they sounded “straight from the box” (synthesizer—a Korg M1). For clarity, I refer to Webster’s dictionary definition of the word, “note”—“a character which represents a sound”; thus, it refers to musical notation, or to a "sound"—a patch on a synthesizer, for instance—and not to a specific frequency.

I chose one of my two favorite chords—the B-Minor chord. I chose a patch that had a fabricated rhythm of 82 beats per minute—a ‘B’ note, in this case—and recorded it. I henceforth synced my following notes to that rhythm. I then recorded each of the other notes—a ‘D’ and a ‘F-sharp’—on separate tracks, using a plethora of patches I had always wanted to use, but never did. They were ‘morphing’ patches—ones that change and modulate over time. I was curious how they would sound together. I knew that the piece would inherently compose itself, especially if I augmented the morphing and timing with delays, reverb, filters, and EQ!

Well, it did not compose itself: I had to add effects, modulation, and volume fades to construct what you are hearing now—an altered ‘chord’ as per my aesthetics. I realize it’s not a ‘grand opus’; but it was a fun distraction for six hours. More on this 227th weekly Disquiet Junto project (“Record a piece of music in which what changes is the treatment of the notes that comprise a single chord”) at:

http://disquiet.com/0227/

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 adopted from a photo by Dan Barbus, used thanks to a Creative Commons license:

https://flic.kr/p/4mcFS8

(Dowidowisz | Lindholm | Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, electronics, programming, synthesizers, drum machines, and found sounds Marc T. Rowe: guitars Christian Fricke: bass guitar Elizabeth _____[?]______: backing vocals Composed and Recorded ca. 1993 to 1998. sm3 [pre-master].

time the only gift passed divine so brief so fragile when You shine

every second a crash in Your spine

the same heart that thrills to beat at each day break may leap to death in the love it makes

every second a lesson in crime

you could tell Me which way to go but I haven't got a place to live it's out of your hands today I'm leaving

blind if only for today I will play tomorrow will build a better way as every second just flashes right by

a new start no more remainders of dark no more waking to find you're in park with a death wish locked in your mind

you've shown Me which way to go now I've found out a way to live today I'm leaving

(Bacharach | Hilliard; arr. Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, synthesizers and sequencer programming, and 'found sounds' Composed, Adapted, and Recorded ca. 1961 to 2000. [final] [LANDRhi].

(Sharbaugh) Michael Ash Sharbaugh: all instruments and found sounds Composed and Recorded ca. March 28 to April 1, 2013. sm7 [ARIA (D)].

Featured on Michael Ash Sharbaugh's digital release, "Penumbra": http://michaelashsharbaugh.bandcamp.com/album/penumbra

(Sharbaugh) Michael Ash Sharbaugh: piano, synthesizers, and found sounds Composed and Recorded ca. 1990. [Blk - SB][LANDRhi].

(Gore) [arr. Boyle | Sharbaugh] Liam J. Boyle [ https://soundcloud.com/liamjboyle ]: guitars, drum programming, piano, and synthesizers Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drum programming, synthesizers, and found sounds Composed, Arranged, and Recorded 1987 to October 2 to October 21, 2017. sm36B[LANDR][WAV].

(Juncherre Beatz | Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: original composition [vocals, synthesizers and synthesizer programming, drums, percussion, and drum machine programming, and 'found sounds'] Juncherre Beatz [ https://soundcloud.com/juncherre-beatz ]: Native Instruments Maschine remix, drum programming edit 2 master.

The original song can be found here: https://soundcloud.com/michael-ash-sharbaugh/fog-rise-echo-wip

More from Juncherre Beatz can be heard here: https://soundcloud.com/juncherre-beatz

(Cox | Sharbaugh | Stanton) Cranky Fox [ https://soundcloud.com/crankyfox ] (Franky Cox): electronics Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: drum machine, synthesizers, and found sounds Wou-Wou & The Wormling [ https://soundcloud.com/wouwouandthewormling ] (Alexander Stanton): electronics Composed and Recorded ca. October 30, 2015 to November 9, 2017. sm28[LANDR]WAV].

This piece is My [ https://soundcloud.com/michael-ash-sharbaugh ] musical answer to Franky Cox [ https://soundcloud.com/crankyfox ] and Alexander Stanton's [ https://soundcloud.com/wouwouandthewormling ] call for an open collaboration based on their original piece, "Mousey's Roar [Amphetamine Blues]." The original track can be found here:

https://soundcloud.com/crankyfox/mouseys-roar-collab-with-wou-wou-the-wormling

I [ https://soundcloud.com/michael-ash-sharbaugh ] remixed it, lengthened it, and added drums, synths, and found sounds.

This is the instrumental version; I plan on adding vocals to it soon.

[November 6th, 2017]

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, drum machine, and found sounds Thomas C. Grant [ n/a ]: guitars Composed and Recorded ca. September 6th to October 4th, 2017. sm62 [LANDR].

-+-

well there’s a woman I just met and now my heart’s already in debt

she’s the lady upstairs who has soaked in all my stares

I bet there be stars in her room bet there be stars in her room

now she’s the sweetest girl I’ve known she keeps her candles all aglow

she’s my lady upstairs and now she soaks up all my stares

—

there be stars in her room they hiss and quiver with the Moon they astound and they surround they leave me bound and drowned like her loving

—

now there’s a woman I adore she strikes me deep within my core

she be a maiden yet untouched by a love like mine and now she’s clutched

there be stars in her room there be stars in her room

—

there be stars in her room they hiss and quiver with the Moon they astound and they surround they leave me bound and drowned like her loving

—

they astound and they surround they leave me bound and drowned

they astound, they surround I was lost, but now I’m found

-+-

(This song is dedicated to Amy Elizabeth Dixon Alarcon.)

(Sharbaugh | Stevens) Michael Ash Sharbaugh: bass drum, synthesizers, and found sound Morton Stevens and His Orchestra: drums, percussion, guitar, bass guitar, piano, and synthesizers Composed, Recorded, and Remixed ca. 1968 to August 4, 2015. sm12edit [LANDR].

Morton Stevens [1929—1991] was film score composer extraordinaire! He is best known for—and won two Emmy Awards for—the “Hawai’i Five-0” [1968 to 1980] television series.

I idolize him, and remixed one of his tunes that aired on the “Hawai’i Five-0” series, meanwhile adding some instrumentation of synthesizers, drums, and found sounds.

One can find more on legend Morton Stevens here: https://en.wikipedia.org/wiki/Morton_Stevens http://www.imdb.com/name/nm0004022/ http://www.filmmusicsociety.org/news_events/features/2010/082010.html

One can find Morton Stevens and His Orchestra's "Up Tight" here: http://www.discogs.com/Mort-Stevens-And-His-Orchestra-Original-Hawaii-Five-O-TV-Sound-Track/release/2502644

One can listen to Morton Stevens and His Orchestra's "Up Tight" here, but it's a bad-quality version: https://www.youtube.com/watch?v=P0w4Qtww7Vw

Here is my found sound—a Cretan lyra: http://www.soundsnap.com/node/59730

(Dyer | Scott) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers, drum machine programming, and found sounds Composed and Recorded ca. 1975 to December 21, 2015. sm77 [vox] [LANDR].

Blown Round By The Wind Thrown Down In a Spin — I Gave You Love I Thought That We Had Made It To The Top I Gave You All I Had To Give Why Did It Have To Stop — You've Blown It All Sky High By Telling Me a Lie Without a Reason Why You've Blown It All Sky High

You, You've Blown It All Sky High Our Love Had Wings To Fly We Could Have Touched The Sky You've Blown It All Sky High — Up Round I've Flown Then Down Down Like a Stone — I Gave You Love I Thought That We Had Made It To The Top I Gave You All I Had To Give Why Did It Have To Stop — You've Blown It All Sky High By Telling Me a Lie Without a Reason Why You've Blown It All Sky High

You, You've Blown It All Sky High Our Love Had Wings To Fly We Could Have Touched The Sky You've Blown It All Sky High

You, You've Blown It All Sky High Our Love Had Wings To Fly We Could Have Touched The Sky You've Blown It All Sky High —

(Sharbaugh) Marc T. Rowe [ n/a ]: guitars Michael Ash Sharbaugh [https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, and found sounds Joel Tisinger [ n/a ]: drums Composed and Recorded ca. 1991 to 1998. [mNOV-T] [LANDR].

... the original, lo-fi, older version can be heard here:

https://soundcloud.com/michael-ash-sharbaugh/raven-all-too-soon-demo-circa-1990

-+-

i hear that yer comin' to this town again i hear that yer comin' to this town again i'm gonna hear your drums soon i know

is it luck or wayward destiny that our breaths should once more clash in the air

all too soon these feelings of love find me all too soon these channels of gloom break me can't i sleep another night without worry of steps on my back door to freeze me

a bullet and noose our testimony a splintered thorn that fell from the tree bad fruit never eaten again

so wicked is that which comes to me in dust-torn boots and spurs charcoal eyes and pearls

all too soon these feelings of love find me all too soon these channels of gloom break me can't i sleep another night without worry of steps on my back door to freeze me

-+-

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, drum machine programming, and found sounds Chuck Donovan [ n/a ]: bass guitars Mark Moss [ n/a ]: producer and engineer Composed and Recorded at Target Studios in Wilmington, Delaware, United States of America, ca. September 27, 1988. Transferred to digital on October 20, 2017. sm1 [LANDR].

-+-

what was that I heard a moment ago? a word formed silently within your lips something caused by my inner distraction run for shelter at peals of distant thunder

we built this sea upon a desert grew grasses where they said the fields were bare you twist me apart in secret places while petals fall in pieces to my feet

and as the days became colder as the end drew near, a kiss alone uncertain a sickness rising deep within our breath September days sifting down through my fingers

we built this sea upon a desert grew grasses where they said the fields were bare

you twist me apart [twist me] [falling, falling] [to my feet] you twist me apart [twist me] [falling, falling] [to my feet] you twist me apart [twist me] [falling, falling] [to my feet] you twist me apart [twist me] [falling, falling] [to my feet]

-+-

This is a grand day: what I thought was a #long-#lost #recording has suddenly come into the light after nearly 30 years of it being #missing!

"Song for Christine" has been found!

I wrote, performed, and sang this song in #1988 at the tender age of 19, along with My incredibly talented and imaginative Friend, #bassist #Chuck #Donovan.

It was My very 1st pro-studio #recording after having written #music, #sang, and #recorded for a mere 3 years, and I find it fascinating, if not endearing, to hear the germinal essence of My present-day #sound, and the nascent budding of My #voice.

I was cleaning out My former recording #studio in #Decatur, #Georgia, after nearly 16 years of its existence, and found the #audio #cassette #mixdown in an old, wooden box with many of My #early #recordings from #1983.

The #song was written for a former girlfriend, #Christine #Trankiem, and I deeply appreciate Her for inspiring Me.

I transferred it to #digital on October 20, 2017.

I am ecstatic to #hear it again!

Let Me know what You think! The #lyrics are below.

~ #Michael #Ash #Sharbaugh

“Song for Christine” (dedicated to Christine Trankiem) [September 27, 1988]

-+-

what was that I heard a moment ago? a word formed silently within your lips something caused by my inner distraction run for shelter at peals of distant thunder

we built this sea upon a desert grew grasses where they said the fields were bare you twist me apart in secret places while petals fall in pieces to my feet

and as the days became colder as the end drew near, a kiss alone uncertain a sickness rising deep within our breath September days sifting down through my fingers

we built this sea upon a desert grew grasses where they said the fields were bare



you twist me apart [twist me] [falling, falling] [to my feet] you twist me apart [twist me] [falling, falling] [to my feet] you twist me apart [twist me] [falling, falling] [to my feet] you twist me apart [twist me] [falling, falling] [to my feet]

-+-

https://soundcloud.com/michael-ash-sharbaugh/song-for-christine-1988-unmastered

(Sharbaugh) Michael Ash Sharbaugh: vocals, synthesizers, guitar, bass guitar, drums and percussion, magnetic tape manipulation, and found sounds Composed ca. 1983 — 1994. Recorded ca. 1983 — 2007. HwSk_sm16ANOnCbh_J5.

Tracks:

(Lancidel | Sharbaugh) Marc T. Rowe: guitars Elizabeth ______ [ n/a ]: background vocal Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, synthesizers and sequencer programming, drums and drum machine programming, and 'found sounds' Composed ca. 1991 - 1992. Recorded ca. 1998 - 2000. Mastered ca. December 21, 2016. [NORM'D] drumH [LANDR].

[(Duran Duran) Le Bon, Rhodes, Taylor, Taylor, Taylor; arr. Steady Delta and Michael Ash Sharbaugh] Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers and sequencer programming, bass synthesizer, drums and machine programming, and 'found sounds' Steady Delta [https://soundcloud.com/steadydelta ]: synthesizers, synthesizer and drum machine programming Composed and Recorded ca. 1983 to August 19, 2016. Mixed by Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]. sm33b [LANDR2med].

("Thanks!!!" go to Russell Sinfield [ https://soundcloud.com/russell-sinfield ] and Steady Delta [ https://soundcloud.com/steadydelta ] for their invaluable guidance during the mixing process!)

-+-

“Secret Oktober”

wise on a birthday party in a world full of surprising fireworks and sudden silence (shhh!)

lies on a stranger’s bed the new day breaks like a speeding train or an old friend—ever expected, but never knocking

holding your own in a battered car all night parties, cocktail bars, and smile when the butterfly escapes the killing jar

sure eyes awake before the dancing is over wise or naked in secret oktober

freefall on a windy morning shore nothing but a fading track of footsteps could prove that you’d ever been there

spoken on a cotton cloud like the sound of gunshots taken by the wind and lost in distant thunder

racing on a shining plane tomorrow you’ll be content to watch as the lightning plays along the wires and you’ll wonder

sure eyes awake before the dancing is over wise or naked in secret oktober sure eyes awake before the dancing is over wise or naked in secret oktober

-+-

(Sharbaugh) Michael Ash Sharbaugh: vocals, drum machine, synthesizers, and found sounds Composed and Recorded ca. 2004 to December 24, 2014. smF217 [LANDR].

home i am home again in the foam again of the waves at your feet

funny how her feet don't touch the ground been out of the churches for so long yet because of she I am closer to thee

shown I am shown again to be alone again I'd fade obsolete

funny how her feet don't touch the ground been out of the churches for so long yet because of she I am closer to thee

since I've been loving you the sky's opened up no higher flight without you I've known

funny how her feet don't touch the ground been out of the churches for so long but because of she I am closer to thee

(Mueller | Pick | Sharbaugh) P. S. Mueller [ http://www.psmueller.com/ ]: words and vocal Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers, tape manipulations, and found sounds Kenny Pick [ https://soundcloud.com/kenny-pick ]: mix and production Composed and Recorded ca. September 18, 1989 and October 24, 2016. sm1.

Based on an original story authored by writer and radio personality, P. S. Mueller [ http://www.psmueller.com/ ], "Late."

Music from composer, Michael Ash Sharbaugh's [ https://soundcloud.com/michael-ash-sharbaugh ], "Empty, yet Full in Her Sky": https://soundcloud.com/michael-ash-sharbaugh/empty-yet-full-in-her-sky-sm1

Radio personality and musician, Kenny Pick [ https://soundcloud.com/kenny-pick ], mixed and produced this collaboration.

(Danahy | Sharbaugh | Sinfield) Darren Douglas Danahy [ https://soundcloud.com/keldari-station ]: lyrics and vocals Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers, drums and drum programming, and found sounds Russell Sinfield [ https://soundcloud.com/russell-sinfield ]: guitar, drums and drum programming, sound effects, and mixing|’mastering’ Composed and Recorded ca. 2015 to August 5, 2016. [0208_1][ARIA(C)].

Based on Darren Douglas Danahy’s recorded vocal stem from Keldari Station’s original “Earth and Sky”: https://keldaristation.bandcamp.com/track/earth-and-sky-2

“hands in the ground adrift in the sea head in the sky fire in our bellies

in our darkest pit a lantern burns true through our brightest days the night still remains

the stars will be shining on for years after we are gone from ashes our flesh was made as ashes in ground we lay, but …

we are the earth and sky fundamental as brother—sister this is why angels die disillusion will bring isolation again

we all are the hawk we are the birds prey we all are the shepherd though we each are his sheep

on this sacred ground we are the seed within us the flower throughout us the weeds

the stars will be shining on for years after we are gone from ashes our flesh was made as ashes in ground we lay, but … we are the earth and sky fundamental as brother—sister this is why angels die disillusion will bring isolation again”

"The Separation of Grays"

(Hallam | Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, found sounds, and found sound manipulation Adrian Hallam [https://soundcloud.com/blue-room-green ]: guitar, synthesizers, and found sounds Composed and Recorded ca. April and May 2013. sm6 [lo] [LANDR].

You can listen to more of Blue Room Green [Adrian Hallam]: https://soundcloud.com/blue-room-green

Be sure to include this tune's 'little sister' ... "The Parting"—an ambient and dark ditty recorded using only the manipulated stems of Adrian Hallam's [Blue Room Green's] guitar and synth and Michael Ash Sharbaugh's descending voice: https://soundcloud.com/michael-ash-sharbaugh/the-parting-michael-ash

(Hallam | Sharbaugh) Adrian Hallam [ https://soundcloud.com/adrianhallam ]: guitar, Oberheim synth, and 'found sounds' Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ] : vocals, synthesizers, 'found sounds,' 'treatments,' and 'fragmentary sound manipulations' Composed and Recorded ca. May 4 to May 5, 2013. sm10 [LANDR Master].

-+-

Adrian ... thank you for the opportunity to manipulate your gorgeous stem mixes for "The Separation of Grays."

-+-

This piece is a derivative of a work entitled "The Separation of Grays":

https://soundcloud.com/michael-ash-sharbaugh/the-separation-of-grays

-+-

For Marc Weidenbaum's [ https://soundcloud.com/disquiet ] thoughts concerning this piece, visit http://disquiet.com/2013/05/05/weary-decadence-mp3/

-+-

(Leiderman | Sharbaugh) B. J. Leiderman: high-hats Michael Ash Sharbaugh: vocals, synthesizers, drum programming, and found sounds Composed and Recorded ca. 1979 to June 4 to 27, 2016. sm14[58] [ARIA(D)].

...an assignment and calling to re-do the NPR [National Public Radio (on 88.5 FM)] 'Morning Edition' theme song.

See details here:

http://www.npr.org/2016/04/26/467352425/whats-your-take-on-morning-editions-theme

(Hallam | Potterton | Sharbaugh) Adrian Hallam: guitar Andrew Potterton: synthesizers, drum and synthesizer programming Michael Ash Sharbaugh: vocals, synthesizers, and found sounds Composed and Recorded ca. November 28, 2014 to January 1, 2015. sm8 [LANDRlo].

Hear more of Michael Ash Sharbaugh here:

https://soundcloud.com/michael-ash-sharbaugh

Hear more of Adrian Hallam [Blue Room Green] here:

https://soundcloud.com/blue-room-green

Hear more of Andrew Potterton here:

https://soundcloud.com/andrew-potterton

This work was inspired by--and contains--Andrew Potterton's following samples:

"K Kiddies": http://www.soundsnap.com/k_kiddies

"a tunje": http://www.soundsnap.com/node/23043

(Hallam | Sharbaugh | Weber) Adrian Hallam [https://soundcloud.com/blue-room-green]: guitar and drum machine programming Michael Ash Sharbaugh [https://soundcloud.com/michael-ash-sharbaugh]: synthesizers and found sound Christofferson Weber [https://soundcloud.com/christoffersen-weber]: vocal Composed and Recorded ca. 2013 to March 17, 2016. sm5 [LANDR].

C. W. (Christofferson Weber): https://soundcloud.com/christoffersen-weber Adrian Hallam (Blue Room Green): https://soundcloud.com/blue-room-green Michael Ash Sharbaugh: https://soundcloud.com/michael-ash-sharbaugh

This song is based on two previous releases:

"Galaxy No. 9" by Blue Room Green: https://soundcloud.com/blue-room-green/galaxy-number-9

... and ...

"Galaxy" by Cam-O the Chameleon and Blue Room Green: https://soundcloud.com/christoffersen-weber/galaxy

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers, drum machines and programming, and found sounds Composed and Recorded ca. October 16, 2015. sm17 [LANDRlo].

T = 71.94 | 143.88 00:04:00 minutes 40.37 MB

This tune is a work-in-progress--one of which I lost all of the original stems and tracks in a horrid hard drive crash. I am open to remixes, additions, and collaborations of it. Please let me know what you do with it!

(Hallam | Sharbaugh) Adrian Hallam [https://soundcloud.com/blue-room-green]: drum and percussion programming and synthesizers Michael Ash Sharbaugh [https://soundcloud.com/michael-ash-sharbaugh]: electronic percussion, synthesizers, and found sounds Composed and Recorded ca. 2014 to April 29, 2016. sm8 [LANDR master].

Adrian Hallam and Michael Ash Sharbaugh make up the 'folktronic' duo, Tangent Nine. Find their other music here: https://soundcloud.com/tangent-nine

(Sharbaugh | Sinfield) Michael Ash Sharbaugh: drums and drum programming, synthesizers, and found sounds Russell Sinfield: vocal, guitars, bass, and synthesizer Composed and Recorded ca. February 3, 2013 to March 8, 2016. smB13.

( Based on Michael Ash Sharbaugh's "abandoned sketch," "Knowing No. 2": https://soundcloud.com/michael-ash-sharbaugh/knowing-no-2-an-abandoned-sketch )

-~-

he's got himself a suit looks in the mirror, thinks I'm cute he's plastered down his smile eyes full of disregard and guile

he's a suit yeah it owns him and defines him it closes up his mind

he's a s ssss suit

'xcept on the weekends

ha ha ha ha haa ...

'si yllaer eh nataS si leahciM'(Michael is Satan, he really is )

(Sharbaugh') Michael Ash Sharbaugh: synthesizers, drum machine programming, and found sounds Composed and Recorded ca. February 3, 2013 to February 14, 2016. sm11.

I had high hopes for this work, but it fizzled. Some of the audio files that comprise it were riddled with impurities; I could never simply 'bring it to the next level'; thus, I abandoned it.

(Sharbaugh) Michael Ash Sharbaugh: vocals, drums and drum machine programming, synthesizers and synthesizer programming, and 'found sounds' Composed and Recorded ca. 1991 to January 23, 2016. sm26b [short version] [LANDR master].

no more words no more roses no more nights hiding dark poses

there’s just the night there’s only you all that’s black all that is you

—

isabelle, I think that you know me cos I’m the one who tore your heart away from you and now you don’t want me but I’m gonna get you get you back isabelle

—

you hide your face behind a canvas and paint your face when every chance gives but here in the night but here with me all fades to black all goes away and then, and then I’ll see

—

isabelle, I think that you know me cos I’m the one who tore your heart away from you and now you don’t want me but I’m gonna get you back you’ll see

—

still I cling to you like violence to pain cos violence and pain is what made me yes I cling to you like violence to pain cos violence and pain is what made me

—

(Bosch | Hamrick | Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, drum machines, and found sounds Amelia Hamrick: piano Composed and Recorded ca. 15th century to March 2014. sm19 [LANDRlo].

In his "Garden of Early Delights" triptych, Hieronymus Bosch--the famous 15th and 16th century artist--painted a brief musical score on the buttocks of a figure featured in the 'Hell' portion of his painting. The notes' appearance resemble the plainsong popular in his day. This work is based on musician, Amelia Hamrick's, transcription of those notes.

To hear Amelia Hamrick's piano transcription upon which this track was based, please click here: http://chaoscontrolled123.tumblr.com/post/76305632587/luke-and-i-were-looking-at-hieronymus-boschs

To visit Amelia's blog, click here: http://chaoscontrolled123.tumblr.com/

(Sharbaugh) Michael Ash Sharbaugh: percussion, synthesizers, and found sounds Composed and Recorded ca. June 2 to June 3, 2014. sm5 [ARIA (D)].

I am willing to collaborate with anyone on a variation of this piece.

(Sharbaugh) Michael Ash Sharbaugh [https://soundcloud.com/michael-ash-sharbaugh]: vocals, synthesizers, drum machines, and found sounds The Inconsistent Jukebox [Barry Snaith] [https://soundcloud.com/barry_snaith]: guitars and synthesizer Adrian Hallam [https://soundcloud.com/blue-room-green]: bass synthesizer E-Ruizzo [Manuel Ruizzo] [https://soundcloud.com/esemanolain-ruizzo]: xaphoon Composed and Recorded ca. 2013 to December 03, 2015. sm60 [LANDR master].

Thank you, thank you, thank you to Barry Snaith, Adrian Hallam, and E-Ruizzo for laying down superb complimentary tracks to this song!

The Inconsistent Jukebox [Barry Snaith]: https://soundcloud.com/barry_snaith Blue Room Green [Adrian Hallam]: https://soundcloud.com/blue-room-green E-Ruizzo: https://soundcloud.com/esemanolain-ruizzo

“No Tribal Ties”

wandering the back roads so alone

urban strolls through small towns it’s all I own

I look to the sun but it’s just blinding me I call to the moon but it’s not minding me

—

no tribal ties no tribal ties no tribal ties no tribal ties

—

so intent my footsteps away from you

my solace my savior no one home

how far must I go to keep you from finding me how far must I go to keep love from binding me

—

no tribal ties no tribal ties no tribal ties no tribal ties

—

(Hallam | Sharbaugh) Adrian Hallam [ https://soundcloud.com/adrianhallam ]: drums and drum machine programming, and synthesizers and sequencer programming Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: remix, drums and drum programming, synthesizers and sequencer programming, and 'found sounds' Composed, Recorded, and Mastered ca. August 28 to November 4, 2015. sm10 [LANDR master 01].

Michael Ash Sharbaugh and Adrian Hallam are also known as the folktronic duo, 'Tangent Nine.' Find their other music here:

https://soundcloud.com/tangent-nine

(Sharbaugh | Vercelloni) Michael Ash Sharbaugh: synthesizers and 'found sound' Steve Vercelloni: drums, drum programming, bass guitar, guitar, and ThumbJam software Composed and Recorded ca. August 2015. sm6 [LANDR].

Steve Vercelloni's other fine recordings can be heard here ... https://soundcloud.com/steve-vercelloni !

(Sharbaugh | Vercelloni) Michael Ash Sharbaugh: synthesizers, percussion, drum programming, and found sounds Steve Vercelloni: percussion and drum programming Composed and Recorded ca. November 2014 to July 13, 2015. sm22L. [LANDR Master].

I wish to thank Steve Vercelloni [https://soundcloud.com/steve-vercelloni] for inspiring this track!

(Sharbaugh | Vercelloni) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers, drum machines, and found sounds Steve Vercelloni [ https://soundcloud.com/steve-vercelloni ]: guitars, bass, drums, and drum programming Composed and Recorded ca. November 2014 to July 26, 2015. [MAS 02 Edit 2] [LANDR].

Steve ... your additions knocked it out of the park!

To hear more of Steve Vercelloni's fine music, go here: https://soundcloud.com/steve-vercelloni

(Sharbaugh | Vercelloni) Michael Ash Sharbaugh: synthesizers, percussion, and found sounds Steve Vercelloni: guitar, bass, bass programming, drums, drum programming, and synthesizers Composed and Recorded ca. November 2014 to July 26, 2015. [MAS 06 Edit 1] [LANDR].

To hear more of Steve Vercelloni's fine work, go here: https://soundcloud.com/steve-vercelloni

Love, love, love what you did with your guitar during the 'chorus,' Steve!

(Sharbaugh | Vercelloni) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and found sounds Steve Vercelloni [ @steve-vercelloni ]: drums, drum programming, and resonant static Composed and Recorded ca. November 2014 to July 17, 2015. sm29 [24WAV] [S V (MAS 5)] [CB Rad Rocket mix].

Thank you to Steve Vercelloni [ https://soundcloud.com/steve-vercelloni ] for inspiring this track!

The sound of this tune was patterned after Giorgio Moroder’s fine, conceptual work on his “Battlestar Galactica” soundtrack, circa 1978—space age disco at its best!

(Hallam | Sharbaugh) Adrian Hallam [ https://soundcloud.com/adrianhallam ]: vocals, percussion, and synthesizers Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: guitar, percussion, synthesizers, and 'found sounds' Composed and Recorded ca. May to June 30, 2015. sm9 [LANDRmed].

Michael Ash Sharbaugh and Adrian Hallam were once also known as the folktronic duo, Tangent Nine! Find us here:

https://soundcloud.com/tangent-nine

(Sharbaugh) Michael Ash Sharbaugh: guitar, synthesizers, and found sound Composed and Recorded ca. June 18 to 21, 2015. sm7 [ARIA (D)].

Upon receiving this week’s Disquiet Junto assignment—“imagine your favorite instrument is dreaming while it sleeps — what does it sound like?” I instinctively thought of yawning, and imagined to which tone that would equate in electronic instruments. In Indo-Iranian languages, such as Sanskrit, the vocalization, “a-o-m,” or ‘om,’ would be the natural sound that comes from the throat and mouth upon its opening and closing—with voicing, of course.

Accordingly, I made the base tone of my composition to note, C3, as it seems to be the central key upon which samples and subsequent synthesis are built—and the note which my keyboards and synthesizers would ‘utter’ were they to yawn with their fictitious ‘mouths.’

I widened my perception of what an “instrument” can be: rather than focusing on one discrete sound-making unit in my studio, I envisioned the entire studio as my ‘instrument,’ and, thus, utilized it to its fullest in composing this piece. I played and recorded nearly each instrument I own at the predetermined C3 note and built a composition [in the key of C harmonic minor] upon that. I usually weave found sounds into my compositions, so I included a submarine’s sonar ping [http://www.soundsnap.com/submarine_sonar_ping_military_single_military_blastwavefx_09678] to accentuate the piano and percolating synth parts in the background.

I named the piece after my studio—Intro/Ergo, and added the present tense Latin verb, 'sum,' to reflect my studio's state of 'beingness,' as it is to be represented in this piece.

[As of June 21, 2015, I have added additional instrumentation to this piece—guitar.]

More on this 181st Disquiet Junto project (“Imagine your favorite instrument is dreaming while it sleeps — what does it sound like?”) at:

http://disquiet.com/2015/06/18/disquiet0181-instrumentaldream/

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/

(Sharbaugh) Michael Ash Sharbaugh: keyboards, synthesizers, drum machine, and found sound Composed and Recorded ca. June 12 to 15, 2015. sm5 [ARIA(D)].

Having read this week’s Disquiet Junto assignment—“use the Russian nesting dolls [Matryoshka] as a model for a musical composition,” I knew instantly that I wanted to build a theme using a collection of notes that approximated a Russian folk scale on my ‘Western’ instruments; I, also, knew that I would compose a theme that I would repeat six times throughout the piece—once for each nested doll, as called for in the assignment guidelines.

I initially chose a C-sharp harmonic minor scale, but had inadvertently come across a field recording of a ‘Russian canary’ [ http://www.soundsnap.com/search/audio/russian+canary/score ] and was smitten by its musicality. I thought, “why not form a central melody that mimics the canary’s thematic trill and add melodic layers to compliment it—the canary is Russian, after all.” Needless to say, the canary’s call was not in a C-sharp harmonic minor scale, but feigned an altered F-sharp; thus, I utilized that scale as the basis of the piece.

I imported the canary call into my DAW, edited out its ‘thematic section,’ and repeated it six times. Its tempo came to 92.4 BPM. I then molded a bass register piano line around the bird’s call that mimicked its melodic shape, and added sonic seasoning to it—contrapuntal notes and pitch-bent, portamento figures using my arsenal of Korg and ensoniq synthesizers. I punctuated the track twice with a muted clave rhythm and made sure the canary theme repeated six times—once for each of the nesting dolls.

More on this 180th Disquiet Junto project — “Use the Russian nesting dolls as a model for a musical composition” — at:

http://disquiet.com/2015/06/11/disquiet0180-matryoshkamusic/

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/

[Jackland | Sharbaugh] Tanisha Jackland [https://soundcloud.com/ladyofire]: words and vocals Michael Ash Sharbaugh [https://soundcloud.com/michael-ash-sharbaugh]: vocal, synthesizers, programming, and found sounds Composed and Recorded ca. 2013 to May 31, 2015. sm10p[ost]-b[eta] [ARIA(B)].

someone saw it [someone saw it]

your words are like stones

someone saw you [a] furor with a purse

[the way] you try to cut out the roots someone else’s blood in your hair

someone saw it

someone saw it

(Sharbaugh) Michael Ash Sharbaugh: synthesizers Composed and Recorded ca. March 20 to 23, 2015. sm4 [ARIA(D)].

In an attempt to accept this week's Disquiet Junto assignment—"create an original, multi-part piece with a single audio source," I chose a prerecorded track of a single atmospheric pad to form an aural bed of sound. I then time-compressed it greatly, so I could use it for a droney, low-end 'percussive' background and, also, for a higher-frequency, foreground melody. I recorded these three tracks together, but was disappointed with their resultant complexity. Thus, I abandoned hopes of entering it into this week's Disquiet Junto 0168, "Three of a Kind," project and began to add parts using various synthesizers.

The resultant piece, "Dwaal I," is spacious and hazy, and named after an informal word of South African origin, 'dwaal,' which means "a dreamy, absent-minded, or befuddled state."

More on this 168th Disquiet Junto project — “Create an original, multi-part piece with a single audio source” — at:

http://disquiet.com/2015/03/19/disquiet0168-threeofakind/

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/

(Sharbaugh) Michael Ash Sharbaugh: drum programming, synthesizers, and found sounds Composed and Recorded ca. February 19 to 20, 2015. sm5 [1-11][LANDRlo].

I needed some musical exercise—if even for a few hours and a miniscule piece, so I welcomed this week’s Disquiet Junto challenge. I was to “create music that emerges from the sound of fireworks.”

I first located, paid for, and downloaded a field recording from this URL: http://www.soundsnap.com/efx_ext_big_fireworks_06_b . I wanted a field recording with many wails and shrieks. That is what I got.

I let the first five seconds of the field recording play out, and then made the first ‘bang’ of the field recording the onset of bar three. In order to do this, I needed to alter the tempo of my DAW’s project to 104.56 BPM. The piece continues at this tempo.

After editing and timing some added percussive fireworks explosions to accentuate the rhythm, I added Indian percussion instruments and a heavily chorused piano, as well as some organ, tambourine, and plucked string sounds. Two harp arpeggios are ‘in there’ for good measure.

This is quite a simple piece—but a diversion for five hours or so.

More on this 164th Disquiet Junto project — “Create music that emerges from the sound of fireworks” — at:

http://disquiet.com/2015/02/19/disquiet0164-juntofireworks/

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/

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers and found sounds Shriek Productions: bass guitar [loop] Composed and Recorded ca. January 26 to 30, 2015. sm4 [LANDRmed].

"A Diamond at Midnight" was inspired by a Disquiet Junto assignment put forth on January 22, 2015 [disquiet0160-oneminutepastmidnight]. This assignment called for the composer to make a sound recording of wherever they were as of midnight on the night chosen. At midnight, I was just beginning this piece, so I recorded it live on a hand-held digital recorder, imported it into my DAW, and then merged it with the version that already existed in the digital domain; hence, there is the noise of my studio's fan in the piece's introduction.

The reason I did not introduce this piece into the Disquiet Junto was that I had already added additional music to it, which was against the rules for that assignment. Thus, I continued working on it for two nights, adding two fabulous bassline loops from Shriek Productions. The URL to their sample library is included below.

I wish to thank Shriek Productions for infusing this piece with 'groove.'

http://www.soundsnap.com/user-name/shriek_productions

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers, percussion, and 'found sounds' Composed and Recorded January 25 to 27, 2014. sm3 [LANDR].

Humanizing this piece was of the utmost importance. Throughout its composition, I could not keep Bassel Safadi [ باسل صفادي ] out of my head: his plight, his privation, his predicament. I viewed the video as requested, but it ‘went in one eye and out the other’; Mr. Bassel was my prime concern.

Having never composed Syrian or Syrian-type music, I familiarized myself with Syrian music scales as approximated to Western scales. Multifid are the Syrian scales I discovered, so I settled upon one that felt aesthetically comfortable: C – Eb – E – F – Ab – (C).

Further unsure of my handle on these Syrian scales, I secured (paid for and downloaded) an improvisation based on the most ancient tablets containing Syrian music transcriptions—pianist Malek Jandali’s “Echoes from Ugarit.” Without listening to Jandali’s part, I imported the introduction to this piece into my DAW, pitch-shifted it down a whole-tone (from D to C), expanded it to conform to 123 BPM, and improvised to it myself using the musical scale outlined in the paragraph above. I recorded my improvisation. It took about sixteen takes.

I then removed (muted) Jandali’s recording and added ‘contrapuntal’ tracks—bass, bell, and strings. The driving rhythm was provided by a sample of a bottle dropped onto a concrete sidewalk and almost broken—a sonic representation of what it might be like to be in Mr. Bassel’s place. The field recording of Syrian grasshoppers was added to highlight what I could imagine would be the despondency and loneliness of Mr. Bassel’s predicament.

More on this 108th Disquiet Junto project (“Create a soundscape for the ancient Syrian city of Palmyra.”) at:

http://disquiet.com/2014/01/23/disquiet0108-freebassel/

More on the Disquiet Junto at:

http://disquiet.com/?p=16588

Join the Disquiet Junto at:

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

More on the campaign to free Bassel at:

http://freebassel.org/

For their collaboration on this project, special thanks to: Niki Korth, Barry Threw, and Jon Phillips.

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, piano, synthesizers and synthesizer programming, drum machines and percussion [hand bells], and 'found sounds' Composed ca. November 2012 to February 2013. Recorded ca. February 2013. sm24 [vox] [+ .50dB] [LANDR Master].

To hear a phat remix of this song done by Juncherre Beatz, click https://soundcloud.com/michael-ash-sharbaugh/fog-rise-echo-juncherre-beatz

(Sharbaugh | Snaith | Visher) Neal Visher: drums, ‘chugga-chugga’ rhythm guitar, synthesizers Michael Ash Sharbaugh: vocals, synthesizers Barry Snaith: ambient guitar, solo guitar Composed and Recorded ca. October 2, 2014. sm30 [CB03] [24WAV].

More music from Neal Visher [Isolated Ground Receptacle] here: https://soundcloud.com/isolatedgroundreceptacle

More music from Michael Ash Sharbaugh here: https://soundcloud.com/michael-ash-sharbaugh

More music from Barry Snaith [The Inconsistent Jukebox] here: https://soundcloud.com/barry_snaith

'Cover art' by Neal Visher [Isolated Ground Receptacle] and Barry Snaith [The Inconsistent Jukebox]!

here I am [dying in the killing jar] want to be [breathing in heaven’s air] don’t you need [something more than promises] don’t you care [intangible and nevermore]

you led me to your alcove ‘lest I never sleep bracing for indemnity a porous watch I keep and though I never doubt you my fears are e’er there a bastion of suspicions, solace, and despair

here I am [dying in the killing jar] want to be [breathing in heaven’s air]

…

(Sharbaugh | Sobel) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, organs, synthesizers, and 'found sounds' Mike Sobel [ https://soundcloud.com/mikesobel ]: guitar and synthesizer Composed and Recorded ca. September 1, 2014. sm13 [ARIA (C)].

The original track that inspired this song and upon which this song is based can be heard here: https://soundcloud.com/mikesobel/the-last-stand-original

Music by Mike Sobel can be listened to here: https://soundcloud.com/mikesobel

Thank you, Mike, for allowing me to adapt and produce this track.

I've watched the sun kiss a thousand clouds how long must I wait for you? tongue-tied, beseeched, avowed how far must I strain for you? once drunk in endless light now starving in your shadow it lingers beyond farewell leaving all earthly things fallow

fire creeps along my veins heat wells within my heart once I was on your side now I long to tear you apart

there's nothing left to write words fail me adrift in a barren sea I'm flailing poised to dread the coming rains and thunder fearing this has been our last stand

racing behind my brow empty dreams preoccupy what was, what is, and what will be tremble and ossify

fires creep along my veins heat wells within my heart once I was on your side now I long to tear you apart

there's nothing left to write words fail me adrift in a barren sea I'm flailing poised to dread the coming rains and thunder fearing this has been our last stand

(Sharbaugh) Michael Ash Sharbaugh: synthesizer, recordings, and found sounds Composed and Recorded ca. July 29 to August 11, 2014. sm4lev [LANDRlo].

The disquiet junto assignment: “try to record one minute of sound that would suggest to the listener the pleasing experience of air conditioning — of the air being cooled on a hot summer day.”

My process: Rather than record my air conditioner—a window unit fixed in the room across the hall from my recording studio, I decided to piece together and layer self-made and found recordings of gadgets and appliances until the conglomerate of sound approximated an air conditioner’s soothing hum, and comforting drip.

I utilised recordings of a back-rubbing gadget and my dishwasher as my most prominent recorded layers, then found a royalty-free sample of ‘wind in pines,’ and layered that in with them, mixing it to near-inaudibility. I then dialed in a VCF-controlled synth-wind—a white, percussive noise with a slight sustain—on my Korg M1, and welded that against sections of the extant piece.

Believing that I had sonically approximated an air conditioning unit, just for color, I subsequently sought an undulating and airy pad to suggest two repeating notes—F and C, F and C. The result is “Balm.”

[P.S.: I may elect to add to it later prior to the project's deadline.]

More on this 135th Disquiet Junto project — “Record the sonic equivalent of air conditioning” — at:

http://disquiet.com/2014/07/31/disquiet0135-soundofsummer/

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

(Sharbaugh) Michael Ash Sharbaugh: vocal, guitars, synthesizers, and 'found sounds' Composed and Recorded July 5 to 21, 2014. sm7 [LANDR].

(Sharbaugh) Michael Ash Sharbaugh: synthesizers and found sounds Composed and Recorded ca. June 12 to 13, 2014. sm5 [shaky intro] [ARIA(D)].

(Cederholm | Sharbaugh) Joakim Cederholm [ https://soundcloud.com/gold-and-water ]: guitars, drums, and atmospherics Michael Ash Sharbaugh: vocals, synthesizers, and atmospherics Victor Eriksson: bass guitar Composed and Recorded ca. April to June 1, 2014. sm14 [eM 01] [24WAV].

More from Gold & Water can be heard here: https://soundcloud.com/gold-and-water

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gems and paper dolls tarnished, tattered yellowed with the fustiness of age while our hearts are still shinin'

baneful masquerade through pale winds, we wait 'til the Sun grows weary of our face and the Moon starts shinin'

'til the Sun grows weary of our face and the Moon starts shinin'

'til the Sun grows weary of our face and the Moon starts shinin'

i give life all my love that's all I do

-+-

(Michael dedicates his lyrics, vocals, and instrumental work on this track to the memory of Brandy Nicole Stokes-Jurdak [1981 - 2014].)

(Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: guitar, synthesizers, and 'found sounds' Composed and Recorded April 7 to 19, 2014. sm6 [ARIA(A)].

This piece was initially inspired by a disquiet junto [https://soundcloud.com/groups/disquiet-junto/] assignment [http://disquiet.com/2014/04/03/disquiet0118-internetroomtone/] that called for participants to create a work that “answer[s]” the question “What is the room tone of the Internet?” It was assigned for the span of April 4th through 7th, 2014, and I honestly had difficulty answering the question in sound. The sheer thought of such an undertaking—both conceptually and aesthetically—boggled my mind. Thus, I did not put forth my rough sonic draft.

However, in the spirit of the disquiet junto, and because this piece was sparked by its prompt, I hereby offer forth my process.

I imported a heavily effected sample of a 56k dial-up modem into my DAW, cut it down to a small section, time-expanded it, and looped it to meet 103.52 BPM—a tempo that was its closest match. I then added synth flourishes that seemed to match its resultant periodic tonic. Intuitional aesthetics guided me in adding additional motifs in the bass and treble registers. An old, out-of-tune, dirty, nylon-stringed acoustic guitar was added at the end, intentionally spaced to seem as if wandering.

I arrived upon the title having ‘learned’ that the internet moves along at .6 to .7 the speed of light: the average is .65; the speed of light is ‘c’.

More on this 118th Disquiet Junto project — “What is the room tone of the Internet?” — at:

http://disquiet.com/2014/04/03/disquiet0118-internetroomtone/

More on the Disquiet Junto at:

http://disquiet.com/?p=16588

Join the Disquiet Junto at:

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

Image associated with this Junto project used via a Creative Commons license:

https://flic.kr/p/2af9A

(Sharbaugh) Michael Ash Sharbaugh: synthesizers, found sounds, and found sound manipulation David Seidel: sine wave generation and manipulation Composed and Recorded ca. March 7 to 13, 2014. sm5b [ARIA(A)].

(This finished piece is based upon an unfinished work that was intended to fulfill the requirements for the 114th March 7-10, 2014 Disquiet Junto project, 'disquiet0114-60Hz.' Below is my description of the process.)

Prior to importing the sine wave chunks, I first fixed the tempo of my DAW to 60 BPM to reflect the frequency of the sine waves within. Therefore, with respect to the piece’s title, “Infrastructure” (named in deference to a phrase in Marc Weidenbaum’s liner notes in David Seidel’s release), I could introduce sonic elements at exact temporal multiples and divisions of the number, “60”—reflective of the frequency of those electrons flowing throughout my native United States [US].

Unsure as to whether I broke the rules or not, I layered the five chunks together, muted sections of chunks 1 and 5 in order to form a seamless bed at the instant of one minute, with beginning chunk 1 left raw and ending chunk 5 fed through a distortion and reverb.

I then chopped sections from each of the others. Those sections I had chopped up were multiplied and pitch-shifted several times to form a Bb-minor chord, a Db-diminished chord, and an F-major chord. Each ‘chord’, strained as it sounded, was fed into the same distortion bus as chunk 5, which sometimes overpowered the smaller chorded chunks due to its immense low frequency power; thus, some were barely audible.

After hours and days thinking of how to make this piece musical, I realized that all waveforms are made up of sine waves. Seeking a piano waveform and a vocal waveform, I experimented. I time-compressed several sections of the chunks and layered them, which resulted in several usable sounds distinguishable from the longer, droning chunk beds—a percussive, which I elongated by 11 measures, a ‘bleep’|‘blip’|‘bloop’, which I elongated by 4 measures, and a wind sound, which I elongated to 11 measures and then shortened yet again to 4 measures. I used these sounds to punctuate the chordal changes—the Bb-minor, the Db-diminished, and the F-major chords.

Even the reverb settings were dialed in to represent the infrastructure of the US, what with rectangular room spaces (skyscrapers) and reflective surfaces representative of concrete.

After the Disquiet Junto deadline had passed, I took up the project again added a multitude of synth lines, Rhodes-ey piano licks, and muted percussion tracks. I topped the piece off with subtle throat-singing samples from FreeSound.org:

storm#16.wav: http://www.freesound.org/people/djgriffin/sounds/22023/ tibetan chant 3.wav: http://www.freesound.org/people/djgriffin/sounds/15363/

More on this 114th Disquiet Junto project — “Combine elements of Dave Seidel’s album ~60 Hz (Irritable Hedgehog)” — at:

http://disquiet.com/2014/03/06/disquiet0114-60hz/

More on the Disquiet Junto at:

http://disquiet.com/?p=16588

Join the Disquiet Junto at:

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

The source audio is from Dave Seidel’s ~60 Hz album, released on the Irritable Hedgehog record label. More on the album at:

http://recordings.irritablehedgehog.com/album/dave-seidel-60-hz

(Hallam | Sharbaugh) Adrian Hallam: synthesizers, percussion, and found sounds Michael Ash Sharbaugh: synthesizers, percussion, and found sounds Composed and Recorded ca. February to March 4, 2014. sm7 [TFFm] [24WAV].

For more of Blue Room Green, visit https://soundcloud.com/blue-room-green.

(Sharbaugh) Michael Ash Sharbaugh: synthesizers and found sounds Composed and Recorded ca. December 26 to 29, 2013. sm6 [LANDR].

(MTWD | Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, drums and drum machine programming, guitar 'flourishes,' synthesizers and sequencer programming, and 'found sounds' MTWD [ https://soundcloud.com/mtwd ]: synthesizers and drum programming Adrian Hallam [ https://soundcloud.com/adrianhallam ]: guitar (solo) Composed and Recorded ca. December 2013 to January 2014. sm13 [LANDR].

Created using "Trap Pharaoh" [ https://soundcloud.com/mtwd/trap-pharaoh-free-beat ] by MTWD [ https://soundcloud.com/mtwd ]

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awake! my birth has come a first-born flower in April's soaking rains

winter has passed accursed and numb just one more hour and my blood would've surely drained

rejoined at last a sacred sum she adorns her bower to a sweet dharmic refrain

with the ancient cycles of a trinity i deem the woman divinity

i wait! but night never ends for it is her love to which i rise and fall

i say my prayers and my rosary i deem the woman divinity

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(Sharbaugh) Michael Ash Sharbaugh: synthesizer and found sounds Composed and Recorded ca. 1990. Transferred and Remixed ca. 2007 to October 27, 2013. [3B+Sb15]

For this piece, I envisioned flaming hell-hounds--Cerebi [Cerberus]--dashing across a frozen tundra.

Happy Halloween 2013!

(Sharbaugh | __?__) Michael Ash Sharbaugh: synthesizer, tape manipulations, and found sounds Yugina __?__: synthesized piano Composed and Recorded ca. 1990 to October 23, 2013. sm1

(Sharbaugh) Michael Ash Sharbaugh: synthesizers and found sounds Composed and Recorded ca. March to September 19, 2013. sm7.

I had already started a musical piece under the working title, “Wind,” when this Disquiet Junto project came along; I had been dying to finish it.

“Wind” needed additional sonic material to just ‘push it over the edge’ of being ‘finished’; this Disquiet Junto assignment inspired, as well as provided, it.

I recorded the Voyager’s audio captures at an extremely low resolution; therefore, I was limited in how much I could manipulate the Voyager’s sounds. Hence, the Voyager’s sonic material is plainly recognizable at times. I used a variety of means to treat the Voyager material: time expansion, granular synthesis, and a program written for Mac OS 9.1--"th0nk."

Also, this Disquiet Junto assignment is late: I was on vacation for two weeks and away from my studio; I celebrated a birthday when I returned—September 16th (the due date for the assignment’s completion). Despite my tardiness, I henceforth acknowledge my strong desire to contribute to last week’s assignment by releasing this work—“Solar Wind.”

More on this 89th Disquiet Junto project, in which the sounds of interstellar space are used to make "goodbye music" for the Voyager 1 space probe, at:

http://disquiet.com/2013/09/12/disquiet0089-vger/

Source audio courtesy of NASA/JPL-Caltech/University of Iowa via:

http://www.youtube.com/watch?v=LIAZWb9_si4

Special thanks to Mark Ward (mark-ward.org) for having suggested this material as the subject for a Disquiet Junto project.

More details on the Disquiet Junto at:

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

(Martinez | Sharbaugh) Daniel Martinez: guitar and bass guitar Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, drums, drum programming, and 'found sounds' Composed and Recorded ca. April 7, 2014. sm14 [vox] [ARIA (A)].

"Dark Things" inspired by and generously lent by Daniel Martinez (Perfect_Kiss).

https://soundcloud.com/danul

these dark things surround me arrest my sight i'm havin' a dream all's not as it seems

these dark things have found me test my faith but your love comes like beams to banish the creeps

will my heart be heard in history? when comes fame? time's closing in it's time to begin

(Hallam | Sharbaugh) Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: vocals, synthesizers, sampler, drums and drum programming, and 'found sounds' Adrian Hallam [ https://soundcloud.com/adrianhallam ]: guitars and bass synthesizer Composed and Recorded ca. July to August 2, 2013. sm9b [CB HH + Bass mix] [24WAV].

Ambient samples from Hawkdream and Manny Leigh’s “The Sun without a Sphere”: https://soundcloud.com/brian-brown-16/the-sun-without-a-sphere-1

Percussion sample from OBH Beats’ “Scene without Colors”: https://soundcloud.com/obh-beats/scene-without-colors

Warm and special thanks to Hawkdream, Manny Leigh, and OBH Beats for allowing us to sample their works!

You can hear more of Adrian Hallam's (Blue Room Green's) music here: https://soundcloud.com/blue-room-green

(Lindholm | Sharbaugh) Michael Ash Sharbaugh: vocals, synthesizers, drum machine programming, and found sounds Marc T. Rowe: guitars Composed and Recorded ca. 1990 to July 19, 2013. sm14 [LANDR master].

An extended instrumental version of this song--with three parts--can be heard here: https://soundcloud.com/michael-ash-sharbaugh/the-temptation-trilogy

A special thank you to Erik Lindholm, whom I wrote this song with back in 1990: appreciate you letting me spin my own version.

here held tightly to her side light so easy to see the needs that I possess inside gain possession of me caught on fire a sudden fire baby so alive with flames and there seems like no tomorrow tomorrow to this game

feels so cool in your skin it's like neon in your veins it knows no compassion it knows no grace so Lord forgive me Lord understand the power of temptation's hand

strange sometimes it seems so strange at times I cannot fight and though I'm not bruised or defeated I'm bleeding from my soul temptation's lie burns like fire baby a never-ending flame though I say prayers for tomorrow tomorrow's just the same

feels so cool in your skin it's like neon in your veins it knows no compassion it knows no grace so Lord forgive me Lord understand the power of temptation's hand

(Fus'ar | Sharbaugh) Gurbek Fus'ar: guitar and synthesizers Michael Ash Sharbaugh: synthesizers and drum programming Composed and Recorded June to July 9, 2013. sm9 [LANDR].

More music by Gurbek Fus'ar can be discovered here: https://soundcloud.com/gurbek-fusar

Another piece by Michael Ash Sharbaugh, Gurbek Fus'ar, and Mosaschertz -- "Mid-Afternoon in My Cloche" -- can be listened to here: https://soundcloud.com/michael-ash-sharbaugh/mid-afternoon-in-my-cloche

(Sharbaugh) Michael Ash Sharbaugh: all instruments and found sounds Composed and Recorded ca. 1992. Transferred and Re-mixed ca. 2007. [3B+Sb15c]

(Sharbaugh) Michael Ash Sharbaugh: synthesizers and found sounds Composed and Recorded ca. April 23 to April 24, 2013. sm6 [LANDRlo].

Inspired by the works of ÐѦRḲϟ✞ѦR83 ...

https://soundcloud.com/darkstar83

(Sharbaugh) Michael Ash Sharbaugh: all found sounds and instruments Partially Composed and Recorded ca. 1990. Transferred, Re-mixed, and partially Composed April 8 to April 10, 2013. sm7. Featured on Michael Ash Sharbaugh's digital release, "Penumbra": http://michaelashsharbaugh.bandcamp.com/album/penumbra

(Sharbaugh | Juncherre Beatz) Juncherre Beatz: sampling, arranging, mixing, electronic doves, and drum programming Michael Ash Sharbaugh: original composition (synthesizers and piano)

https://soundcloud.com/juncherre-beatz

(Sharbaugh) Michael Ash Sharbaugh: vocals, synthesizers, drum machines, and found sounds Composed and recorded ca. November 2012 to February 6, 2013. sm21 [LANDRlo].

Dedicated to my wife.

(Sharbaugh) Michael Ash Sharbaugh: all sounds and instruments Composed and Recorded ca. 1991. Transferred and Re-mixed ca. 2007. [3B+Sb15c] [CB master] [24WAV].

(Sharbaugh) Marc T. Rowe: guitars Michael Ash Sharbaugh: drums and drum machine programming, synthesizers and sequencer programming, and 'found sounds' Composed ca. 1990 to 1992. Recorded ca. 1990 to 1992 and 1998 to 2000. final for SoundCloud [LANDR Master].

(Sharbaugh) Michael Ash Sharbaugh: vocals, synthesizers, drum machine programming, and found sounds Composed and Recorded ca. 1992. sm8 [vox - wet] [ARIA(D)].

“To Fall or Be Forgotten”

would it be so bad if You took Me home? would it be so bad if we sat and watched the rain? and would it be evil if I held Your hand, and touched Your hair, and kissed You?

how would it feel to You?

(...oh,no ...)

You tease and tempt, but leave no trace

speak now, or forever hold Your peace we’ve the chance to fall or be forgotten speak now, or forever hold Your peace we’ve the chance to fall or be forgotten

should I have cried to make You love Me? or should I have screamed to make You hear?

why do You make Your heart— Your body— so alien to Me?

speak now! this Boy has hurt You, but now, He bleeds, and I think it’s time He be forgiven speak now, or forever hold Your peace we’ve the chance to fall or be forgotten

(Sharbaugh) Michael Ash Sharbaugh: keyboards and synthesizers Composed and Recorded ca. 1991. [final].

In keeping with 'SoundCloud-as-one's-personal-music-archive' theme, I have uploaded this short novelty piece that I recorded around 1991.

I was inspired to do so due to the Disquiet Junto's compositional assignment, [0180-Matryoshka Music], which has sound artist participants compose a piece of original music while having a six-piece Matryoshka doll fixed in their heads--a la, "Use the Russian nesting dolls as a model for a musical composition." I thought, "'Kaleidoscope Boys' would be a perfect selection for this week's Disquiet Junto assignment," as, in composing it, I was picturing two Asian boy dolls dueling with toy pianos; alas, I shall compose a new, original piece to answer the Disquiet Junto's assignment.

Thank you to Marc Weidenbaum for being a proponent in this tune's release.

(Sharbaugh) Michael Ash Sharbaugh: all sounds and instruments Composed and Recorded ca. 1989. Transferred and Re-mixed ca. 2007. [3B+Sb15].