krseward: Recent Episodes
krseward
Created using Virtual ANS and normalized in Audacity for Disquiet Junto 0554, Cage Chord. Any piece submitted was intended to be loopable.
Used pulses in close drone, not only according to chord notes, but in upper registers, within notes to play with additive heterodying/intermodulation, as notes were synthetic, not inherently full of overtones etc. Also to take some cue from the chromatically adjacent notes in the chord notes.
None of it done with fine resolution to encourage any idiomatic lo-fi glitchyness in the program.
More on this 554th weekly Disquiet Junto project — Cage Chord (The Assignment: Riff on a chord by John Cage) — at: https://disquiet.com/0554/
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
done for Disquiet Junto 0548 -- Drone Vox.
Basic idea -- create drone with voice only.
What happenned -- made short droney noise track with voice sounds, various bits of feedback (as voice adjacent). Short as length is a thing implied.
More on this 548th weekly Disquiet Junto project — Drone Vox (The Assignment: Make a drone using just your voice) — at: https://disquiet.com/0548/ 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-0548-drone-vox/
Started in good faith with the proper shifting, but soon slipped into variable drive.
My own predilections aside, still haunted by some dim recollection of reading long ago popular magazine articles about the forthcoming variable ratio transmissions that were going to make automobiles super efficient.
So herein it went from shifting gears to tweaking ratios. If anything nearly so rational.
And, NTSC, the title is itself an old joke.
NTSC was the North American analog color TV standard (as PAL was in Europe), which has a proper name, but was jokingly said to stand for “Never The Same Color”. And so it goes here. That any notion of distinct parts that shift to make a whole just ends up melting into something much more like tone driven drone. Within a minute. Oh, yeah.
All parts recorded live and then mixed. Some are voices, at least one is a Korg Monotron, some are recorded through a toy echo mic. some are recorded from smphn apps (Sound Effect Generator, Wiisp Synth, Granular). Variety being the spice of whatnot.
More on this 458th weekly Disquiet Junto project, Phrase Shift (The Assignment: Make music in a sequence of parts with shared element), at:
https://disquiet.com/0458/
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-0458-phrase-shift/
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 Thomas Hawk and used via Flickr thanks to a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:
https://flic.kr/p/S9PeC6
https://creativecommons.org/licenses/by-nc/2.0/
Not a sight reading muso of note, and a half baked skeptic to boot re the many many differences in sight and sound as humanly rendered and perceived, just dug into a jpeg of Agnes Martin and clipped out the ragged margins toward some nefarious end which I later decided against.
So, clippings, editions, distortions, revisions to create 2 minutes of drone & such that may or may not capture either the spirit or the letter of what Agnes Martin has laid down. The above visual mess about was fed into and generally messed about via the ever fun idiomatics of Virtual ANS, a multiplatform image-to-sound bit of crazy one might seek out and do stuff with.
Pixels rearranged, funneled through code into sound.
Here we go.
———————
More on this 456th weekly Disquiet Junto project, Line Up (The Assignment: Interpret a painting by Agnes Martin as if it were a graphic score), at:
https://disquiet.com/0456/
Virtual ANS:
https://warmplace.ru/soft/ans/
Recording my humming an original melody/riff/whatnot into old hand me down padlike gizmo. Manipulated and rerecorded in GliderVerb running on said gizmo. Edited for length & levels with fades in and out, then normalized—all in Audacity running on actual if ageing computer.
So the manipulations were initially done in real time with a portion of that real time rerecording selected to make this. Clarity/statement of original melody not at all a priority nor is this a classicist aiming for a theme and variations approach. The distended bits of the melody were as much a basic source material as the humming itself. The GVerb delay added some canonical quality to things but was more used with a textural/time & pitch distortion approach in mind. Mostly just the rhythms remain, some sounding like “chicken picking”—thus the more formalistic reason for this being called “Deroost”. Having just moved out of a high view of town also figures into it.
Done for Disquiet Junto 396.
More on this 396th weekly Disquiet Junto project — The Assignment: Make music with by humming a song and then processing the humming — at:
https://disquiet.com/0396/
More on the Disquiet Junto at:
https://disquiet.com/junto/
Used handy VCV Rack virtual modular. Tried various limited systems but settled on using 2 VFX oscillators with a bunch of VCV Fundamental Modules, LFO-2 and Mixer. The Bento Box module set proposed in the Shared System had other options but they didn’t seem necessary here.
The VFX oscillators allow for modulations aplenty, which were not used here. The detune/multiple voice/spread functions alone created undulating stereo spread drones. Then LFOs drove the mixer levels and other LFOs modulated those LFOs. The sometimes audio range interactions added higher frequency squelch sounds. No filter was used as the fundamental tones were sine waves anyhow.
Various favorite things, like delay and reverb, were not stipulated in the Bento Box set and were not used here.
Fade in and out were done real time on the fly using level adjustments in the Mixer modudes. The live take was recorded to a venerable fruit-branded hand-me-down laptop running Audacity. Trim edits done there likewise. Overall presentation was to enter and leave ongoing heterodyning drone oscillations.
More on this 381st weekly Disquiet Junto project — Shared System / The Assignment: make music using a free software synth assembled by Scanner — at:
https://disquiet.com/0381/
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-0381-shared-system/
Mixdown of multiple tracks recorded live in a handy stairwell circa where there might be a 13th floor, if such things were allowed to be.
Individual tracks were each recorded to mono on smphone running Titanium Recorder (consult your local G00gL3 P1@y dealer). Smphn was in slightly different locations for each track and/or the gizmo recorded was in a different spot in same basic acoustic space.
Recorded were a Monotron, a toy echo mic, a voice (together and apart). Also a three AM radio theremin setup consisting of a venerable transistor radio and Walkman set to AM band interacting with a small faux boombox radio set to AM band. Likewise a fruit branded padlike gizmo running ADelay2 (open air feedback) and Hexaglyphics (for such handy bits, consult your local eye-gizmo @pp st0r3).
As per Junto assignment, all of these widgets were running on batteries/out of home.
Tracks were blended using volume and pan.
Additional notes:
More on this 340th weekly Disquiet Junto project (Porta Party: The Assignment: Record a piece of music entirely on the go) at: https://disquiet.com/0340/
Thanks to Jason Richardson for inspiring this project.
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-0340-porta-party/
There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in.
My being no Glenn Branca, soldiered forth anyway in honor of what he's done. Started with one actuator (an electric toothbrush) and 4 resonators (a pewter pitcher, a ceramic fruit bowl, a bowl-like bit of clear plastic packaging, and a metal mixing bowl). Recordings of those physical interactions got messed about by a smartphone program, Reelwave, that emulates varispeed playback of a open reel tape deck. All that was played through a found karaoke machine with built-in echo and recorded to ten tracks (twice my usual--to fit in with the "massive" Glenn Branca theme of this Junto), then mixed down to six minutes plus of noisy droney.
More on this 334th weekly Disquiet Junto project (Disquiet Junto Project 0334: Mass Branca / Record a massive multi-layered tribute to the legendary guitarist-composer) at:
https://disquiet.com/0334/
Major thanks to James Britt for contributing this Junto project prompt.
More on the Disquiet Junto at:
https://disquiet.com/junto/
Created with recordings of record needle sound(most, not all, from cueing records). Plus Noise Maschine running on smphn, Oscillator and ToyTone on padlike gizmo.
More on this 326th weekly Disquiet Junto project (Wave Turntable: In collaboration with composer Danny Clay, make music for his exhibit with artist Jon Fischer using only sine waves and turntable surface noise) at:
https://disquiet.com/0326/
More on Clay and Fischer at:
http://dclaymusic.com http://feather2pixels.com
More on the Disquiet Junto at:
https://disquiet.com/junto/
These days more into drone and tone than chords and such, just messed with 3 notes: A, E and B. Not necessary in any hard order/inversion/octave assignment, though the underlining idea was a stack of fifths--so very loosely, again, A, E, B.
All instruments used were Android phone apps tracked live DI. Sound Effects Generator, S.A.M.M.I. (in drone mode) and Keuwl Music Pad. Used note to frequency charts to tune these instruments to concert pitch notes. Or thereabouts. Specified notes and pitches aren't a usual thing for what I do, but I worked to keep it exact & simple enough to allow for other things to creep in.
Sometimes did 2 or more takes of what I did use, but only used 3 tracks to mixdown to this. Pan and some level changes to mix, that's all. Was aiming that each track would have its own levels and variations there upfront rather than added on later.
More on this 300th weekly Disquiet Junto project (3 chords x 100 seconds) at:
https://disquiet.com/300/
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-the-300th-consecutive-weekly-project/
Noticing some accidentally stretched out text in the Google Books preview of the Berio text, decided to try stretching a clipping of the chosen word, "teaching", including the preceding apostrophe and "s" and the question mark afterward. So: " 's teaching? "
Then the text clipping, rotated, stretched and edited, was loaded into Virtual ANS and further messed with there before being exported as a WAV. The icon image for this upload is an 800 pixel square approximation of what happened to the text.
Most times, what I do in VANS is rendered to play back at a s-l-o-w pace (reaching 5-7 minutes instead of one). This is the Reader's Digest condensed version for ez upload and listening.
How awesome is Virtual ANS? Well: http://www.warmplace.ru/soft/ans/
More on this 279th weekly Disquiet Junto project — “Word Interiorities: Dissect the sonic properties of a single spoken word” — at:
http://disquiet.com/0279/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
http://llllllll.co/t/disquiet-junto-project-0279-word-interiorities/
No kind of virtuoso performer, I messed and multitracked.
Three tracks were of items in the chosen kitchen drawer, mostly metal kitchen measuring cups and spoons, recorded open air in the drawer itself.
Two tracks were of the drawer as read by PhonoPaper, a fun smartphone cousin to the multiplatform Virtual ANS program. One track read the light and dark values of the drawer and converted them on the fly into sound, another partly used a still capture of the drawer (sometimes playing, sometimes cued in real time) and more the drawer of items as read in real time.
PhonoPaper: http://www.warmplace.ru/soft/phonopaper/
Its cool multiplatform cousin, Virtual ANS: http://www.warmplace.ru/soft/ans
More on this 265th weekly Disquiet Junto project, “Kitchen Music: Record a piece of music that uses items from just one drawer”:
http://disquiet.com/0265/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/kitchen-music-disquiet-junto-project-0265/6244
There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.
The selected space and its sounds were not performed in or with so much, as recorded and later messed with on the fly.
The basic recording included some tapping of hollow square metal posts and keys dragging on metal tube hand railing or against cinderblock walls. All this in a multi-story apartment stairwell as recorded with a humble sm'phone running Titanium Recorder.
Later on, using Gleetchlab3, various parts of the recording were looped and played back at varispeed--most often much slower speeds to pitch down the sounds and stretch out the ambience.
The mix was trimmed in Audacity.
More on this 256th weekly Disquiet Junto project — “Music in Place: Record a short piece of music using the sounds around you.” — at:
http://disquiet.com/0256/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
http://llllllll.co/t/disquiet-junto-project-0256-music-in-place/5482
There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.
The drone, as it was and was to become, was created via Particularity 1.01 running on a venerable PPC Mac laptop and recorded from the computer's headphones out to the inputs of a Zoom H4 Handy Recorder. That recording was normalized and trimmed in Audacity.
About Particularity:
https://chrisjeffs.blogspot.com/2010/06/particularity.html
More on this 240th weekly Disquiet Junto project — “Compose a piece of music in which a drone slowly, imperceptibly, gives way to something rhythmic and/or melodic” — at:
http://disquiet.com/0240/
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/
Kwik version is most tracks were done with a Realistic Electronic Reverb (really a short delay passing as reverb) set up to feedback. It has two sets of mono outputs and inputs. One each for mic can be connected for fdbk., and another set for line level. The line level out can send out the resulting din of patching the mic out into the mic in, which is what I did--simple, easy peasy no-input fun.
The RER line output was played through a venerable gray Realistic mini amp and recorded open air to several separate tracks.
Another set up was a FM radio based feedback loop via a Monotron out into a mini FM transmitter, a Walkman set to FM (to go back into the Monotron), and an old boombox set to FM for playback of that din. So the mixer buss/multiplex here exists in the ether. Only one track of that set up recorded. All of the tracks were mixed in a none too new version of GarageBand.
General philosophy of my doing Juntos is to do something I don't much of in a way I don't or never do. Not quite so this time. I've made much use of the Walkman/Monotron/FM transmission loop in recent times. And I used to use the RER all the damn time, just not lately. So this was a revisiting/recontextualization of oft used means.
A past, somewhat more pop like music-ish use of the RER can be heard hereabouts: https://www.youtube.com/watch?v=MLKqiS7auMI
More on this 232nd weekly Disquiet Junto project — “Record a piece of music exploring the concept of ‘no-input mixing.'” — at:
http://disquiet.com/0232/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/
As is often the case, the Junto idea is something to leap off of in the direction of what I would generally do when doing a Junto. Doing something simple/quick/trashy with something on hand that I don't otherwise use too much. And then philosophize too much about the whys and wherefores.
I bent or broke the Murch fourthworlding by:
--recording the source sound (the raking of a metal box fan's grill face, open air feedback of recording set up) in pretty much the same room in which it was later rerecorded at 4x speed playback
--never playing the ambient sound in sync with the original recording (obviating the whole approach meant to shift/recreate/4th world the ambient space)
--never playback any of the sounds (within the final recording) at any speed greater than .4 times original speed. And generally much slower than that.
I like the Murch approach and admire his craft and resourcefulness. But I really didn't want to emulate it. I heard the speed change part, and never meeting a varispeed playback I didn't like, went with that in a very generalized way. The ambient tracks were recorded of a 4x speed playback of the original sounds just as Murch would've done, but that's it.
Arguably, I otherworlded things. Nothing came out as it went in, no elements combined in a march step manner to subtly expand a seemingly naturalistic space. Nope.
Kept things simple so it could function in a short, roughly one minute duration. The sounds occur in a loose field that can more or less play out in the time.
Again quick & dirty: Recorded two mono original tracks on PPC iMac laptop running Audacity. Played them back at 4x speed running Gleetchlab out the headphone jack into a venerable boombox with line in jacks. Recorded that in stereo via an Android phone running Titanium Recorder. Combined tracks in loose non-sync/various slow non-reconstituting speeds via Gleetchlab on same laptop. Edited the selected take in Audacity.
More on this 229th weekly Disquiet Junto project (“Fourth Worldizing: Use a favorite trick of legendary sound designer Walter Murch”) at: http://disquiet.com/0229/
Thanks to Steve Ashby (ashbysounds.com) and Jakob Thiesen (jakobthiesen.flavors.me) for beta testing it.
More on the Disquiet Junto at: http://disquiet.com/junto/
Join the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/
Subscribe to project announcements here: http://tinyletter.com/disquiet-junto/
Disquiet Junto general discussion takes place at: http://disquiet.com/forums/
The only way I can do a Junto is to cheat like mad. In and out of the bounds of good faith, this is a clipping of a longer, live noise improvisation.
My appointed place was the home office where I often mix, if not usually record in.
The room, like so many and so much, won't be around forever. It's all ephemeral. As much so as a Boxing Day afternoon on a bus or in a park etc etc. And since allowed tools like laptops are like worlds within worlds unto themselves, figure I had Iatitude.
The time (roughly 1:30PM [UTC-5:00], 26 Dec 2015) was whenever I could pull it all together.
There was much failed space here. An aluminum foil disposable serving pan or two, a pair of paper/metal canisters joined by a spring to either bottom--it was all neat looking (pics, um, here https://www.facebook.com/media/set/?set=a.884348028330786.1073741845.394608890638038&type=1&l=ec3f3d8d3f) but not really audible here. Inside each canister was an old electric toothbrush not quite running but pulsing on dying batteries. A free range humbucker pickup is running through a grey Realistic mini amp. Overall, one sometimes hears the inductive pulse of one of the electric toothbrushes and sometimes hears the inductive feedback of the mini amp's innards being picked up by the humbucker.
Under "too much video" file these links:
Do you see what I hear is the video of everything done for the In Situ after the setting up. The roughly one minute portion of a live 2 track recording in the same room will be posted as the actual Junto track starts about 6 minutes into this video. The Junto submission having been recorded via a different apparatus (Zoom H4) in a different part of the room, it's not likely to sound the same as the mono, lo res video. How very in situ: https://www.youtube.com/watch?v=m_CwamUt610
Intercession is the longer, even more diffuse video of setting up for the above: https://www.youtube.com/watch?v=Xgxvas_LIJM
Other setups in action:
--humble toy mic plugged into toy mixer/amp with added speed control for tremelo/"echo" effect. Ergo pulsing feedback tones.
--Realistic Stereo Amplified Listener plugged into toy AM radio transmitter and picked up by old RCA cassette player/radio set to AM, yellow flashlight/radio and black tabletop cass./radio. Ergo more open air feedback.
--Another player is a toy echo mic that interacts with one gadget or another. Or just feeds back with other provocations.
Over the course of the main video I try to drag all the players into the camera's view just to give some idea what's happening. Some idea.
Meanwhile, the big face boombox might be familiar from other recent noisy videos like
Box of Xmas Past: https://www.youtube.com/watch?v=G4rcyg1-oKk
Or, Jacob Marley's Boombox: https://www.youtube.com/watch?v=7wkei38-XeI
It's been an empty shell for a while--and soon due for the trash bin. Yes, even hoarders throw stuff out. But it needed its shot at the interwebs beforehand. The other two vids are darker and starker. This one's more the sunshine side of it.
That must cover about everything.
Re In Situ philosophizing: There's feedback via open air, induction and AM transmission/reception. Discuss ad libidum.
Again with the photos: https://www.facebook.com/media/set/?set=a.884348028330786.1073741845.394608890638038&type=1&l=ec3f3d8d3f
Additional info: More on this 208th weekly Disquiet Junto project (“Record a composition in place using only the sounds around you”) at:
http://disquiet.com/2015/12/24/disquiet0208-insitu/
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
Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/
Made in Gleetchlab 3 using the spectrafilter and granulator and reverb treated loop of "the Sun Kin-"
The loop is played spectrally and sometimes in speed but the emphasis is use the bit of Kadrey's voice as a sound source with which to do a very slow motion improvisation.
Done together with Kadrey's reading and improvised in real time, there is no separate score. Here we have a "mixture of rat and Louie dreams".
Normalized, trimmed and faded out in Audacity.
More on this 200th Disquiet Junto project (“Create a score to a Richard Kadrey short story — using his own voice as source audio”) at:
http://disquiet.com/2015/10/29/disquiet0200-kadreyscore/
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/
More from Kadrey at
http://richardkadrey.com http://facebook.com/richard.kadrey http://twitter.com/Richard_Kadrey
This is playful, as the Junto instructions requested, but perhaps a bit sour. Or annoyed, in intent if not in sound (I have very mixed feelings about program sound and things as not sufficient as themselves to be heard etc.).
In the moment and over the long haul it seems we (or some of the bigger us we call "we") forget that technology is not magic. Nor is it voodoo curses.
Not even only slightly knowing what lives inside our gadgets and gizmos can become an excuse for blind and fearful reaction to any widget someone slaps together out of good faith curiosity. Yes, such ignorance & reaction leaves me feeling very sour.
But moving just beyond that: Most of these sounds are unheard emanations or sounds but not as they are usually heard. Most are electromagnetic fields (EMF) picked up from say a computer or the Zoom H4 digital recorder I use or an old electric motor driven clock radio or a battery powered quartz wall clock. All of these are actual or figurative clocks and/or have some aspect that is spoken of as a clock. The processor speed and such like--don't misunderstand me. Tho' I don't rely on movies to tell me a clock from a suspect device, I'm neither a tech nor an engineer. A 14 year old knows more about such things than I do.
There's also the sound of a struck clock chime from an empty mantle clock body found in a Goodwill. The wood body, the metal back plate, the chime bar still mounted inside, yes--but no clockworks, no face. In the mix, I cheated and swallowed up a few (okay, fine: all) of the transients to make the sustain tones float in. Just to be wicked (that is to be clear, via the simple use of the GarageBand software that came with a circa 2010 iMac--the sort of stuff that surrounds us daily).
So everything's a clock. A few kind of clocks, short of going organic, like working in a pulse beat. Well, hey, if I only had a heart . . .
It's enough that the EMF was "played" real time in volume and character by where my flesh and blood hand would move the receiving phone tap pickup (thank you very much, ancient Radio Shack).
Some clocks are most irregular. And yet they are clocks. You standing on one now. Kind of. It's as if one is always in the midst of so much in the physical world, humanly actuated and not, that one would have to be educated to become aware of it. Say, perhaps, in school.
Short track description for those keeping score at home: Paint brush striking chime in empty mantle clock; iMac EMF picked up by phone tap coil into gray Realistic mini amp; melted faux woodgrain GE Clock Radio EMF picked up like above; quartz battery powered wall clock EMF ditto; Zoom H4 Handy Recorder EMF likewise.
BTW, the track image is a scan of the innards of aforementioned Realistic mini amp framed in the aforementioned empty mantle clock. Now you know . . .
More on this 194th Disquiet Junto project (“Record the sound of a clock and make something playful and sweet out of it”) at:
http://disquiet.com/2015/09/17/disquiet0194-clockplay/
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/
As live looping was requested, I went for that. Since it's well past one minute long, feel free to only listen to a minute. Not sure if this is as attack free as asked for, but it leans toward texture, layering, build up.
My instrument was an interactive combination fairly characteristic of my ongoing goofy tech approach. That is to use:
--something cheep --something I already have --something in a way not originally intended --something in odd combination with something else --something somehow altered by the overall interaction with other somethings
[I could envision many T-shirt ready slogans like "ZERO BUDGET. ZERO LATENCY." But hey, time's short--it's Zero Hour.]
Along those lines, I had a stereo cable plugged into the aux in of a Korg Monotron plugged into the aux in of a Radio DJ toy AM radio transmitter being received by a Sony countertop cassette/radio set to AM band.
The earphone out of the Sony radio was patched into a DOD digital delay with long enough time (1 - 4 sec) to serve as a very basic, sound-on-sound style looper delay. I have no fancy discrete looper delays and no patience for anything that discourages a slurry of sound in any case (a late found taste). The output of the DOD went to the line input of a very goofy tech Radio Shack powered speaker which was stereo recorded live and open air by a Zoom H4 handy recorder.
To explain the instrument better: the operative words are "body capacitance"--something like a theremin's antenna or a body contact on a circuit bent device. Just the connection of the Monotron to the Radio DJ makes the Monotron act wonky. The stereo cable to nothing not only leaves the Monotron's output gate open, it sets up this body cap. deal. So the Monotron acts certain ways, one of them is to create a body proximity control over pitch [of self osc. VCF cutoff, that is]. There's nothing rigorous or precise about this control--Lydia Kavina will not be teaching a master class about it. Change other factors and the pitch will shift. Engineers and techs would speak of this as being "interactive". And so it is. Idiomatic and idiosyncratic, proximity to the ribbon controller is a prime but not solitary consideration.
The original live take of this was edited in Audacity.
Goofy tech list:
2 - 1/8" stereo cables Korg Monotron Wild Planet Radio DJ toy AM radio transmitter Sony cassette/radio TCM-959T DOD Digital Delay/Sampler DFX94 pedal Realistic Amplified Speaker System 32-2031A
More on this 189th Disquiet Junto project (“Create a dense stack of attack-free tonal material from one audio source”) at: http://disquiet.com/2015/08/13/disquiet0189-tonelayer/ 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/