Tag: SoundCloud

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Recorded, mixed & mastered on 28/29 Apr 2023 & 11 Jan 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

Yesterday, thinking of this week’s Haiku and Junto, I had an idea to go back to 2 days in 2023 to start a new album (second start today) & use the two tracks for this week as a starter. This would be similar to the work earlier where I have a long stretch of material to chop up into different tracks.

The original material is a bit of mystery to me – Ceclia, FL Studio, PaulXStretch, Reason, Thor, Fracture. I had something that was not close to being anything I wanted tonight. I changed direction and started two new MIDI tracks to run a metallic Collision and a Massive X bass. Then I went back to the first two tracks and applied Fragments and it gelled for me.

Artwork/Photography – Jim Lemanowicz, Massapequa, NY, USA – 19 Nov 2017

©2025 Jim Lemanowicz

This original version of “Gleaming Greasy” was submitted as part of Disquiet Junto Project 0680: Reverse Resolution. The Assignment: Finish something (musical) you started last year.

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

More on the 680th weekly Disquiet Junto project, Reverse Resolution — The Assignment: Finish something (musical) you started last year — at https://ift.tt/x2z5iG4
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Recorded, mixed & mastered 04 Jan 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2024 Jim Lemanowicz

For this I used Audio Damage Phosphor 3, some DX100 samples, Behringer ProVS mini, several native Live devices, a few Arturia effects.

This original version of “Doll Anatomies” was submitted as part of Naviar Haiku 574, On New Year’s Day.

on New Year’s Day
everywhere, a corrupt world’s
blossoms.

by: Kobayashi Issa

As customary, the first haiku of the year is by Kobayashi Issa.

Among the four great masters of Japanese haiku, Kobayashi Issa (1763-1828) was the most prolific: during his lifetime he wrote over 20,000 haiku, hundreds of tanka, and several haibun.

Art photography by Jim Lemanowicz, 15 Dec 2017, Massapequa, NY, USA.

For more about the Naviar Haiku Challenge, see https://ift.tt/d5YGClS

#Soundart #naviarhaiku #naviarhaiku574 #Phosphor #DX100 #Ableton #white #VSmini #KobayashiIssa #sounddesign #corrupt #ambient #blossom
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Recorded, mixed & mastered on 22 Dec 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

Back when Johnson was the President of the USA, I had some building toys – an erector set and Lincoln Logs. My father being in the sheet metal trade was also probably an influence. Anyway, I probably just wanted a hammer, so with a bit of the industrial in mind I created this marching, pounding thing.

Tools used & process notes –
In VCV Rack 2 Pro I used Surge XT’s Modern VCO & dBiz DaOsc, many native VCV and Surge XT modules, Bifaco Srping Reverb, Squinktronix Harmony & Apreggiator, a few of Hetrick’s Phasor and Choas modules, Daniel Davies Sequel_8 sequencer, Sm@rTAZZ Studio’s D-Octer & Alef’s Bits Probably Not. Of course, Frozen Wasteland’s Seriously Slow LFO & JW’s Simple Clock is in there, too.

In Ableton Live 12 Suite, I imported my second take, editing from over 6 minutes to 3 and creating a second track with things I cut out. I stretched this and then ran it through a Joyo Uzi pedal. I stretched the result again. In Live, I also used kHz Dual Delay, Arturia’s Delay Brigade (hello, Memory Man!), native Live devices and some Max For Live devices – K-Devices Alter Echo, Osprey’s ADT1 & Graham F’s Aerosolizer.

Lots of compression and distortion here to go with that “boy who really wants to play with a hammer” feeling! It also came out with a sort of “Cold War Era” feel to me.

Artwork/Photography – Jim Lemanowicz, Bay Ridge, Brooklyn, NY, USA – 10 Oct 2008

©2024 Jim Lemanowicz

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This original version of “The Erection Set” was submitted as part of Disquiet Junto Project 0677: Jeux d’enfants. The Assignment: Make music inspired by a children’s toy or game.

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

More on the 677th weekly Disquiet Junto project, Jeux d’enfants — The Assignment: Make music inspired by a children’s toy or game — at https://ift.tt/ROFGtdK
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Recorded, mixed & mastered 18 Dec 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2024 Jim Lemanowicz

For this I used Live, Live native devices, Dillon Bastan’s Rhythmorphic and Arturia’s Mini V & Prophet-5 V.

This original version of “Polar Decomposition In Rhode Island” was submitted as part of Naviar Haiku 572, cool breeze.

cool breeze–
cloud shadows
on the green paddies

by: Morikawa Kyoroku

Morikawa Kyoroku (1656-1715) studied with the great Basho for ten months, who was the one who chose his nickname Kyoroku because he excelled in all six (roku) art forms: calligraphy, painting, spear, sword, horse riding and haiku.

Art photography by Jim Lemanowicz, 30 Apr 2017, Greenpoint, Brooklyn, NY, USA with an Agfa camera using Ilford HP5.

For more about the Naviar Haiku Challenge, see https://ift.tt/890OVlD
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Recorded, mixed & mastered 11 Dec 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2024 Jim Lemanowicz

For this I used 3 instances of VCV Rack running Voxglitch ArpSeq within Ableton Live. In Live, I was running FL Studio with Sytrus loaded, Live’s Wavetable and Arturia’s Arp 2600. From about 23 minutes, I used this small section towards the end and did a bit of editing.

This original version of “So Glad To See You Again” was submitted as part of Naviar Haiku 571, Stillness.

stillness:
the sound of petals
sifting down together.
by: Miura Chora

Miura Chora (1729-1780) was a Japanese poet from Toba (present-day Mie Prefecture). Early in his career, he came into contact with the Teimon School, and bonded with the great Yosa Buson. An admirer of Matsuo Bashō, he strived for a return to the simple tones and spirit of the latter’s poetics, criticizing the vulgarization of haiku of his era and advocating the so-called “return” to a Bashō’s style.

Art photography by Jim Lemanowicz, 30 Nov 2018, Whitney Museum Of American Art, NYC, USA

For more about the Naviar Haiku Challenge, see https://ift.tt/9JNfuEx
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Recorded, mixed & mastered on 05 Dec 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

Process notes -I started by working in VCV Rack, capturing a 7 minute stereo recording. I pulled this into Ableton Live and layered the track six times, each track being treated differently. I mixed/mastered on the same night.

Tools used
VCV Rack – VCV-native modules, Vult Bleak, Surge XT Modern VCO, Frozen Wasteland Seriously Slow LFO, BogAudio VCF & LFO, JW-Modules Clock, Aaron Static’s Chord CV, Daniel Davies’ Sequel_8, Sckitam Waveguide Delay, Squinky Labs Stairway filter.

Ableton Live – native Live devices and Cycling 74’s multiharmonizer

Artwork/Photography – Jim Lemanowicz, 05 Dec 2015, Marjorie Post Park, Massapequa, NY, USA

©2024 Jim Lemanowicz

**NEED LINK**

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This original version of “Performing A Choke” was submitted as part of Disquiet Junto Project 0675: Arc of the Drone. The Assignment: Record a drone that goes from simple to complex to simple.

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

More on the 675th weekly Disquiet Junto project, Arc of the Drone — The Assignment: Record a drone that goes from simple to complex to simple — at https://ift.tt/cI9iPO6
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Recorded, mixed & mastered 27 Nov 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

This piece is a section of a longer generative improvisation. Using a patch I created earlier in the evening on Arturia Prophet V3 in the VS mode, I started in Bitwig with a few sequenced notes, Nitwig’s own random elements, CodeFN42 RandArp & iZotope’s Neoverb. I chose a small section to replicate across four tracks in Ableton Live and committed some variation with Live’s native devices and some other iZotope plugins.

This original version of “Ion Exchange & Found” was submitted as part of Naviar Haiku 569, Resplendent.

Resplendent
the kite soaring up above
the shanty town

by: Kobayashi Issa

Among the four great masters of Japanese haiku, Kobayashi Issa was the most prolific: during his lifetime he wrote over 20,000 haiku, hundreds of tanka, and several haibun.

Art/photography by Jim Lemanowicz, 07 Nov 2009, Massapequa, NY, USA
©2024 Jim Lemanowicz

For more about the Naviar Haiku Challenge, see https://ift.tt/qxf0DVu
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Recorded, mixed & mastered by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

Process notes –
I started by thinking that verses are quiet and choruses are loud and that my (instrumental) piece would have a clear simple melody in the chorus section and longer notes for the verse. Then I would just make the chorus quiet and the verses louder or in some way more brash.

On Friday, I started working on my monthly Patreon pack – this time using Ableton Live’s Wavetable. I started from an “analog” preset, messed it up a bit and then came up with 10 variations. I put that aside for the pack and then opened a new Live set to branch off from there for this submission.

On Saturday, I arranged the bones of what I had, added a little Roar distortion to the bass/drone and added a few unpredictable elements to finish the track.

Tools used – Ableton Live, Wavetable, Roar & other native Live devices, Sonic Bloom Bodhrán & Kalimba, iZotope Ozone 9.

Artwork/Photography – Jim Lemanowicz, 28 Apr 2010, Manhattan, NYC, USA

©2024 Jim Lemanowicz

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This original version of “No. 63, Hold Back For Oncoming Traffic” was submitted as part of Disquiet Junto Project 0673: Switch Back. The Assignment: Make the quiet part loud, and vice-versa.

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

More on the 673rd weekly Disquiet Junto project, Switch Back — The Assignment: Make the quiet part loud, and vice-versa — at https://ift.tt/bP5eCzS

#disquietjunto #disquiet0673 #experimentalmusic #soundart #electronicmusic #ambientmusic #sounddesign #ableton #wavetable
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Recorded, mixed & mastered 22/23 Nov 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2024 Jim Lemanowicz

This piece is a section of a longer generative improvisation. I started on the iPad and finished on PC. I used Audiobus, 4Pockets Euclidean, Cem Olcay’s Binarythmic & ScaleBud2, Audio Damage Fuzz Plus 3 & Fluid, iZotope Ozone 9, iZotope Exciter & Imager, Bleass Monolit & Delay, Moog Animoog, Igor Vasilev’s Altispace, Bram Bos’ Rozeta LFO.

This original version of “Now I Just Blue Myself” was submitted as part of Naviar Haiku 568, Liquid Flowers Hum. A longer, raw iPad take captured on video will be uploaded for my Patreon subscribers later this weekend. https://ift.tt/DeW29VT.

liquid flowers hum
each donning Dali’s moustache –
Narcissus shatters

by: Darren Bourne

Darren Bourne’s surreal poem came to life while he was making AI video experiments based on Salvador Dalí’s Metamorphosis of Narcissus (https://ift.tt/doygmNM)

“According to expert Jane Reichhold, the *hai* of haiku means “joke, or fun, or unusual”, which is part of the inspiration behind the name halF unusuaL, the experimental electronic music project of Darren Bourne, who also writes haiku and has been published by the British Haiku Society.”

You can find Darren’s music here – https://ift.tt/64HYPji and here https://www.youtube.com/channel/UCb2bmRZgyBACkW6lnkTWHSw, and check out his website (https://ift.tt/YmJVegC) to find out more about his publications and merchandise.

Art by Jim Lemanowicz / DALL-E

For more about the Naviar Haiku Challenge, see https://ift.tt/yrs9i1m
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Recorded, mixed & mastered 08 Nov 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2024 Jim Lemanowicz

This piece is the tail end of a longer generative improvisation. I used Ableton Live & Live native devices, Cherry Audio Pro Soloist & iZotope Ozone 9.

This original version of “I Was Then Tempted By A Single Raw Potato” was submitted as part of Naviar Haiku 566, Telegraph Pole

telegraph pole
toppled down by
the tempest

by: Masaoka Shiki

Regarded as the father of contemporary haiku, Masaoka Shiki was a poet and literary critic during the Meiji period Japan.

He advocated realistic observation by “sketching” (shasei) poems and going out into nature with notebooks, thus abandoning the traditional subjects of haiku of the time. His advice for an aspiring poet was, “Use both imaginary pictures and real ones, but prefer the real ones.”

Art by Jim Lemanowicz 12 Nov 2019, Majorie Post Park, Massapequa, NY, USA

For more about the Naviar Haiku Challenge, see https://ift.tt/NPfnWU0
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