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“Value Statement” by Microtherapist

https://youtu.be/aNDtpUEcAkM Recording of an electronic percussion improv using James Milton’s Poly iOS app. This was probably done on iPhone and is from a time where I was not recording as regularly as I do now. My daily recordings started later that same month. Art was done with Pablo Brush app on the same day. The term “Value Statement” comes from some notes I’d made the day before.

Feel free to sample this stuff – or go find the app and make your own – but please also mention my name when you do.

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“LaughPicnic” by Microtherapist

https://youtu.be/YEJomQKEUy4 Backyard Audiobus/Fieldscaper performance by Jimmy Lem, 31 Aug 2019, New Paltz, NY, USA.

Photograph by Jimmy Lem, 28 Aug 2019

©2019 & 2022 Jim Lemanowicz

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“Others Can’t See The Glass As” by Microtherapist

https://youtu.be/r4rlKO3LDkg Backyard generative performance by Jimmy Lem, 16 Sep 2022, Massapequa, NY, USA.

Photograph by Jimmy Lem, 12 Oct 2014.

©2022 Jim Lemanowicz

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“Unused Slipper, The Mockingbird” by Microtherapist

https://youtu.be/y329R15LQ5k Backyard generative performance by Jimmy Lem, 22 Aug 2022, Massapequa, NY, USA.

Photograph by Jimmy Lem, 31 Aug 2017.

©2022 Jim Lemanowicz

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Smooth Like Goat by Vowel Samples, remastered, re-released

music.blisterpop.com/album/smooth-like-goat-1987-2002-2022-remaster

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“Original Creole Hum” by Speaking To Trousers, short-ish generative session

https://youtu.be/JlBFJqoEDVE Recorded on 9 July 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2022 Jim Lemanowicz

I am using Audiobus 3 on an iPad 9. Into this I loaded some midi stuff – Rozeta Collider, where I pick a scale etc, then I load Midiflow Randomizer and then load a Scaler. You don’t see me do anything here in the interest of time, but it defaults to C Natural Minor, so that is quantizing all the midi coming into it. From there, I send the midi into the Aparillo synth, which is where I spend most of my time. On the audio page, I load no effects, because the delay and verb in Aparillo are fine with me but you can imagine that for a longer piece, I might. Then I also load AudioShare for quick stereo recording no uploading to Dropbox then to PC later on.

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Prelude In Preparation (disquiet0548) by Yeast With Teeth

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“Prelude In Preparation” by Yeast With Teeth

Recorded, mixed & mastered 30 Jun 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2022 Jim Lemanowicz

Process notes – 6 tracks of my voice, distorted, edited, sliced in Ableton Live

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This original version of “Prelude In Preparation” was submitted as part of ​Disquiet Junto Project 0548: Drone Vox. The Assignment: Make a drone using just your voice.

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

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

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Red Warehouse, More Massacre (disquiet0547) by Los Franceses Muertos

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“Red Warehouse, More Massacre” by Los Franceses Muertos

An interpretation of what a “math house” genre could have sounded like in the 1980s, from someone who has never tried either genre before.

Recorded, mixed & mastered 22-27 Jun 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2022 Jim Lemanowicz

Process notes –
Scale – D#, D, A#, G – used on bass and on all pitch correction
Title – references a Chicago club for the house part of this, and a 1980s experimental improv group and a King Crimson song for the math-rock part.

So, obviously, I had some advance knowledge of this Junto and I started on Wednesday but barely not anywhere further than what I have been thinking for this “Math House” joke/idea for the past few years. I started by deconstructing my submission for Junto 0546. I pulled the drum parts and the marimba part for use as drums and bass starting points first. I then subbed in “house” sounds for each. I changed up a ride pattern for a hat pattern. I subbed in 7/8 for 9/8. That’s all I did on Wednesday. I closed my Live set.

On the second day, I didn’t do much. I replaced the bass, only barely referencing the original marimba part. I listened to a handful of classic house tracks and memorized a rhythm for the bass. It – or whatever it had mutated to – was still in my head 30 min later – so I went back to the former marimba and now bass part and did my thing. I then gave both the bass and drum tracks a 1/16 MPC swing of 58 or something. I also introduced some randomization in the note choice for the bass part and the probability for drum hits as well as panning and filtering for some drum parts.

On Saturday, I recorded many things using a Jay Turser Jaguar copy, a Rogue fretless bass and a Yamaha PortaSound PSS-11. I think that a MS-70CDR was involved with perhaps no clue about impedance matching.

On Sunday, I never opened the DAW and spent most of the day in silence with my usual pain issues in knees and feet, not too much sleep, and a more recent pain in my right wrist, through my arm and up to my neck and the base of my skull, assuming repetitive stress injury and my PC. For the music, I decided that I somehow had landed on some weird automated reggae mutant. I also decided to remove all the GSnap64 pitch-correct on the audio and would sub in Nectar in case I wanted to make use of the formant settings. I took down lots of notes, including a rough structure for the piece. I found this to be in the spirit of some of my 2000/2005 stuff. Much of that was based on an idea that I would one day add guitar and other physical instruments to an electronic backbone back then, but I never did add the guitar etc. After all was said and done, I appreciate some of my weird little pieces with no lead part as a cousin to ambient, where no focus was needed.

On Monday, I selected some short excerpts from the audio (electric bass, electric guitar and keyboard) recordings. I stretched them, looped them and then selected a few Ableton presets (mostly echo or delay) for each. I used Neutron 4’s Visual Mixer’s AI to give me a mix and then allowed the AI in Ozone 9 to select mastering as well. Exported the files. Uploaded. That’s it.

Art – Jim Lemanowicz, 23 Sep 2016

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This original version of “Red Warehouse, More Massacre” was submitted as part of ​Disquiet Junto Project 0547: Genre Melee. The Assignment: Combine two seemingly different genres.

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

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

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Father Yog-Astley (disquiet0546) by Smile Puppy

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Father Yog-Astley by Smile Puppy

In the fall of 2001, I started creating pieces using Fruity Loops, like many people were doing. When I was working on this Junto in Ableton Live, using mostly the FM synth Operator, it kind of reminded me of those first few experiments and I decided to use a moniker I had given to these early experiments – Smile Puppy.

Recorded, mixed & mastered 18/19/20 Jun 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2022 Jim Lemanowicz

Process notes

I decided to encode the names of cult leader “Father Yod” and YouTube legend “Rick Astley” via numerological nonsense via https://ift.tt/cLp3TFR. Of course, I misspelled “Yod” as “Yog,” so now that’s part of the code too. Let’s call that “Jimcryption.” This was a working title as well as a nod towards the decay of the analog/physical world and how the decay of the digital world equals data corruption, or something like that.

25 15 7 1 19 20 12 5 25

Then divided by 7 and kept both the quotient and the remainder
quotients – 3 2 1 0 2 2 1 0 3
remainders – 4 1 0 1 5 6 5 5 4

Then used a purported East Asian notation, Jianpu. Zeros = rests. I wasn’t altogether too careful here but I liked the results, so perhaps more Jimcryption/Jimcorruption.

Solfège: do ré mi fa sol la si
Notation: 1 2 3 4 5 6 7

I am gonna go with F# for this
F♯ G♯ A♯ B C♯ D♯ E♯
1 2 3 4 5 6 7

So my tone rows are
A♯ G♯ F♯ R G♯ G♯ F♯ R A♯
B F♯ R F♯ A♯ D♯ A♯ A♯ B

I have 9 sets of two, so I went with 9/8, BPM of 86 with a “bridge” of half-time 43.

Bottom row (by 3s)
– accented the first beat of each dotted crochet 123 456 789.
– used a lower octave
– tonal with a percussive quality – FM marimba (Ableton Operator, “Metallic Noise Pluck” preset variation)
– 8th notes, no swing
– automated a few parameters in Operator

Top row (by 4s)
– accented the first beat of each of these divisions 1234 5671 2345 6712 3456 7123 4567 1234 etc.
– used a higher octave
– tonal, FM pluck sounds (Ableton Operator, “Plastic Marimba” preset variation)
– 8th notes, no swing
– automated a few parameters in Operator

“Bridge”
Touched on some “reverse-steganography.” Processed 1 photo of Rick and 2 of Yod and 13 wives and ran them through CoagulaLight1666. This produced three short grainy sound samples that were then stretched to varying degrees using Live’s Tones or Texture modes. I then sliced each raw Coag track to MIDI and superimposed the marimba MIDI into each, leaving them roughly in time with the marimba part. After that I added a Nectar plug-in to each and pitch corrected to F# maj. Finally, the entire Coag group was passed through an Ableton Delay preset, “Full Range Spatial.”

Decided to grab some 9/8 drum ideas from a book I have – “3,5,7,9 Rock!” by Don Reid – and add these in to create sections. Used Live’s “Jazz Kit” drum rack, tweaked a bit. I tried to accent similar to the marimba pattern and lower the probability of playing the hits off-accent (23 56 89).

Continuing with previous experiments with iZotope’s mixing and mastering tools, I used Neutron Equalizer, Neutron Sculptor & Neutron Visual mixer during mixing and used Ozone 9 for mastering. I mastered it twice and chose the first attempt for this Junto.

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

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This original version of “Father Yog-Astley” was submitted as part of ​Disquiet Junto Project 0546: Code Notes. The Assignment: Make music that includes a secret message.

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

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

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Purple Arrokoth by Featherbedding

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Purple Arrokoth by Featherbedding

Recorded, mixed & mastered 11 Jun 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2022 Jim Lemanowicz

Process notes –
This was taken from one 27 minute generative session on an iPhone 12 Pro using Mood, Rozeta Collider, MF Randomizer, Rozeta Scaler in Iwato E, Discord4, PhaseDelayArray, Audiobus 3, & Audioshare for recording. This was inspired by some things I was playing with in Discord4 while thinking about and describing to my friend some of the loose techniques I use that bring me to a blissful place musically.

In Ableton Live, I split this into two audio tracks, 4 min in length each, with one being put down an octave and stretched to double its length in Live’s Texture Warp mode. Two other tracks were made from less-effected loops from the same generative session that were pitched down two or three octaves.