Category: Music

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Recorded, mixed & mastered by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

Process notes –
I started by thinking that verses are quiet and choruses are loud and that my (instrumental) piece would have a clear simple melody in the chorus section and longer notes for the verse. Then I would just make the chorus quiet and the verses louder or in some way more brash.

On Friday, I started working on my monthly Patreon pack – this time using Ableton Live’s Wavetable. I started from an “analog” preset, messed it up a bit and then came up with 10 variations. I put that aside for the pack and then opened a new Live set to branch off from there for this submission.

On Saturday, I arranged the bones of what I had, added a little Roar distortion to the bass/drone and added a few unpredictable elements to finish the track.

Tools used – Ableton Live, Wavetable, Roar & other native Live devices, Sonic Bloom Bodhrán & Kalimba, iZotope Ozone 9.

Artwork/Photography – Jim Lemanowicz, 28 Apr 2010, Manhattan, NYC, USA

©2024 Jim Lemanowicz

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This original version of “No. 63, Hold Back For Oncoming Traffic” was submitted as part of Disquiet Junto Project 0673: Switch Back. The Assignment: Make the quiet part loud, and vice-versa.

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

More on the 673rd weekly Disquiet Junto project, Switch Back — The Assignment: Make the quiet part loud, and vice-versa — at https://ift.tt/bP5eCzS

#disquietjunto #disquiet0673 #experimentalmusic #soundart #electronicmusic #ambientmusic #sounddesign #ableton #wavetable
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Recorded, mixed & mastered 22/23 Nov 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2024 Jim Lemanowicz

This piece is a section of a longer generative improvisation. I started on the iPad and finished on PC. I used Audiobus, 4Pockets Euclidean, Cem Olcay’s Binarythmic & ScaleBud2, Audio Damage Fuzz Plus 3 & Fluid, iZotope Ozone 9, iZotope Exciter & Imager, Bleass Monolit & Delay, Moog Animoog, Igor Vasilev’s Altispace, Bram Bos’ Rozeta LFO.

This original version of “Now I Just Blue Myself” was submitted as part of Naviar Haiku 568, Liquid Flowers Hum. A longer, raw iPad take captured on video will be uploaded for my Patreon subscribers later this weekend. https://ift.tt/DeW29VT.

liquid flowers hum
each donning Dali’s moustache –
Narcissus shatters

by: Darren Bourne

Darren Bourne’s surreal poem came to life while he was making AI video experiments based on Salvador Dalí’s Metamorphosis of Narcissus (https://ift.tt/doygmNM)

“According to expert Jane Reichhold, the *hai* of haiku means “joke, or fun, or unusual”, which is part of the inspiration behind the name halF unusuaL, the experimental electronic music project of Darren Bourne, who also writes haiku and has been published by the British Haiku Society.”

You can find Darren’s music here – https://ift.tt/64HYPji and here https://www.youtube.com/channel/UCb2bmRZgyBACkW6lnkTWHSw, and check out his website (https://ift.tt/YmJVegC) to find out more about his publications and merchandise.

Art by Jim Lemanowicz / DALL-E

For more about the Naviar Haiku Challenge, see https://ift.tt/yrs9i1m
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Recorded, mixed & mastered 08 Nov 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2024 Jim Lemanowicz

This piece is the tail end of a longer generative improvisation. I used Ableton Live & Live native devices, Cherry Audio Pro Soloist & iZotope Ozone 9.

This original version of “I Was Then Tempted By A Single Raw Potato” was submitted as part of Naviar Haiku 566, Telegraph Pole

telegraph pole
toppled down by
the tempest

by: Masaoka Shiki

Regarded as the father of contemporary haiku, Masaoka Shiki was a poet and literary critic during the Meiji period Japan.

He advocated realistic observation by “sketching” (shasei) poems and going out into nature with notebooks, thus abandoning the traditional subjects of haiku of the time. His advice for an aspiring poet was, “Use both imaginary pictures and real ones, but prefer the real ones.”

Art by Jim Lemanowicz 12 Nov 2019, Majorie Post Park, Massapequa, NY, USA

For more about the Naviar Haiku Challenge, see https://ift.tt/NPfnWU0
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Recorded, mixed & mastered 26 Oct 2022, 26 Oct 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2024 Jim Lemanowicz

Process notes –
I wanted to do something peaceful but also a little alien.

I started in Reason, using a bassoon sound and Malström & added a bit from a piano & Absynth piece from exactly two years ago. I exported the stems and imported to Ableton Live. In Live, I added the bass part – the native Analog synth. Here, I treated the four parts with various effects and finished.

Tools used – Spitfire Softpiano, NI Absynth, NN-19 Bassoon, Malström, Bitwig, Reason, Ableton Live, Analog, DAW-specific native devices, iZotope Nectar & Ozone.

Artwork/Photography –
Manhattan, NYC, NY 21 Oct 2020

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This original version of “Born With Sternum” was submitted as part of Disquiet Junto Project 0669: Phonosynthesis. The Assignment: Make music to help a forest regenerate.

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

More on the 669th weekly Disquiet Junto project, Phonosynthesis — The Assignment: Make music to help a forest regenerate — at https://ift.tt/2vr0Piz
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Recorded, mixed & mastered 23 Oct 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2024 Jim Lemanowicz

I put together three generative parts for this in Reason – using Monotone, Felt Instruments Lekko & Subtractor. I then moved over to Ableton Live and did some processing there – shifted each track slightly off-time by stretching.

This original version of “Surfactant Is Cool” was submitted as part of Naviar Haiku 564, Fog clears Away…

Fog clears away:
the waterfall shows up
bit by bit.

by: Natsume Sōseki (Tr. Sōiku Shigematsu)

Undoubtedly one of the most important Japanese novelists in modern history, Natsume Sōseki began his career publishing haiku and renku poems in a number of newspapers and periodicals. Early in his career he met Masaoka Shiki, who encouraged him to become a writer and tutored him in the art of composing haiku.

Between 1900 and 1903 he studied at the UCL in London, but this proved to be quite a dramatic experience for the young Soseki. Despite this, when Soseki returned to Japan, he exploded into prolific writing activity.

Art by Jim Lemanowicz 19 Aug 2011, LIRR, NY, USA

For more about the Naviar Haiku Challenge, see https://ift.tt/pies9U5
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