Category: Music

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Recorded on 20 Jul 2020 & 20-22 Jun 2024. Mixed and mastered on 22 Jun 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

I like to have the computer improvise in one of the ways they do best – randomization & modelled systems (in this case bouncing balls) – because it provides unexpected surprises that push my imagination to places that improvising with other people has never even remotely approached. If I am lucky, my end results are often filled with many layers that are not so obvious on the first few listens.

Process notes –

On Thursday night –
I loaded up Bitwig with a variation on Polarity’s Markov variations Grid patch to guide Arturia’s MS-20V for a few minutes and exported.

On Friday, I imported what I did in Bitwig into an Ableton Live track and also imported a guitar improvisation I did with a Floyd Rose Speedloader Discovery into a Digitech Vocal 300 in 2020. I pulled three different sections from the guitar improvisation into three MIDI tracks in Live – each triggered by a copy of Dillon Baston’s Inspired By Nature Bouncy Notes and each with a different version of Monolake’s Granulator. I let the defaults stand and let the computer do the rest. I included a copy of Sketch Cassette on each track as a tribute to the 4-track cassettes I used in the past and to underscore my choice to only use four tracks on this piece.

On Saturday, I bounced the guitar tracks into audio, stretched each one and finessed fades. On one guitar track, I included a copy of Cycling 74’s Fragulator, just because it rhymes with Granulator.

©2024 Jim Lemanowicz

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This original version of “The Girl With The Flash Frozen Mirror” was submitted as part of **Disquiet Junto Project 0651: Why Compute?.** The Assignment: Respond to a prompt from George E. Lewis – “Why do we want our computers to improvise?”

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More on the 651st weekly Disquiet Junto project, Why Compute? — The Assignment: Respond to a prompt from George E. Lewis — at https://ift.tt/WNUI4pM
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The Distributed & Vertical Relish Concerto for Electronic Quartet and Water (disquiet0649)

Recorded on 19 Apr 2024, 27-31 May 2024 & 06 Jun 2024. Mixed and mastered on 07 Jun 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

Process notes –

I set the track up to roughly follow the golden ratio alongside the conventions of a concerto, like this –

*1:36 – presto 158bpm
2.56 = 153.6 = 2.33 – adagio 44bpm (4:09)
0.625 = 37.5 – allegro – 120bpm (4:46.5)*

I am calling this “distributed” because I threw away the notion that a concerto needs a solo instrument but instead leaned closer to Ornette Coleman and “collective improvisation,” which I have always believed was inspired by the older “Dixieland” jazz.

The Electronic Quartet – Modal CraftSynth 2.0, Max/MSP, Volca Modular, QuNexus/Arturia MS-20 V & Bitwig/Arturia Buchla Easel V.
The Water – Rain falling on 27 May 2024

©2024 Jim Lemanowicz

Photo – Bethpage State Park, NY, USA – 07 Jun 2015

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This original version of “The Distributed & Vertical Relish Concerto for Electronic Quartet and Water” was submitted as part of Disquiet Junto Project 0649: Concerto for []. The Assignment: Write a piece of music informed by the concerto form

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More on the 649th weekly Disquiet Junto project, Concerto for  — The Assignment: Write a piece of music informed by the concerto form — at https://ift.tt/ihM9JuW
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On May 20th, I had my left knee replaced. One of the conditions of my recovery is very limited time sitting upright. So I grabbed my old EA-1, SQ-1 and Zoom H6 and did this semi-generative piece. In bed.

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Recorded, mixed and mastered on 12 May 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. This was also Day 1381 of the 100 Day Project.

Process notes –

After recording and assembling a track based on Oblique Strategies for a future Magpie Pirates community collab compilation, I started in VCV Rack with a number of Stochastic Telegraph devices – Embellish, Ruminate, Memory, Drifter – and a pair of Bifaco Even VCOs, Atelier Palette, the wonderful Seriously Slow LFO by Frozen Wasteland, the SurgeXT delay and Bifaco’s Spring Reverb and then Biset’s Tree as a sequencer, along with VCAs, AD EGs, a clock, attenuverters, a limiter, scope, I/O and Nysthi’s Master Recorder2.

I made three passes –

– A 2:11 first pass, intended as raw material for the slow track
– A 0:02 mistake
– A final 3:49 pass, intended to not be slowed down.

I decided pretty quickly that I would use the mistake as a loop and that I would pitch things down 2-4 octaves. Too much high end for me.

I transferred these to three tracks in Live 12, repeating the 2 second one as the loop for dead center and panning the others left and right. I pitched down, drew fades in, ran it through Ozone 9 and that was it, really.

©2024 Jim Lemanowicz

Artwork: Generated in Adobe Express on 12 May 2024

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This original version of “East On The Homemaker” was submitted as part of Disquiet Junto Project 0645: Speed Trap. The Assignment: Record something, slow it down, and then record over it.

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More on the 645th weekly Disquiet Junto project, Speed Trap — The Assignment: Record something, slow it down, and then record over it — at https://disquiet.com/0645/ 

Be sure to also check the VCV Rack online library (https://library.vcvrack.com/) for the Stochastic Telegraph brand by Mahlen Morris and many many other great developers.
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