Tag: SoundCloud

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Original by encym https://ift.tt/t1z7028

Dubbed & mixed 15 Mar 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. This was also Day 1338 of the 100 Day Project.

Music distributed under CC BY-NC-SA 3.0 DEED

Process notes
Last week, encym(https://ift.tt/t1z7028) recorded & uploaded “Neat Disorder” and I downloaded it on 3/13

His original post and notes –
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“This week’s Junto project has always been one of my favourites – so I recorded the first third of what will eventually become a trio. I played it on my Tele through a simple, straightforward signal chain of Chase Bliss Mood (the main sound), fed through a Dark Star and a Polymoon to add space and variations in terms of timbre. No further editing in the DAW. I went for as sparse a track as I could, to provide as much space as possible for my potential collaborators. My hope is that you feel inspired by my “almost crumbling to pieces” vibe, and I look forward to hearing what you will be adding over the coming weeks for it to become a trio recording.”

My own additional process notes –
On 3/15, I recorded about 9 minutes of prepared cuatro and picked some bits I liked for this piece. I used a few native Ableton Live effects, panned to right.

Artwork: Edit and additions to encym’s original using Adobe Photoshop 2024 and Q’MIC-Qt.

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This original version of “Ataxophobia, Right?” was submitted as part of Disquiet Junto Project 0637: Right (2 of 3). The Assignment: Record the second third of an eventual trio.

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

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More on the 637th weekly Disquiet Junto project, Right (2 of 3) — The Assignment: Record the second third of an eventual trio — at https://ift.tt/snm1OfT

#DisquietJunto #AtaxophobiaRight #Encym #JimmyLem #MusicProject #Collaboration #Tele #ChaseBlissMood #DarkStar #Polymoon #AbletonLive #PreparedCuatro #Bowed #Struck #AbletonLive12 #disquiet0637
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Recorded, mixed & mastered 09 Mar 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

Process notes
This is my Danelectro 12-string electric guitar in four similar variations in Live 12 Suite.

Each variation is through Live’s 2×12 Near On-Axis amp preset and my own channel strip, including compression, sometimes high. I quantized these pretty close to whatever grid I was using at 76 bpm, if that matters to anyone. Use them as you would like!

Variation 01 – three notes, stretched out a bit in the Texture warp mode, with one note stretched a bit more. Live’s overdrive is on here at mid-high frequencies.

Variation 02 – five notes, I think I left the speed alone here. Just put it through Beat Repeat in mix mode, my second-gen deconstruction of their Deconstruct preset with some fading decay, a 12 tone octave and almost 100% chance of glitching.

Variation 03 – sped this up, slowed it back down and re-quantized this a few times. Then I used the newer Live distortion device, Roar, and edited/adjusted their Alien Symphony preset.

Variation 04 – I left the speed alone but applied reverse and fades to this one. This one is through the Redux at 4 bits and 11.7 kHz at a modest 20% wet.

Further variations will probably work their way into a future Heatsink track when I am ready to compile my next album under that name.

Artwork: From the LIRR or somewhere in NYC or the Upper East Side, 09 Mar 2015

©2015,2024 Jim Lemanowicz – music distributed under CC BY-NC-SA 3.0 DEED

This original version of “Four Variations for Left” was submitted as part of Disquiet Junto Project 0636: Left (1 of 3). The Assignment: Record the first third of a trio

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

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Recorded, mixed & mastered 23 Jun 2019, 02/03 Mar 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

Instruments –
Ableton Live 12 beta, Operator and other native devices, iOS/iAbyssal, field recordings of train provided by Todd “toaster” Elliot.

Process notes –
From the original audio recording of a train by Todd Elliot –
– I derived the melodic elements and drum bits with Live’s audio-to-midi features.
– I further split, duplicated, stretched & gated the original shorter audio train recording – heard here as rhythmic bursts.
– Looped a section of the original audio to form a very loose rhythm.

I also added another rhythmic element using a segment of an iPhone recording I made on 23 Jun 2019 using the app iAbyssal.

Artwork: From the LIRR, NY, USA, 27 Jan 2011, by Jim Lemanowicz

©2019, 2024 Jim Lemanowicz – music distributed under CC BY-NC-SA 3.0 DEED
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This original version of “There’s More Under The Sheets” was submitted as part of Disquiet Junto Project 0635: ’Round the Bend. The Assignment: You’re in a duo, and your bandmate is a train.

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

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More on the 635th weekly Disquiet Junto project at https://ift.tt/PlgaqeV
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Recorded, mixed & mastered 07 Jun 2019, 27 Oct 2021 & 09-10 Feb 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

Process notes

09 Feb 2024

I have a 5-track Live template for my Bubble Memory project name, so I loaded a windy backyard recording of a kalimba & a glass from Oct 2021 into that. I split the backyard recording into the two tracks I have set aside for field recordings. Each has tons of processing loaded in already. The template includes kick and snare parts so I started by creating a minimal beat that might hopefully hold this thing together and added some lesser probability to those notes.

I also have a Simpler track in the template so I loaded some of he backyard recording into that one too. I found the entire thing too constantly noisy and wrote some ideas to my notes about gating & adjusting some of the effects before shutting down for the night.

10 Feb 2024

Loading this back up, I first worked on adding some gates to a few of the tracks to thin out the noise bits. I added an iAbyssal recording I made in 2019 to the final track in the template. Added sparingly both an Arpeggiator to the Simpler track & a Note Repeat to the drum track. Then I worked a bit on other automations, including panning. This felt like it was done and I rendered both a mastered and unmastered mix for later use and for this Junto. It still felt like wind to me.

Artwork: From the LIRR, NY, USA, 27 Jan 2011, by Jim Lemanowicz

©2019, 2021, 2024 Jim Lemanowicz

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This original version of “Brown Paper Lips” was submitted as part of Disquiet Junto Project 0632: Shear Wind. The Assignment: Make the most of the disturbance within a field recording.

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

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“Bowling For Howie” by Broken Grist

Recorded & mixed live to Ableton Live on 03 Feb 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2024 Jim Lemanowicz

Instruments –
Eurorack, including Nonlinearcircuits 4-Voice Cluster, DIY Braids, DIY O_c, Behringer Neutron, Behringer Abacus, Korg SQ-64 providing gates & Ableton Live native devices Grain Delay and Delay providing effects. I used Ableton Live Beta 12 for this.

I grabbed 5 or so minutes from the full 27 minute improv for this because I liked this section. The rest may appear alongside it in an album titled “How Many Licks?” in the next few years and most likely in different form.

Photography – Bryant Park, 05 Feb 2015 by Jim Lemanowicz
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“The Radius Of The Shoulder Zone” by Smile Puppy (disquet0628)

Recorded, mixed & mastered 13 Jan 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. This was also Day 1280 of the 100 Day Project.

©2024 Jim Lemanowicz

Process notes

Using a template that includes two Operator instruments, I created a simple arpeggiated arrangement for both and then added a beat that changes incrementally. I also added some brief snippets of unrecognizable computer-generated voicemail from the local pharmacy using Ableton Simpler. I then automated parameters across the length of each track to highlight transformation.

I committed all this midi to audio and then stretched each track slightly and in different ways to let them go gradually out of sync to highlight separation. Having one arpeggiated Operator start a bit off-kilter anyway, this gets pretty extreme at the end. Here come the warm operators!

Artwork: Penn Station, NYC 17 Dec 2010, by Jim Lemanowicz

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This original version of “The Radius Of The Shoulder Zone” was submitted as part of Disquiet Junto Project 0628: Alchemical Brothers. The Assignment: Explore an aspect of the ancient occult science using music.

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

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

#experimentalmusic #electronic #DisquietJunto #arpeggiated #transformation #alchemical #occultscience #SmilePuppy #disquet062 #separation
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Recorded & mixed Apr 2019, Oct 2019, May 2020, Nov-Dec 2023, remixed and mastered 07 Jan 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratory for Blister Pop Unlimited.

Instruments – Ableton Live, Brian Funk’s 100-Year Old Piano, Ableton Spectral Time & other Live-native audio & MIDI devices, Arturia Delay Brigade & Comp Diode-609, Moog MF-104S Delay & iZotope Ozone 9.

© 2019-2024 Jim Lemanowicz
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“Have You Ever Been To Butter?” by Manhattan Rubber (disquiet0626)

Recorded, mixed & mastered 29-30 Dec 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2023 Jim Lemanowicz

Process notes

First, I selected the following recordings from which to draw my loops for this piece –

– Sounds from the Atari 8-Bit game Bruce Lee recorded on 14 Jan 2023 via the Altirra emulator
– An Ableton Live piece recorded with Brian Funk’s 100-Year Old Piano instrument on 20 Feb 2023
– An iPad/AUM piece recorded using Animoog on 09 Mar 2023
– An 18 Apr 2023 street/bird recording from 70th St in Manhattan NYC
– A tenor sax recorded 07 May 2023
– A 24 Jun 2023 recording using the Max For Live device Screaming Janus
– An iPad recording from of the formant synth Howl from 04 Jul 2023
– A 01 Aug 2023 recording made in Bitwig using an organ sound and other things
– An experiment using voice in FL Studio recorded on 26 Sep 2023
– A recording made on 16 Oct 2023 using Coldcut’s Midivolve generating notes and Cherry Audio Surrealistic MG-1 generating the sound.
– A piece recorded on 17 Nov 2023 using iSEM on iPad/AUM.
– A recording from 02 Dec 2023 using two Puremagnetik devices – Strom & Replicas

Then, I edited and arranged small pieces of these as loops across 12 tracks in Ableton Live and applied a handful of effects/mixing. After this, mastering was completed with Ozone 9.

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This original version of “Have You Ever Been To Butter?” was submitted as part of Disquiet Junto Project 0626: Audio Journal 2023. The Assignment: Create a sonic diary of the past year with a dozen (or more) super-brief segments.

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

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Recorded, mixed & mastered 23 Dec 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2023 Jim Lemanowicz

Process notes

Over the course of a few hours, I recorded alto saxophone in my bathroom six times using my iPhone in various places in the room – in the shower, by the dripping sink, near the running toilet. Any incidental noises in the room – water, movement – have been left in these recordings. The room I used was an important part of my recording.

A bit later in the day, I imported all six recordings into Ableton Live and divided them evenly into as many tracks and into three groupings. Each group was given one instance of Baby Audio’s Transit. The last group was further subdivided into four tracks total. Each grouping’s individual tracks was also given one effect. I used Live native devices throughout as well as Arturia EFx Refract and SynthesizerWriter AUD HexFrequencyShifter.

After getting a good mix, I mastered using iZotope Ozone 9.

Artwork: Jim Lemanowicz, 27 Feb 2010

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This original version of “The Lady With The Watermelon Hugs” was submitted as part of Disquiet Junto Project 0625: Noise Ceiling. The Assignment: What does this room sound like?

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

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For this, I extended my ideas around Disquiet Juntos 0605, 0606, 0609 & 0530, centered around “minimally viable music.” I worked various techniques to shadow my foundation audio – including duplicating and delaying – as well as decaying, stretching and minimizing strategies using gates, crushers & audio warping.

Recorded, mixed & mastered 30 Nov and 01 Dec, 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2023 Jim Lemanowicz

Process notes –

For the foundation audio here, I used a recording I made of a cheap acoustic guitar to cassette tape on 14 Feb 1988 and transferred to another tape on 30 Aug 1995.

Tools used – Ableton Live 11 Suite, Ableton Live native devices and a handful of Max for Live devices, along with iZotope Ozone 9 and K-Devices Shaper.

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This original version of “Little Iodine Crack” was submitted as part of **Disquiet Junto Project 0622: Know the Shadow.** The Assignment: How do you depict a shadow in sound?

More on the Disquiet Junto at: [disquiet.com/junto/](https://ift.tt/isXvrw3)

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