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The Silent, Understood (disquiet0543) by Our Quiet Fog

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“The Silent, Understood” by Our Quiet Fog

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

©2022 Jim Lemanowicz

Process notes –

– Am6 inversion.
– Ableton Random device
– Velocity device to allow for about a 50% chance of randomness
– Arpeggiator device
– Chord device
– chose a basic EIC2 grand piano (legacy Live Pack) sound for this.
– Scale device set to C Iwato
– Live’s Echo device
– I used 2 Random Max4Live LFO devices

At around 26+ minutes. Turn off looping, disable record arm, disable the MIDI track.

Ready to review, I find a spot near 14 min and draw in a fade during the quick part and decide to give it a fade out for the purposes of the Junto. I decide this piece will be called “The Silent, Understood” I do an export to WAV and check the file on disk. 4:36. A bit long for my Juntos, but whatever. It could have been 26 minutes!

– Ozone 9 master using a slight variation on a classical preset with some reduced lufs-iness.

Art – captured 06 Feb 2010 with a Sony Cybershot in Massapequa, NY, USA

—–

This original version of “The Silent, Understood” was submitted as part of ​Disquiet Junto Project 0543: Disquiet Junto Project 0543: Technique Check. The Assignment: Share a tip from your method toolbox.

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

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

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Shooting The Moon, 26 Times 100 (disquiet0542) by Wishbook

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“Shooting The Moon, 26 Times 100” by Wishbook

I rubbed the oil from my eyes, turned my head and passed to my left.

Recorded & mixed – 11 Jan 2016, 15 Jul 2007 & 19 May 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2022 Jim Lemanowicz

Process notes –
Two recordings I made of sax were stretched & split between 26 tracks in Ableton Live to a length of 100 seconds.

PS, I always sucked at math.

Art – Jim Lemanowicz, 27 Feb 2010

This original version of “Shooting The Moon, 26 Times 100” was submitted as part of ​Disquiet Junto Project 0541: 2600 Club. Make some phreaking music.

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

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

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Filter Red (2022 remaster) by Vertical Hold

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Recorded, mixed on 29 Apr 2005 and mastered on 05 Mat 2022 at Blissville Electro-Magnetic Laboratory by Jim Lemanowicz

Recorded in FL Studio 5 on 29 Apr 2005 using a Roland U20 E Piano sound and some drum samples.

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KPG Math Extinction (disquiet0541) by Blemishes

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“KPG Math Extinction” by Blemishes

Having accepted the challenge, our hero walked into YouTube woods to learn how to bake cookie-cutter cookies at a temperature not recommended for human consumption and burned the whole batch.

Working title – “Fletcherargonmathcuminatmophilefarm Soup Or KPG Math Extinction FAMCAF.”

I didn’t see the options at first but I guess I chose 1. I went through some back and forth about finishing this but I wanted to show up and do the work

Recorded, mixed & mastered May 13/14 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2022 Jim Lemanowicz

Process Notes –
Certain decisions were made at the start
– Length of 2:30-3:00 min
– Key of F Phrygian with a bass line using E
– Build it at a tempo of 80 and then slow down most of the parts to 10BPM. I elected to leave the one-note bass line at the original speed, to at least somewhat have a connection to techno, which is really something I know little about anyway.
– do a bit of a buildup and breakdown, thinking this might be less important or impactful a this tempo

Basic instrumentation
– Roland SH2 softsynth bass
– Ableton’s Drum Essentials kick
– Ableton’s 16 hihats drum rack with some random midi selection built in

Added instrumentation that I didn’t quite feel was “techno” but it worked at the slower speed for me, and made it over all more of an ambient piece
– Two tracks of Native Instruments Absynth
– One track of arpeggiated Native Instruments Massive

Effects and stuff
– Ableton Live native devices
– iZotope plugins – Neutron Elements and Ozone Elements

—–

This original version of “KPG Math Extinction” was submitted as part of ​Disquiet Junto Project 0541: 10BPM Techno. Make some snail-paced beats.

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

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

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dodo by Smile Puppy (May 2002 re-master)

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Recorded, analog mix & mastered by Jim Lemanowicz at Blissville Electro-Magnetic Laboratory for Blister Pop Unlimited – 2000, 2001, 2004, 2022

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My Sweet Nuts (Mix 1, 14 Jan 2007)by Afterberry

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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.

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The Imitation McCoy 5 (1st master, 19 Jul 2020) by Our Quiet Fog

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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

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Music

FiveFourTenSixteen In Low (disquiet0540) by Freedom From Polio

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“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/

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Gimme Some Wrist (disquiet0539) by Melania Beta

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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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Sleeping With A Grease (disquiet0538) by Gossamer Horatio

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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