Recorded, analog mix & mastered by Jim Lemanowicz at Blissville Electro-Magnetic Laboratory for Blister Pop Unlimited – 2000, 2001, 2004, 2022
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Recorded & mixed 13/14 Jan 2007 & mastered May 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratory for Blister Pop Unlimited.
Recorded, mixed, mastered June-July 2020, Blissville Electro-Magnetic Laboratories & Massapequa Preserve, Massapequa, NY, USA by Jim Lemanowicz
credits
released July 20, 2020
piano and echo
Listen to the entire album here – https://ift.tt/nd2lGNa
“FiveFourTenSixteen In Low” by Freedom From Polio
Between the clouds and the wind, he thought he might have seen her face…
Recorded, mixed & mastered May 05 2022 & 25 Jul 2018 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.
©2022 Jim Lemanowicz
Process notes –
Audiobus 3 – generative improv recorded on 05 May 2022 on an iPad mini 4 in the backyard
– Using about 3 min of the 11:29 improv, mainly in 10/16
– Fugue machine
– Rozeta cells and LFO
– Axon 2
– Aparillo
– AudioShare to record audio
– One stereo track as exported from iOS, loaded into Ableton Live 11
Approx 1.5 mins of saxophone recorded with iPhone in my bathroom on 25 Jul 2018, named “sex in the bathroom.”
– loaded as two additional tracks in Live
– one sliced to MIDI in 5/4
– one raw audio track, cut into 3 segments and stretched
– Native Live devices & GSnap64 applied to sax tracks only
– mastered using Ozone Elements twice, I chose the first master
Art – captured 21 Feb 2022 with a Kodak Brownie Bullet in the backyard, where the iPad recording above was later made.
This original version of “FiveFourTenSixteen In Low” was submitted as part of Disquiet Junto Project 0540: 5ive 4our. Take back 5/4 for Jedi time masters Dave Brubeck and Paul Desmond.
More on the Disquiet Junto at: disquiet.com/junto/
Subscribe to project announcements here: tinyletter.com/disquiet-junto/
Gimme Some Wrist (disquiet0539) by Melania Beta
My wrist was hurting as a result of poor sleeping position choices – hence the title. Every sound here originated with either my breath or the wind and no wrists were harmed during the making of this musical number.
Recorded, mixed & mastered 28 Apr 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.
©2022 Jim Lemanowicz
This original version of “Gimme Some Wrist” was submitted as part of Disquiet Junto Project 0539: Control Breath. Let your slow breathing guide a piece of music.
More on the Disquiet Junto at: disquiet.com/junto/
Subscribe to project announcements here: tinyletter.com/disquiet-junto/
Process notes –
For this I used
– four tracks of my breath, recorded mostly in bed or otherwise around the apartment and into an iPhone 12 Pro – all sorts of permutations – slow, moans, nostril whistles, quiet, walking past the fridge, opening a beer bottle
– one track of some high 30 mph winds outside
– all five tracks were slowed down at least by 10-50%
– all five tracks were quantized into the C Pelog Tembung scale
– all five tracks were converted/doubled to MIDI via Ableton Live
– Propellerhead Reason Cello
– Propellerhead Reason Viola
– NI Kontakt Kinetic Metal
– NI Kontakt The Giant (piano)
– an Ableton jazz drum kit, which also included some random velocity
– I subsequently converted/doubled the drum track to an Ableton Collison patch named “Detuned Lark” for the bass, this included some note randomization
– I then used some volume or effect automation to let each of the ten parts keep out of each other’s way, kinda
– in the end, I mastered via Ozone Elements a few times and chose the second master as the most dynamic
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Short excerpt of iPad generative stuff
https://youtu.be/YWbURoZ6AuY Just a quick sloppy video marred by the presence of an Uber Eats popup!
I am not an educator and do not claim to be. I don’t 100% remember what I did here nor do I care to create a comprehensive overview of my workflow, which might impair the artistic goals I have for the pieces as I improvise them.
I am sharing whatever I can remember to inspire other people to explore for themselves instead of watching YouTube videos when they should be exploring!!
Working in AudioBus 3 and on the MIDI side, I used Rozetta Particles or Collider (I’ve forgotten) to generate notes, MidiFlow Randomizer to mix it up a bit and then ScaleBud by Cem Olkay to quantize down to a scale before sending it to the sound generator / synth Kronecker and then over to AudioShare to record to wav file. I believe I added some effects between the synth and recorder later on but can’t tell from this vid.
The entire audio was 36 minutes and this is just a short 90 second video excerpt from that “performance.”
via IFTTT
Sleeping With A Grease by Gossamer Horatio
I woke up this morning with a simple idea – do the OPPOSITE of what I am supposed to do and then just reverse the whole track.
Recorded, mixed & mastered 21/22 Apr 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.
©2022 Jim Lemanowicz
This original version of “Sleeping With A Grease” was submitted as part of Disquiet Junto Project 0538: Guided Decompression. Get someone from tense to chill.
More on the Disquiet Junto at: disquiet.com/junto/
Subscribe to project announcements here: tinyletter.com/disquiet-junto/
Process notes
Random generation of one MIDI part, Ableton Live Suite 11
– to focus more on the MIDI generation and effects here, I chose a preset for Live’s Wavetable device named “Drunken Flutters.”
– added MIDI randomization of notes/velocity plus a scale quantizer and settled into a nice peaceful Hirajōshi scale meditation
– I picked parameters I would change slowly when I hit record – wavefold distortion, the amount of notes being randomized and what notes I would change in the scale as the piece unfolded
– Set up a resample audio track and I hit record, changed parameters until I ended up with a more distorted & chaotic piece – about 5 min long
– Copied the resample to a new audio track, muted the other two, reversed, condensed it down to about 3:20 in the texture warp mode.
– Added two more noisy Live devices – Erosion and Redux & drew in automation to reduce these near the end of the track
– Added Reverb and Delay, did the opposite, adding more of each as it went.
Samples
– added two slow stretched excerpts of outside birds and lawnmowers from 04/21 in panned stereo and faded them as the piece progressed
https://youtu.be/HLhS4ttE0kw Neutron semi-modular talks to some modular others.
via IFTTT
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Apologetically Horny (disquiet0537)
Apologetically Horny by Modern Crochet
A short sound poem illustrating one sad sorry car horn surrounded by an uncaring and angry world.
Recorded, assembled, mixed and mastered 14-16 Apr 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.
©2022 Jim Lemanowicz
This original version of “Shedding Skin” was submitted as part of Disquiet Junto Project 0537: Penitent Honk. Do sound design for “a missing gesture” of vehicular life.
More on the Disquiet Junto at: disquiet.com/junto/
Subscribe to project announcements here: tinyletter.com/disquiet-junto/
Process notes –
Instruments & materials – Arturia V2, Neutron semi-modular, small modular rack, Ableton Live 11, a handful of car samples downloaded twenty+ years ago, attribution unfortunately unknown.
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Most Footnote by Heatsink (disquiet0501)
This was *not* recorded to participate in Disquiet Junto Project 0501: PKD Playback, from August 2021. Record the sound of a Martian daydream, interrupted.
Instead, I looked back at the project list in March 2022 and decided to work on something for this to include on the upcoming Heatsink album.
Recorded & mixed 20 Mar 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. Mastered on 11 Apr 2022.
©2022 Jim Lemanowicz
Process notes –
This is comprised of two recordings assembled together on 20 Mar 2022
– a “no-input” Behringer Xenyx 1202 mixer (fed back into itself) from 11 Mar 2022. Look for Sarah Belle Reid’s videos on the subject for more info on how that is done. This was manipulated in Ableton Live into two tracks of an approximate length of 2.5 min.
– a guitar from 20 Mar 2022, recorded by laying the guitar horizontally on a table and going at it with various preparations and effects. This was manipulated into four tracks of various lengths, which also added up to 2.5 minutes. The disruption of the wife’s hairbrush at the end was created with an actual hairbrush.
More on the Disquiet Junto at: disquiet.com/junto/
Subscribe to project announcements here: tinyletter.com/disquiet-junto/
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