Tag: SoundCloud

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Conceived, recorded, mixed, mastered 23 Nov 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, NY.

Photo taken 11 Sep 2017, Massapequa, NY

©2023 Jim Lemanowicz

Process notes –
This track started out as a loop that I made in FL Studio on 05 Feb 2005 called “orchomainb.” I have folders and folders of these old FL loops on my drive and backup, maybe 100-200, starting around 2000/01.

I imported a piece of this loop, which was something like bass, drums and some strings into Ableton Live as a wav file and had Live create a melody MIDI clip from it.

A rough idea of the tools I used
– 8 native Live MIDI effects
– Arturia Piano V3
– several of Live’s and Arturia’s delays and compressors
– Puremagnetik’s Partikl delay
– Mastered with Ozone 9 on a fairly gentle setting.

This original version of “Pinch Appeal” was submitted as part of ​Disquiet Junto Project 0621: The Leftovers. The Assignment: Use recently discarded material to make something new.

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

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Recorded 01 Jan 1999 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. Mixed and mastered on 19 Nov 2023.

©1999, 2023 Jim Lemanowicz

Process notes –

I recorded this on 01 Jan 1999 using a Yamaha SU-10 sampler, probably a Pignose Crossmix 150R guitar combo amplifier into a Tascam 424 Portastudio. I transferred to Ableton Live on 04 Jun 2023 and mixed with some Live effects, the texture warp mode and mastered with Ozone 9 and Live’s Dynamic Tube device.

I used these delay racks made by Brian Funk
BF Delay Master
BF One Word Delays
BF Noise Dirt Delay
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Recorded, mixed & mastered 08-09 Nov 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2023 Jim Lemanowicz

Process notes

First day –

– Not intending this to be for the next Junto – it was Wednesday – I decided to program a samba beat in FL Studio from a book of drum patterns for four percussion instruments and then added a second snare. Nothing especially out of the ordinary, it just felt like practice. I went to sleep wondering if I could take it apart somehow.

Second day –

– Spent probably too much time getting MIDI out of FL and into Ableton Live.
– I used a template that I developed last June for this particular concept, (”band”), I call Smile Puppy I used this concept for Juntos 0546 and 0599. This concept started for me in a very primitive way in FL 3.5 back in 2001-ish, so I always try to include FL somehow, so it seemed natural to use that concept name.
– Juggled the percussion tracks to have the thing build as it went, with some open spots too. Didn’t want to be linear, it felt less musical to me.
– My template included a track for raw audio that I removed and a track with a marimba sound and another one with an Operator pluck sound.
– I used a Max For Live thing called TreeSEQ by Gross9978 to generate the notes for the two melodic tracks, with the pluck aiming for the bass sounds. I then captured these two parts in two MIDI receiver tracks.
– I liked the pluck sound but not for bass. It didn’t have any hint of bass oomph and what can I say, I’m really fussy with bass.
– So I duplicated the bass part and with some messing around, I found something in Kontakt that was more bass-sounding to me but also a little off. That was it, I was going to slick with that.
– I took the original bass part, cut it in half, increased the octave I was in and half timed it as a solo near the end of the track. I also processed it with some of Live’s guitar-oriented effects but also a gate to gently tame it. Still it eventually took over without any intention from me and I liked that happy accident for an ending.

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

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This original version of “I Am As Dry As A Fish” was submitted as part of Disquiet Junto Project 0619: Beat Accrual. The Assignment: Rebuild a complicated rhythm from scratch.

More on the Disquiet Junto at: [disquiet.com/junto/](https://ift.tt/JBVj35C)

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Recorded, mixed & mastered 02-03 Nov 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2023 Jim Lemanowicz

Process notes

First day –
– Typed one paragraph from the Black Panther newspaper of 4 Nov 1972 into Google Translate. I went with 51 years ago, instead of 50.
– Sent the German output into a text-to-speech engine, PlayHT
– Paulstretch in Audacity & exported
– Dragged into Live and duplicated two more times
– Set warp markers to produce variations & panned two tracks L & R
– L & R tracks each treated to two instances of Arturia Tape Melo-Fi to get some crud distortion
– Center track treated to some widening in Live

Second day –
– Recorded a china cymbal. This was run into Ableton Live’s Spectral Resonator and other effects.
– Recorded a short series of walking bass notes using a Turser JTB-402. This was run through a modified Buffer Shuffler, iZotope’s Neutron and other effects.
– I duplicated this track and converted the second copy to MIDI for use in sidechaining.
– I froze/flattened the cymbal, speech and bass audio tracks
– I altered some of the things I did the day before with the speech tracks.
– Recorded a nylon-string guitar that was missing the low E and the D string. I retuned the second highest string, recorded something related to the bass track and enhanced this with Live’s grain delay.
– I split the bass audio track into two for hi/lo processing with some simple shelving EQ.

—

Black Panther, Vol. 9, No. 3, November 4, 1972

A Matter Of Life Or Death, vote “no” on proposition 17, 4th paragraph, translated into German.

Historically, America has justified its use of the death penalty, both domestically and on a world-wide level with the so-called “deterrent” theory. This twisted logic has resulted in the slaughter of millions throughout the world and the development of more and more ingenious methods of killing human beings.

Historisch gesehen hat Amerika seine Anwendung der Todesstrafe sowohl im Inland als auch auf weltweiter Ebene mit der sogenannten „Abschreckungs“-Theorie gerechtfertigt. Diese verdrehte Logik hat zur Abschlachtung von Millionen Menschen auf der ganzen Welt und zur Entwicklung immer raffinierterer Methoden zur Tötung von Menschen geführt.

—

This original version of “Begrabe Das Lied” was submitted as part of Disquiet Junto Project 0618: Burying the Lede. The Assignment: Turn old news into new music.

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Recorded, mixed & mastered 19 Oct 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, outside.

©2023 Jim Lemanowicz

Process notes

Two words that mean “minimal” – “clean” and “essential.” These two I rendered through sound in this piece.

“Essential” made me think of Junto Project 0530: Minimally Viable Music. I’ve been finding many opportunities presented in later Juntos to touch back on that concept and the methods I used to complete that project.

I started outside on a relatively warm October night for New York/Long Island using iPad/Audiobus with Burns Audio Spectrum through some Bleass and AudioDamage plugins. Spectrum is a suite of iOS plugins that use open source code from Mutable Instruments.

I used two earlier short sections of this 36 minute piece. One was a false start, a recording of about one second. Both were placed into their own track in Ableton Live and using Live’s warp modes, “cleaned up” to produce something more intermittent, cleaner, more essential. Both were then treated to a number of Max For Live devices before being committed to flattened audio tracks and ultimately mastered with Ozone 9.

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This original version of “Sanitized For Your Own Good” was submitted as part of ​Disquiet Junto Project 0616: : Definition Jam. The Assignment: Explore, in music, the nuanced differences between two closely related words.

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Recorded, mixed & mastered 22-23 Sep 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, outside.

©2023 Jim Lemanowicz

Process notes –
On Sep 23, 2023 and in the presence of an army of active landscaping equipment, I recorded a non-name eBay piccolo snare drum in twenty different short recordings using exciters and techniques. This I arranged into three track groups for left, right and center, each with an effects chain containing an Ableton Corpus and a Melda Production MAutoPitch into my standard channel rack. These clips were arranged over a straight recording of the landscaping equipment split into two stereo tracks, both through an Ableton Resonator and a Melda Production MAutoPitch.

I didn’t want to present a linear walk, so I went with a busy walk through an airport or major train station as my guide…with landscapers…

Photo –
23 Sep 2013, Bryant Park, NYC, NY, USA, Jim Lemanowicz

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This original version of “My Resistance Is Not My Personality” was submitted as part of ​Disquiet Junto Project 0612: Drum Vector. The Assignment: Walk the listener through variations on the same percussive instrument.

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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.

—–

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.

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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.

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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.

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Recorded & mixed 06 Aug 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. This was day 1230 of the ongoing 100 Day Project.

©2023 Jim Lemanowicz

Process Notes –

This started as a one-note pattern on iPad/AUM/Fugue Machine that was equal parts rests and notes. Running it through MF Randomizer and Scale Bud 2, I split this into three channels – two instances of Strng by Erik Sigth and one instance of iceWorks Kronecker clockwork synth, each individually recorded and also summed to a 4th bus channel.

I copied the first Strng channel and the bus over to Ableton Live 11 Suite.

I then ran these through Stutter Switch by Amazing Noises, Erosion, Gate, Resonator and Redux by Ableton with Erosion, Redux and Resonator progressing through different automations.

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This original version of “Manner Of Displacement” was submitted as part of ​Disquiet Junto Project 0605: Fifty Fifty. The Assignment: Compose a piece of music with as much silence as notes.

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

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