Podcasts about disquiet junto

A collaboration using the track by modusMatt (https://soundcloud.com/modusmatt/with-the-bathwater-disquiet0697) to which I added a sequence of recordings of noises made with stones. More on the 698th weekly Disquiet Junto project, Second Third — The Assignment: Record the second third of a trio — at https://disquiet.com/0698/

For a second collaboration I used the track by alanblip (https://soundcloud.com/alanblip/b-drone-disquiet0697) and added another dark drone to the right. More on the 698th weekly Disquiet Junto project, Second Third — The Assignment: Record the second third of a trio — at https://disquiet.com/0698/

A fairly uncomplicated electronic sequence with a basic tempo of 80 bpm. More on the 697th weekly Disquiet Junto project, First Third — The Assignment: Record the first third of a trio — at https://disquiet.com/0697/

A chain of layered sequences with a mix of electronic and recorded sounds. More on the 696th weekly Disquiet Junto project, Chain of Layers — The Assignment: Make music change by altering its layers — at https://disquiet.com/0696/

I took an unpublished electronic composition and passed it through various filters, in conjunction with some adjustments to dynamics etc, to produce a thinner and drier sound. I added a touch of echo for a smoother finish. More on the 695th weekly Disquiet Junto project, Disquiet Junto Project 0695: Clean After Each Use — The Assignment: Put a piece of music through the dryer — at https://disquiet.com/0695/

Bach's well-known composition with an extra beat to every bar, then a touch of detuning, delay and reverb added. The source is a 1928 recording by the Rosé Quartet downloaded from the Internet Archive. More on the 694th weekly Disquiet Junto project, 5/4ify — The Assignment: Add a beat to a pre-existing piece of music — at https://disquiet.com/0694/

The source is the Burns song 'Ye Banks and Braes', which I selected more or less at random from an old songbook. I arranged the notes as instructed and played the resulting sequence on a recorder. The track has two parts and in the first I duplicated the recording several times, made various alterations to the pitch and created a round or canon, adding a degree of delay and reverb. The second part is the result of playing the notes in a totally random order, again with some additional delay and reverb. More on the 693rd weekly Disquiet Junto project, Melody Sorted — The Assignment: Reorganize a familiar song note by note — at https://disquiet.com/0693/

This track is made up exclusively of recordings of sounds made with matches - scraping, striking, rattling, etc, with extensive manipulations of pitch, tempo and dynamics, multiple repetitions and various fx. More on the 692nd weekly Disquiet Junto project, Combust a Move — The Assignment: Make music using fire for the rhythm track — at https://disquiet.com/0692/

I selected the 4th movement of the quartet, chopped it up and remixed it to a stereo track. Then, by means of many adjustments and various effects, I converted it to a modern atonal/microtonal composition. More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

All the sounds in this track derive from recordings made with a computer mouse and keyboard, using Pure Data to convert individual keys to musical notes. The combined sounds were then subjected to various effects, including delay and reverb. More on the 689th weekly Disquiet Junto project, Supporting Players — The Assignment: Elevate the presence of your non-instrument equipment — at https://disquiet.com/0689/

Not far from where I live there are a couple of signs like this. I took an electronic sequence created in Pure Data and combined it with its duplicate played in reverse with slightly less volume, the whole with various adjustments and some added reverb and delay. More on the 688th weekly Disquiet Junto project, Sign Up — The Assignment: Interpret a routine public sign as a musical instruction — at https://disquiet.com/0688/

An electronic sequence created using Pure Data, a touch of delay and reverb added. More on the 687th weekly Disquiet Junto project, Applied Science — The Assignment: Record a piece of music that includes physiological and behavioral techniques — at https://disquiet.com/0687/

An electronic composition created using Pure Data and Audacity. More on the 686th weekly Disquiet Junto project, Catch Your Breath — The Assignment: Listen to yourself inhale and exhale; make music from what you sense — at https://disquiet.com/0686/

A random electronic sequence created with Pure Data using five sounds: an attempt to approximate the ebb and flow of the game. More on the 685th weekly Disquiet Junto project, Pick-Me-Up — The Assignment: Treat a set of sounds like a game of pick up sticks — at https://disquiet.com/0685/ The photo, by Heurtelions, associated with this project is used thanks to a CC BY-SA 4.0 Creative Commons license (photo repeated in a grid with text superimposed).

An electronic composition, sounds created using Pure Data and Audacity with numerous adjustments, effects, etc. More on the 684th weekly Disquiet Junto project, Early Bird — The Assignment: Record not so much an alarm as a guided wakening — at https://disquiet.com/0684/

An electronic sequence created in Pure Data with additional gradual panning and reverb. More on the 683rd weekly Disquiet Junto project, Space Shot — The Assignment: Combine reverberant and non-reverberant — at https://disquiet.com/0683/

All the sounds in this track are derived from original recordings of small hand bells. More on the 682nd weekly Disquiet Junto project, Unring a Bell — The Assignment: What if you could? — at https://disquiet.com/0682/

An electronic composition, sounds created in pure data, with additional effects. More on the 681st weekly Disquiet Junto project, Drama Course — The Assignment: Record a piece of music to transform a walk or a run into something theatrical — at https://disquiet.com/0681/

Created in response to disquiet0680: “Disquiet Junto Project 0680: Reverse Resolution The Assignment: Finish something (musical) you started last year. This project has just one step: finish something you started last year, likely a piece of music you left unfinished.” I chose 2 tracks I had left to complete from January 2024… I noticed the tempo of each of the tracks were 24bpm & 48bpm, also one track was exactly half the length of the other… I decided to layer these : one track slowed to half speed to match the other longer track…with additional EQing and a little reverb, some sprinkles of dust and noise… A note attached to one of the tracks: “Imagine if a piece of flotsam could tell you the tale of its journey…” Thanks for listening! HQ version https://id23.bandcamp.com/track/reverseresolution-disquiet0680 More on the 680th weekly Disquiet Junto project, Reverse Resolution — The Assignment: Finish something (musical) you started last year — at https://disquiet.com/0680/

An unpublished track from last year, finished with a few tweaks, additions and a touch of reverb, etc. Sounds created using Pure Data, PaulXStretch and Audacity. More on the 680th weekly Disquiet Junto project, Reverse Resolution — The Assignment: Finish something (musical) you started last year — at https://disquiet.com/0680/

All the sounds in this track are derived from original recordings of ice cubes in a glass. More on the 679th weekly Disquiet Junto project, Ice Age — The Assignment: Record the sound of ice in a glass and make something with it — at https://disquiet.com/0679/

An electronic composition created using Pure Data and Audacity. 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://disquiet.com/0677/

i misread the instructions for disquiet0675 .... (unsubmitted.) this is the result, still kind of fits lol 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://disquiet.com/0675/ hq download over at id23.bandcamp.com

An electronic composition, sounds created using Pure Data and Audacity. More on the 676th weekly Disquiet Junto project, Sub Melody — The Assignment: Bury a slow melody deep inside a drone — at https://disquiet.com/0676/

An electronic composition, sounds created using Pure Data and Audacity. 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://disquiet.com/0675/

A short electronic clip of sounds created in Pure Data expanded into a longer track by repetition, remixing and effects. More on the 674th weekly Disquiet Junto project, Cerberus Sample — The Assignment: Make a song not just with but from just one sample — at https://disquiet.com/0674/ 2

An original recording of a recycling collection, itself recycled in line with the project and combined with an electronic background drone created in Pure Data, a touch of reverb added. More on the 673rd weekly Disquiet Junto project, Switch Back — The Assignment: Make the quiet part loud, and vice-versa — at https://disquiet.com/0673/

Quite randomly, this project reminded me of the well-known Shakespearean stage direction, which I have appropriated for the title. The track has little to do with Shakespeare but would certainly wake you up. It comprises six short sections and combines various alarm sounds with other noises, all assembled using Audacity and numerous effects, etc. More on the 672nd weekly Disquiet Junto project, Day Break — The Assignment: Make a handful of sonic alerts for various purposes — at https://disquiet.com/0672/

An electronic composition, sounds created using Pure Data and Audacity with numerous effects, etc. More on the 671st weekly Disquiet Junto project, In the Air Tonight — The Assignment: Make an atmosphere of your own — at https://disquiet.com/0671/

This track was created from a short recording of a car turn signal with numerous repetitions, layers and effects, no other sounds added. More on the 670th weekly Disquiet Junto project, Right of Way — The Assignment: Music for turn signals — at https://disquiet.com/0670/

According to my research of various websites, the consensus seem to be that calmer types of music are more conducive to plant growth. This track was created using Pure Data & various plugins, etc. More on the 669th weekly Disquiet Junto project, Phonosynthesis — The Assignment: Make music to help a forest regenerate — at https://disquiet.com/0669/

A sequence of sounds generated from a short original recording of a secret subject. More on the 668th weekly Disquiet Junto project, All Right Then, Keep Your Secrets — The Assignment: Bury a secret sound until it is no longer identifiable — at https://disquiet.com/0668/ This project was proposed by Mahlen Morris. The image associated with this track is a detail from a photo by Chris Riebschlager, found on Flickr and used thanks to a Creative Commons license: https://flic.kr/p/2eGb3D https://creativecommons.org/licenses/by-nc/2.0/

Electronic composition, sounds from various sources. More on the 667th weekly Disquiet Junto project, Neighbor of the Beast — The Assignment: What's it sound like when the devil lives across the street? — at https://disquiet.com/0667/

Electronic composition, sounds from various sources including Pure Data & Audacity. More on the 666th weekly Disquiet Junto project, Beauty and the Beast — The Assignment: We've hit a devilish numerical milestone. Do your thing. — at https://disquiet.com/0666/.

Created in response to Disquiet Junto 0665: More on the 665th weekly Disquiet Junto project, Clicks + Cuts Music Factory — The Assignment: Record a track in honor of the late Achim Szepanski — at disquiet.com/0665/

An electronic sequence created with Audacity and various plugins. More on the 665th weekly Disquiet Junto project, Clicks + Cuts Music Factory — The Assignment: Record a track in honor of the late Achim Szepanski — at Disquiet Junto Project 0665: Clicks + Cuts Music Factory – Disquiet The image associated with this project was created by Lubomir Panak in 2011. Originally posted on Flickr 1, it is used thanks to a CC BY-NC 2.0 license. This is a detail of the original image, and it has been tilted at an angle, with the project information superimposed.

Created in response to Disquiet Junto a track in 29/16 time. enjoy! More on the 664th weekly Disquiet Junto project, Mother Beat — The Assignment: Record a piece of music in 29/16 time — at https://disquiet.com/0664/ //////// DAW - AUM on iPad Pro Sequencers used: 4Pockets Euclidean Sequencer - generated 4 midi sequences all 29/16 but some staggered and different rates and directions. K Devices TATAT - generated another 29/16 sequence with added probability modulation. Synths used: 2 instances of Virsyn's Tera Pro Audiokit Nerd Moog Model 15 AudioDamage Continua FX Quantovox Spatializer Quantovox True Pan Surreal Machines Modnetic Caelum Audio Dustbin Fred Anton Corvest Alteza Eventide Blackhole Igor Vasiliev AltiSpace 2

An electronic sequence created with Audacity and Pure Data. More on the 664th weekly Disquiet Junto project, Mother Beat — The Assignment: Record a piece of music in 29/16 time — at https://disquiet.com/0664/

I mixed a number of hard drive recordings and combined the result with a drone sequence created in Pure Data. More on the 663rd weekly Disquiet Junto project, Drive Way — The Assignment: Record a piece of music that complements the hum and whir of a hard drive — at https://disquiet.com/0663/ The image associated with this project is licensed thanks to a Creative Commons Attribution-Share Alike 3.0 Unported. It was taken by Evan Amos — whom Popular Science has reportedly referred to as “gaming's most famous photographer” — as a part of Vanamo Media. https://creativecommons.org/licenses/by-sa/3.0/deed.en/ https://en.wikipedia.org/wiki/File:Laptop-hard-drive-exposed.jpg

An electronic composition, sounds created in Pure Data. More on the 662nd weekly Disquiet Junto project, Spin Cycle — The Assignment: Record a piece of music that pits one bicyclist against another — at https://disquiet.com/0662/ 1

A drone sequence derived from original recordings of a washing machine and a kettle. More on the 661st weekly Disquiet Junto project, Consumer Drone Product — The Assignment: Record a piece of drone music using sounds from your home — at https://disquiet.com/0661/

I split the original track by Ted Lewis into numerous clips, then rearranged them with the longer ones at the beginning & the shorter ones towards the end. The resulting track was gradually slowed down, something like an old gramophone winding down, then subjected to some detuning, delay & reverb. More on the 660th weekly Disquiet Junto project, Louis Blues St. — The Assignment: Break a public domain song into parts and reorganize them — at https://disquiet.com/0660/ Background: More on the source track here: https://archive.org/details/78_st-louis-blues_ted-lewis-and-his-band-handy_gbia0268157b 2

I extracted a part of the image and adjusted the colour and contrast. I then proceeded to create a sonic impression using a couple of sequences created in Pure Data, with contrasting, lightly pulsating blocks of sound and random, mainly percussive interjections. More on the 659th weekly Disquiet Junto project, Reading the Body — The Assignment: Interpret the markings on the back of a cello as a graphic score — at Disquiet Junto Project 0659: Reading the Body – Disquiet

“Kokytos” by Daniel Glaus, multiplied, re-amplified, remixed & re-panned, a touch of delay & reverb added. I kept to roughly the same length as the original composition in order not to lose any of the various sound combinations. More on the 658th weekly Disquiet Junto project, Re-Amplify — The Assignment: Re-record and re-compose an organ improvisation by Daniel Glaus — at https://disquiet.com/0658/ 1

An electronic composition, sounds created in Pure Data. More on the 657th weekly Disquiet Junto project, Straight Edged — The Assignment: Held tones, sharp edges — at https://disquiet.com/0657/

This is a reworking of: dream, kiddo by Terry Mullett, acknowledgements to whom for a well-crafted track. More on the 656th weekly Disquiet Junto project, Soothing Sounds II RMX — The Assignment: Make music for babies' parents — at https://disquiet.com/0656/ The image associated with this project is from an early patent for a pacifier.

An electronic composition, sounds created in Pure Data. More on the 655th weekly Disquiet Junto project, Soothing Sounds II — The Assignment: Make music for babies — at https://disquiet.com/0655/ 1 The image associated with this project is from an early patent for a pacifier.

An intuitive response to the graphic score derived from visual glimpses, as the title suggests. It comprises a series of atonal or microtonal sound clusters structured horizontally and vertically. The track was created in Pure Data with some additional reverb, etc. More on the 654th weekly Disquiet Junto project, Just Notation — The Assignment: Interpret a graphic score by Franziska Baumann — at https://disquiet.com/0654/ The cover image for this project is a detail of a graphic score, titled True Glimpses 1, by Franziska Baumann, used with her permission and the support of Musikfestival Bern. More on Baumann at franziskabaumann.ch 2.

Kat Walsh from Creative Commons joins us to talk about the history of Creative Commons as a 'hack on copyright.' Marc Weidenbaum speaks on the history of the Disquiet Junto, a long-running online distributed community creating new music in response to a weekly online composition challenge. Episode notes, credits and transcript In this season of the podcast we're working in collaboration with the Engelberg Center on Innovation Law and Policy at NYU Law. In addition to our usual crop of artists and programmers we're adding in legal scholars to help us unpack some of the thorny issues for those working in art and code as they unleash their work into the world. In this episode we dive into the world of Creative Commons, which is now over 20 years old. It is both an organization as well as a collection of copyright licenses used by artists, musicians, writers, directors and creators worldwide to communicate to the world how they want their work shared and potentially to be used as a source to build upon. We also speak to Marc Weidenbaum, founder and steward of the Disquiet Junto, an online “community of practice.” Each week Marc sends out an email newsletter with a creative prompt, consisting of a title, and instructions. These instructions may read like a Fluxus event score, a recipe in sound, a concept or technical description. Those who choose to participate create a single piece of music, then post it online, to be shared, listened to and potentially discussed by the online community. Marc has been leading Disquiet Junto since 2012, and from the beginning has encouraged participants to share their work with Creative Commons licenses. In fact the creative re-use of Creative Commons licensed sound and music has often been an integral part of Disquiet Junto creative prompts. Guests Kat Walsh is the General Counsel at Creative Commons. She has a nearly 20-year history in the free and open culture movements, including many years on the boards of the Wikimedia Foundation and the Free Software Foundation, and has previously worked in library policy, technology startups, and online community management. As General Counsel, she oversees the legal support for all aspects of CC's activities, provides strategic input, leads the stewardship of CC's legal tools, and advises the organization on new programmatic initiatives. image description: a black and white image of Marc looking to the right. He has dark hair and a close cropped beard, wearing a high collared knit sweater and black frame glasses. Marc Weidenbaum founded the website Disquiet.com in 1996 at the intersection of sound, art, and technology, and since 2012 has moderated the Disquiet Junto, an active online community of weekly music/sonic projects that explore constraints as a springboard for creativity and productivity. Links Creative Commons Licenses and Tools Creative Commons talks with Marc Weidenbaum Email announcement list for the Disquiet Junto Marc's website Disquiet, on the intersection of sound, art and technology Credits Our audio production is by Max Ludlow. Design by Caleb Stone. Our music on today's episode is all taken from Creative Commons licensed music created as part of the Disquiet Junto. all at fives, sixes and sevens by wasabicube, CC BY NC SA. three euclidean rhythms, CC BY NC SA, by Lee Evans/Hippies Wearing Muzzles, both from disquiet0567 Three Meters. Ways, CC BY NC SA, by the artist analoc for disquiet0482 Exactly That Gap. Little Green Aura, CC BY NC SA, by he_nu_ri and lako by Ohm Research, for disquiet0566 Outdoor Furniture Music four voice folly by caustic_gates, CC BY NC SA, part of disquiet0565 Musical Folly much too young to…, CC BY, by NolanVerde for disquiet0066 Communing with Nofi, a posthumous collaboration with the artist Jeffrey Melton, aka Nofi, who passed in 2013. This episode is licensed under CC BY-NC-SA 4.0

This week we celebrate 5 years of Pod Mod with Marc Weidenbaum (https://disquiet.com/), who is one of the few people responsible for kickstarting my electronic music career! New Systems Instruments Triphase Oscillator (https://nsinstruments.com/modules/triphase.html) SUPPORT POD MOD ON PATREON (https://www.patreon.com/podularmodcast) Featured Artist: Nick Turner (https://fullspectrumrecords.bandcamp.com/album/under-dark-pines) Thank you: 4ms: https://4mscompany.com/ After Later Audio: http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ NOVATION: https://novationmusic.com/en/synths/summit WAVEFORM MAGAZINE: https://waveformmagazine.com/