Music Prompt: Two rules for this one…
Compose an original music or sound piece that uses at least one reversed part and incorporates two forms of recording technology.
As part of the free portion of my Patreon/Discord, I try to post two prompts a month.
Music Prompt: Two rules for this one…
Compose an original music or sound piece that uses at least one reversed part and incorporates two forms of recording technology.
As part of the free portion of my Patreon/Discord, I try to post two prompts a month.
“Hurricane Built For Two” by Three Nuts In (Disquiet600)
Recorded, mixed & mastered 01-02 Jul 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. Reworking samples provided by Marcus Fischer.
For this piece, I used an Ableton Live template that I developed for an ongoing (and similar) project with others in Sarah Belle Reid’s Patreon community that we started in Sept 2022. Essentially, it is a way to process samples and then re-process the resampled material. My template also gives me enough flexibility to add/remove elements. For me, it’s just a starting point from which I can grow sample-based materials in a generative manner.
Marcus provided 7 samples for this project but I only used 4 of them.
The first three samples were put into my template/devices to pull slices using MIDI files as triggers which were arranged to add randomness to which slice was chosen as well as velocity and probability.
The template channels as used here contain a sampler with some distorted or delay elements added. The resampled results of these were then run through devices that would add some ambience and resonance as well as sample-warp algoriths from Live.
The 4th was only processed by Ableton warp algorithms but per instructions, the piece starts & ends with an unaltered 2 seconds from this sample.
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This original version of “Hurricane Built For Two” was submitted as part of Disquiet Junto Project 0600: Reaching Out. The Assignment: This is a shared sample project. Rework a set of seven WAV files provided by Marcus Fischer.
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Artwork/photo by Jim Lemanowicz, 30 Jun 2019, Whitney Museum of American Art, NYC, USA
More on the Disquiet Junto at: disquiet.com/junto/
Subscribe to project announcements here: tinyletter.com/disquiet-junto/
Recorded & mixed Jun 25 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.
Process notes – for this, I started with the template – the sounds – from a Smile Puppy track I did for Junto #0546 and used musical elements from a November 5, 2005 FL Studio fragment named “Spunker.”
I converted the FL Studio tracks to audio – my voice, a Moog sample and some drums – and then further converted that to MIDI melody or drums within Live. From there I started to pare back my elements and made a quick arrangement after letting it sit for a few hours.
**Word Prompt:** finding something valuable in the trash
**Music Prompt:** Assemble something musical out of discarded and disparate parts. They can be things on your hard drive or things in your head. They can be a part that got buried in a mix or even things you’ve used before. Try to make something new from this. Don’t just post something old. Don’t overthink about whether the parts will fit together or not. If it feels uncomfortable, you are probably on the right track.
Overall, don’t get too hung up and have fun.
Inspired by my approach to music in general and specifically towards a recent Disquiet Junto challenge.
“A Vacuumed Floor Will Just Get Dirty Again” by Yeast With Teeth
Conceived, recorded, mixed & mastered 19 Jun 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, outdoors. Includes a recording from 29 Oct 2005.
The sample I used here is my voice and was recorded on 29 Oct 2005. I loaded this into sEGments by Elliott Garage as a plugin within AUM. I also opened up a live mic, split between two channels. This was one of four recordings I have made like this in the past few days. Then I imported the four channel/tracks I recorded into Ableton Live for the final mix. Four tracks total.
More about the AUM session – On the same channel as sEGments, I used Audiodamage Other Desert Cities. The slices in sEGments were triggered by Corne Driesprong’s polybeat via MF Randomizer and Rozeta Scaler (F Minor Pentatonic, not that it really matters here). Other parameters throughout the session were controlled by 6 LFOs in Achilleas Sourlas mLFO.
One mic was going through Audiothing’s Crusher & Mantis and the other mic through Alexey Nadzharov’s soundfruuze and Bleass’ Delay. I also grabbed a live mix track of all of the above which was going through Audiothing’s Bubbles.
Ableton Live – Kilohearts dual delay, Ableton Spectral Resonator, Max for Live Color, K-Devices Shaper 2.
For this I used an iPad, AUM, mLFO, MidiFlow Randomizer, Beass Granulizer & Delay, a live mic in the backyard, a UPS guy, Rozeta Scaler, Ryan Robinson’s Zoa, AudioKit Digitalism 2000, Strng by Erik Sigth, Amazing Noises Gliderverb, K-Devices Shaper, Anthony DiFuria’s MoDelayrium ReverbiumUnus
I recorded this for Blissville Electro-Magnetic Laboratories & Blister Pop Unlimited.
https://youtu.be/fot-FFRVfCE I’ve liked this album since I first heard it around 40 years ago. Testing some camera/video stuff here on YouTube too.
00:00 Intro
01:15 Previous albums
03:06 Album overview
03:55 Draw The Line
05:28 Wanna Know Why
06:47 Critical Mass etc
07:58 Get It Up
08:33 Bright Light Fright
08:59 Art Not = Artist
09:43 They Suck Now
10:30 Kings & Queens
11:39 Hand That Feeds
12:15 Sore Eyes
12:27 Saw Them Live
13:31 Yardbirds Things
14:34 Milk Cow Blues
15:29 Giorgio & Yardbirds
16:44 The guys in the band
20:12 Wrapping it up!
As part of the free portion of my Patreon/Discord, I try to post two prompts a month. Check this video or the free portion of my Discord to see more – such as a scanned example from Russo’s book.
Remember to use #Blisterpop if you post your entry anywhere!
**Word Prompt:** Any word associated with an animal digestive tract.
**Music Prompt:** Use the notes C, E, F in 3/4 6 note melody, not counting ties but counting slurs. Using your first note as the mid point and the last note as the end point for both lines, invert the melody in the same rhythm. You’ll end up with unison, dyad , dyad, dyad, unison.
I’ll screenshot an example using 7 notes in 4/4, but remember we only want five for this and in 3/4.
Then use that in a track or piece.
The example shown also gets into inexact inversion to keep it in key but that’s your choice, as is tempo and anything else I didn’t mention.
Easy way to do this is to write the melody on staff paper or in midi and look at the staff and count until you hit the next note, then count in the opposite direction for the “inverted” note. Just keep in mind that moving it up or down from that landing place is ok too. So if you count up two in the original melody, count down two for the inversion. If you don’t like that, go one more. You might like it now!
Overall, don’t get too hung up and have fun.
Inspired by an exercise from the William Russo book Composing Music.
Jimmy Lem - Blister Pop Unlimited 