Category: Music

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“Cactus, O Cactus” by Antlers Spread Wide

Contains recordings by Tristan Louth-Robins, Thomas Undermulden, Hugh G Prat, Jonathan Zorn and Bo OhWell
Mixed & mastered 30 Jun 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

Process notes –
Along with my own submission for 0609, I grabbed pieces of the following
– [Disquiet_Junto_0609] Refactored Drift (60 bpm) by Tristan Louth-Robins
– Sleep Spindles (disquiet0609) by undermulden
– Upeow (disquiet0609) by Hugh G Prat
– Disquiet0609 60bpm by Jonathan Zorn
– Shadow Clocks [disquiet0609] by OhWell

After roughly tuning the tracks to something approaching C, I chopped chunks out of each, shortened these to 1 min total length from different starting points, chose different warp modes in Live and then stretched all 6 tracks to 2 min. I added some effects, including some to add pitchiness to non-tonal material. I used Max for Live to modulate some parameters while others were manually automated, then cut more chunks out. I accepted my rough mix and ran these through a variation of my Ozone 9 mastering chain.

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This original version of “Cactus, O Cactus” was submitted as part of ​Disquiet Junto Project 0610: Speed Limit Pt 2
The Assignment: Combine two or more pre-existing 60 BPM tracks into something new — at half the speed.

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

Subscribe to project announcements here: tinyletter.com/disquiet-junto/
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Recorded, mixed & mastered 31 Aug 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2023 Jim Lemanowicz

Process notes – iPad, AUM, Fugue Machine generating notes into MF Randomizer and ScaleBud 2 into Erik Sigth’s strng synth engine and then a bus track.

Other Desert Cities & Shaper were effects used.

I recorded at 45.1 BPM and imported the two wav files into Ableton Live 11 Suite. There I time-stretched the audio to 60 bpm using the Beats warp mode with short transient envelope times and then added a gate to my standard channel group. I added my standard mastering group (Live native effects and Ozone), widened the stereo panorama to 110% and rendered to WAV & MP3.

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This original version of “Please My Parching Tongue” was submitted as part of ​Disquiet Junto Project 0609: Speed Limit Pt 1. Record a track at precisely 60 BPM with the intention someone will subsequently rework it.

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

Subscribe to project announcements here: tinyletter.com/disquiet-junto/
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Recorded, mixed & mastered somewhere between 10pm and midnight on 11 Aug 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. Raw recording is from 11 Aug 2019.

©2023 Jim Lemanowicz

Process notes – For raw material, I used a recording of mine from 11 Aug 2019 of what I believe is Erik Sigth’s nils and Retronym’s Tabletop and probably recorded on an iPad 4. The original recording was about 4:45 min long.

I took this recording and loaded it up into a template I created in Ableton Live from last week’s project. I divided the recording into two tracks and stretched each out, chopped each into three and did some Live warp & crossfade magic on them to make the audio more or less percussive. Each track also received a Buffer Shuffler 1.0 device set to a 20 step pattern with only 5 steps active (aka 25%).

Each track went through different chains of effects, emphasizing some subtle resonance and distortion. Each effects chain ended with a gate device. I can’t say for sure that it is 25%/75% but its pretty freaking minimal.

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This original version of “Spaces In Transition” was submitted as part of Disquiet Junto Project 0606: Three to One. The Assignment: Compose a piece of music with three times as much silence as sound.

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

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