Category: Music

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Recorded, mixed & mastered 02/03 Aug 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2024 Jim Lemanowicz

Process notes

On 02 Aug, I recorded Polysynth in Bitwig for 20 minutes after building an interesting modulation system.

In the very early hours of 03 Aug, I recorded a Eurorack modular performance for 14 minutes.

This piece uses short sections of both along as re-imagined in Ableton Live.

Tools used – Bitwig, Bitwig Polysynth, Eurorack modules (Nonlinear Circuits Dos Osc, O_c, Temps Utiles, Braids, Behringer Abacus & Neutron), Zoom H6, Ableton Live & native devices.

This original version of “This Body Is Not Dry” was submitted as part of Naviar Haiku 552, Stretching Ahead.

Stretching ahead –
the straight road,
loneliness.

by: Santoka Taneda

A wandering poet and ascetic Zen priest, Santōka was a disciple of Ogiwara Seisensui, one of the first poets to discard the traditional use of the 5-7-5 structure in haiku.

Santōka’s poetry emphasizes the necessity of *sabi* (solitude) in order to achieve spiritual enlightenment and serenity.

For more about the Naviar Haiku Challenge, see https://ift.tt/PwcB2J3
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Recorded & mixed on 25 Apr 2020 & 01 Aug 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

Process notes –
I selected 14 seconds (in five sections) of a 10 min recording I made on 25 Apr 2020. I loaded these into my hardware tracker and recorded for about 36 minutes. I compiled a handful of pieces of this performance down to about 3:20 .

Tools used –
Yuri Turov’s Xynthesizr, Phosphor by Audio Damage, Audiobus 3, some reverb, Ableton Live Suite, Polyend Tracker, Ableton Live native devices, Zoom H6.

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This original version of “The Old Woman Who Lived In A Fist” was submitted as part of **Disquiet Junto Project 0657: Straight Edged.** The Assignment: Held tones, sharp edges.

More on the Disquiet Junto at: [disquiet.com/junto/](https://ift.tt/QVeiLIm)

Subscribe to project announcements here: [tinyletter.com/disquiet-junto](https://ift.tt/w3X0ZKI)

More on the 657th weekly Disquiet Junto project, Straight Edged — The Assignment: Held tones, sharp edges — at https://ift.tt/8KhwBc1
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Remixed on 25 Jul 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

Process notes –
I used Ángel L. Martínez / Spirit Turnpike’s (https://ift.tt/nbN9ksZ) lullaby “Al Mar, Mi Piratita (To the Sea, My Little Pirate (disquiet0655)” as the source material for this piece.
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Tools used – six samples from Ángel’s piece, Ableton Live & native Live devices.
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Recorded, mixed & mastered 23 Jul 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2024 Jim Lemanowicz

Process notes

This is a small number of overlapping recordings drawn from the same generative session.

Tools used – iPad, Ableton Live, AUM, Arturia iMini.

This original version of “I Have Many Potatoes But No Closets” was submitted as part of Naviar Haiku 550, The Huge Setting Sun

The huge setting sun –
little remains of
its power

by: Takahama Kyoshi

Takahama Kyoshi was a Japanese poet active during the Shōwa period of Japan. He was the editor of the haiku magazine Hototogisu (previously edited by Shiki), where he promoted a more traditional style of haiku, as opposed to other popular schools which did not follow the pattern of seventeen syllables at that time.

Kyoshi also highlighted the symbolic function of the kigo (the seasonal reference), even though the more modern trends were already tending towards seasonless haiku.

For more about the Naviar Haiku Challenge, see https://ift.tt/0Munhi3
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Recorded, mixed & mastered 30 Nov 2023, 01 Dec 2023 & 03 Jul 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2024 Jim Lemanowicz

Process notes

This started life in Nov 2023 along with Disquiet Junto 0622, which is to say a recording of acoustic guitar I made in 1988. (https://ift.tt/MwTqgeO)

Tools used – Ableton Live, a handful of Max for Live devices, K-Devices Shaper, AudioDamage Fluid, AudioDamage Ratshack Reverb, AudioDamage AdVerb, Monolake PitchLoop89 & Ableton native devices, along with iZotope Ozone 9 for mastering.

This original version of “The Distorted People That I Know” was submitted as part of Naviar Haiku 548, The Sound Of Silence

The sound of silence
is all the instruction
you’ll get

by: Jack Kerouac

Like other “Beat Poets”, Jack Kerouac was attracted to Eastern philosophy, perception, and poetry. Together with Ginsberg and Whalen, he helped “Americanise” the haiku form and introduce it to a wider audience outside of Japan.

“The American Haiku is not exactly the Japanese Haiku. The Japanese Haiku is strictly disciplined to seventeen syllables but since the language structure is different I don’t think American Haikus (short three-line poems intended to be completely packed with Void of Whole) should worry about syllables because American speech is something again…bursting to pop.
Above all, a Haiku must be very simple and free of all poetic trickery and make a little picture and yet be as airy and graceful as a Vivaldi Pastorella.”
(Kerouac)

For more about the Naviar Haiku Challenge, see https://ift.tt/EbKtnvo
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Recorded, mixed & mastered 30 Jun 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2024 Jim Lemanowicz

Process notes

Ableton Live, Harmony Bloom, Cherry Audio PS-3300 & native Live devices & methods.

Art: untitled iPad/Photoshop piece, 29 Jun 2016 & 18 May 2018, by Jim Lemanowicz

This original version of “I Can Even Cool Your Goose” was submitted as part of Naviar Haiku 547

night deepening…
following my neighbour, I too
try to cool myself outside
by: Mukai Kyorai

Kyorai was a Japanese haiku poet who first trained as a martial artist before he started writing and became one of Basho’s first disciples.

For more about the Naviar Haiku Challenge, see https://ift.tt/7kcvJb8
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