Disquiet 300 [disquiet0300] by Audio Obscura

I wasn't sure I'd be able to participate this week after catching a nasty lung infection last week at the Sanctuary 2017 festival in Scotland. I have spent a few days in bed this week and the antibiotics seem to be working. My family went out this morning and left me to get some rest. I sat there and thought, I could sleep or rest but oh oh I really want to take part in Disquiet 300!. So I got up and have spent the last 2 hours working on this.

I picked up my Piano Chord Directory and opened the book and picked one at random, C Major seventh with added ninth - whatever that was! I got my fingers into position and chose three different sounds, a synth called Boreailys, a soft sustained glass Oboe and a full orchestra called Wonderment.

I played the chord as requested and replayed it on the three channels. I paid a lot of attention to step 6 in the process and had the sounds feeding in and out of effects and send channels and played this over jamming on the effects, sending some bits of the tracks down detuned effects and wonderful Pure Magnitik affects called Underclock 5 and 10 which work so well with some sounds.

Disquiet Junto Project 0300: The 300th Project
3 chords x 100 seconds

Step 1: For the 300th consecutive weekly Disquiet Junto project, choose a chord. Read the 6 steps of these instructions all the way through before making a decisions about instrumentation (Step 2) or recording (Steps 3 and 4). Understanding the intended end result will potentially influence those decisions.

Step 2: Choose three different instruments on which to play the chord selected in Step 1.

Step 3: Record yourself playing for 100 seconds that chord on the first of the instruments you chose in Step 2. You may want to record slightly longer than 100 seconds and edit back. Not every instrument has infinite sustain. You may need to use different techniques (strumming, sequencing, preparing, etc.) to achieve the 100 seconds. Consider those different techniques and the role they’ll have in the resulting sound.

Step 4: Repeat Step 3 for each of the other two instruments from Step 2. Consider how the three instruments, as well as the techniques you employ to play them, will correlate with each other.

Step 5: Layer the three tracks you have recorded. Perhaps fade in at the start and out at the end.

Step 6: Bonus round: Your piece is completed, but if you have the time and interest, consider subtly tweaking with filters and other means one or more of the three track you recorded.

After about I recorded