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New remix album based on Cinchel’s “Reign Water”.  I have a track on it.  Free download.


OUT TODAY on Subterranean Tide:—-various.html REIGN WATER REMIX - Stems by Cinchel, Various Artists. 

Reign Water Remix by Cinchel (Stems), Various Artists

New remix album based on Cinchel’s “Reign Water”. I have a track on it. Free download.


OUT TODAY on Subterranean Tide:—-various.html REIGN WATER REMIX - Stems by Cinchel, Various Artists.

Reclaimed Water [2014 - MAR - ITTOTM]

This is my first project for “IT’S THAT TIME OF THE MONTH”. ITTOTM is an open call monthly remix project run by Le Berger. This months project remixes material from Cinchel's new album “Reign Water" on the Subterranean Tide netlabel.

For those keeping score Cinchel did a fantastic remix of my work on my recent remix album “Mars In Sunset”. He also mastered my album “Occupy Dreamland”. I encourage anyone reading this to take a few minutes to check out some of Cinchel’s original works. You will not be disappointed.

X/Y Scope This

play{[0.3,0.2],0,0.3,200,200),0,[0.1,0.4],0,0.5,0.5))}//X/Y scope this #sc140 #supercollider


My third EP of works for The Disquiet Junto is out now. Free download.

For track explanations and credits see the individual track pages.

MaYbe Not

In the release notes for the new beta of Renoise 3.0 there is something that immediately caught my eye.

"A new effect command is the MaYbe command (0Yxx). It can be put into a note column or an effect column, and will allow you to trigger a note/line with a certain probability, or to define multiple notes and trigger just one of them with an independent probability factor (this is known as the “mutually exclusive mode”). For a great example of this command being put to use, listen to dblue’s tutorial/demo-song ‘Maybe Melodies’."

Being a fan of generative beats and melodies I immediately decided to pick apart the feature and see how it works. As the online documentation had not yet been updated I did not have much to go on other than the suggested demo song.

NOTE: If you are not familiar with pattern effect commands I suggest you read the documentation on it before proceeding.

Volume/Pan Method: If you enter Yx for the vol / pan of a note it has a random chance of triggering (Y8 would be 50% chance). If there are multiple notes on a given step and enter Yx for each of them they would each have a chance of triggering. This could result in multiple notes triggering at once.

Effects Command Method: If you enter 0Yxx in the effects command then the MaYbe command is only executed once for the step. Either the full step triggers or it does not.

Mutual Exclusive Mode: If you enter 0Y00 in the effects command and also enter a Yx command in the volume or panning column then the MaYbe command works in Mutual Exclusive mode. Only one of the notes on the step will trigger. The x values in the volume/pan column will be used as a weighted value to determine what note triggers.

To get you started I have created a simple drum beat. Note how I use the MaYbe command only on the accent beats to ensure the rhythm stays identifiable but varied.

Make This Sound And She Will Love You Forever [disquiet0105-ice2014]

Please record the sound of an ice cube rattling in a glass, and make something of it.

Background: Longtime participants in, and observers of, the Disquiet Junto series will recognize this single sentence as the very first Disquiet Junto project, the same one that launched the series on the first Thursday of 2012. Revisiting it a year later, on the first Thursday of 2013, provided a fitting way to begin the new year. Now, at the start of the third year of the Disquiet Junto, it is something of a tradition. A weekly project series can come to overemphasize novelty, and it’s helpful to revisit old projects as much as it is to engage with new ones. Also, by its very nature, the Disquiet Junto suggests itself as a fast pace: a four-day production window, a weekly habit. It’s beneficial to step back and see things from a longer perspective.

My Process: I recorded some ice, drank some beers and tried out the new Renoise 3.0 beta. This is the result.

Memorypill 2013 [disquiet0104-Audiojournal2013]

Disquiet Junto Project 0104: 2013 in 60 Seconds

This week’s project is a sound journal, an audio history of the past year. You will select a different audio element to represent each of the past 12 months of 2013. You will then select one 5-second segment from each of these audio elements. Then you will stitch these dozen 5-second segments together in chronological order to form 1 single 1-minute track. There should be no overlap or gap between segments; they should simply proceed from one to the next.

These audio elements will most likely be of music that you have yourself composed and recorded, but they might also consist of phone messages, field recordings, or other source material. These items should be somehow personal in nature, suitable to the autobiographical intention of the project; they should preferably of your own making, and not drawn from third-party sources.

My Notes:

2013 was an extremly busy year for me so I often had several choices of audio sources to represent each month. For 2 months I have used audio that was remixed from my recordings by other artists rather than my own.

Jan - Schemawound - BEASTS(Homunculus-Basilisk)
This piece was coded in Supercollider in late Dec 2012 but Dystimbria held off publishing it until early 2013. Album Info
Contains samples from:
“Llais-saL” by Alan Morse Davies
“A Strange Seed” by C. Reider
“Swamp Monsters, Secret Prisons” by Cinchel
“A Brief Compendium of Silence” by Phillip Wilkerson

Feb - Schemawound - Hymncycle (First Phase)
In February I had a rather large release of a remix album featuring several other Disquiet Junto members. It was entitled “Body Movements”. The piece I have used to represent this is actually an outtake of mine that did not make it to the “They Want To Make Your Body Move. I Want To Hold You Perfectly Still.” album and was instead included as part of the remix album. Album Info

Mar - Schemawound - A Map To Everything
This piece was created as part of the Disquiet Junto and was later released on my album “@@ERROR”. Album Info

Apr - C. Reider - Hello, I Am Asleep
While I did not release anything of my own in April I was surprised to see that C. Reider did created a piece of music based off of one of my own. This was origanally planned to be part of the Body Movements remix album but did not get completed in time. This track is taken from the album “The Conjuncts”. Album Info

May - Schemawound - A Ghost In My own House
This album was my first release on Xylem and was again written completely in Supercollider. I believe that is sonicly picks up where “They Want To Make Your Body Move. I Want To Hold Your Perfectly Still.” leaves off. Album Info

Jun - Schemawound - A Worm Digs Silently
This is one of the three tracks included on my Haiku release for Subterranean Tide. Album Info

Jul - Schemawound - When The First Seed Takes Hold
This is from my second full length release for Xylem records. In this release I decided to branch out from the last few strict Supercollider releases and began utilizing field recordings, Renoise, Reaper and Reaktor. I believe this is the most varied of my recent releases and I would recommend it as a good starting point for my music. Album Info

Aug - Schemawound - The Bottom Of The Well
This is the second track included to come from “@@ERROR”. This track was written for a release I planned for that did not end up happening. Album Info
Contains samples of the following tracks:
“Glimpse” by ioflow
“I Hate Therefore I Am” by Clayton Alpha
“Halo of the Moon” by 6&8

Sep - Schemawound - Exit Music (For A Solar System)
This was another piece created for the Disquiet Junto. This one was created in order to celebrate Voyager’s exit from the solar system.

Oct - Schemawound - Not Asleep, Not Dreaming
This piece was taken from my album “Occupy Dreamland”. This was an attempt to step outside my usual methods and work in real time utilizing a looper and a few simple items. Album Info

Nov - Schemawound - WYSINWYG
A generative piece created for the Disquiet Junto. Formed from the text of a book.

Dec - The Atlas Room - Arid Haze
This remix was created by The Atlas Room for my second remix album “Mars In Sunset”. Album Info

Mars In Sunset

I am proud to announce my new album Mars In Sunset. It is a remix album and companion piece to Terraform Mars. Remixes and reinterpretations were provided by Bassling, Meson, The Atlas Room, Travis Johnson, Cinchel and Diogenes In Hell.

After my own attempts to change a world, I decided to give others the opportunity to dig in this red dirt and see what they found.

Phlogistine (Master Tape)

This is an album I created when I was 16 years old. I discovered the DOS based tracker program ScreamTracker3 and everything changed for me. Using a computer to make music was a concept I had never even considered in the past. MTV’s show Amp aired around the same time and began to show me a side of electronic music that I had never been exposed to. Aphex Twin, Autechre and The Future Sound of London began to break down my very concept of what was acceptably considered music. Suddenly a good portion of my time was spent trying to understand how they made those sounds.

When I had a decent collection of material I decided to create my first album. I did not have the money to register the program and render out to WAV files so I took the next most logical approach. I took the family’s boombox and used the internal mic to record the songs to tape. I wrote “Phlogistine (Master Tape)” on the tape sleeve and promptly never showed another living soul.

Every few years during my life the tape will resurface while moving from one house to another, an artifact from a lost time. On one of these occasions I decided to dump the tape back to the computer. By this time cassette players were in their decline and I felt this artifact may be lost forever. While cleaning out an old harddrive I happened upon these files again. I decided it was finally time to share them after being hidden away for 17 years. Here are the first awkward fumblings of a youth attempting to find a sound of his own.

Download “zer0 Isosolies - Phlogistine”

Thank you for listening,
J. Siemasko

Disquiet Junto Project 0097: Ford Madox Ford Page 99 Remix

This week’s project takes as its source a comment attributed to the author Ford Madox Ford: “Open the book to page ninety-nine and read, and the quality of the whole will be revealed to you.” We will convert text from page 99 of various books into music.

Step 1: Pick up the book you are currently reading, or otherwise the first book you see nearby.

Step 2: Turn to page 99. Confirm that the page has enough consecutive text in it to add up to 80 characters.

Step 2a: If the page is blank or otherwise has no text, turn to page 98. Continue this process of moving backward through the book until your find an appropriate page.

Step 2b: If you are reading an ebook that lacks page numbers, or a book that happens to lack page numbers, then use the first page of the main body of the book (i.e., not the Library of Congress information or the table of contents) or flip to a random spot/page in the book.

Step 3: When you have located 80 consecutive characters, type them into a document on your computer or write the down on a piece of paper.

Step 4: You will turn these characters into music by following the following rules:

Step 4a: The letters A through L will correspond with the notes along the chromatic scale from A to G#. To convert a letter higher than L, simply cycle through the scale again (i.e., L = G#, M = A, etc.). Capital letters should be played slightly louder than lowercase letters.

Step 4b: Any spaces and any dashes/hyphens will be treated as blank, as a silent moment.

Step 4c: A comma or semicolon will signify a note one step below the preceding note.

Step 4d: A period, question mark, or exclamation point will signify a note one step above the preceding note.

Step 4e: All other punctuation (colon, ampersand, etc.) will be heard as a percussive beat.

Step 5: Record the piece of music using a digital or analog instrument.

Step 6: Set the pace for the recording to between 160 and 80 beats per minute (BPM). In other words, the track should be between 30 and 60 seconds in length.

Step 7: Add any desired underlying music or sound bed, and any additional instrumentation, but the melody resulting from Step 6 should be the most prominent sound.

My Source: Microsound by Curtis Roads Page 99: “When the delay interval between the grains is irregular, perfect grain syn-chr”

Occupy Dreamland

"Occupy Dreamland" is an attempt to step outside my usual methods and create a work purely from the unconsciousness. Most of my audio work is created by writing computer programs. Everything is carefully laid out and planned, even my tracks using random numbers are tested to the point where I have little chance of being surprised. Absolute control can be a heavy burden. When you have the option to change every decision you can lose whole days second guessing yourself. Constant refinement can sand down the rough edges that gave the track its initial charm. In an attempt to subvert this I decided to step away from the computer. I borrowed a looper from a friend and read approximately 1/4 of the manual before I began recording. Over two hour long sessions I assembled the source material that was to become "Occupy Dreamland". The tracks were created live, no do-overs, no time to second guess or perfect. The final results were edited down to its current form with a minimum of cuts and mastered by Cinchel to give the album its final sound."

Items used: EHX 2880 Looper, Rat Distortion Pedal, Microphone, Kalimba, Bodhrán, HVAC unit.

Mastered by Cinchel:

Available for free download from Vuzh Music

Yeah I Know It Sucks reviews Terraform Mars

"I can hear a low drone as the new harvesting machines pave the way for a neo-agricultural revolution." - Yeah I Know It Sucks

Exit Music (For A Solar System) [disquiet0089-vger]

I have been in a crunch mode all week at work but I was unable to resist the current project for Disquiet Junto. This track was created during a short lunch break

More on this 89th Disquiet Junto project, in which the sounds of interstellar space are used to make “goodbye music” for the Voyager 1 space probe, at:

Source audio courtesy of NASA/JPL-Caltech/University of Iowa via:

Special thanks to Mark Ward ( for having suggested this material as the subject for a Disquiet Junto project.

1 Year

While looking at my releases I realized that my album “They Want To Make Your Body Move. I Want To Hold You Perfectly Still.” has passed it’s first birthday. I was actually quite surprised to find out it has only been a year. Since TWTMYBMIWTHYPS I have put out 4 EPs, 2 full lengths and a remix album as well as numerous compilation songs. TWTMYBMIWTHYPS was a very difficult album for me to make as I was truly not sure if anyone would connect with what I was trying to accomplish with the album, I am still shocked and humbled by the response that it has received. I just wanted to take a moment out to thank anyone who has listened or helped to support my work, you will never know how much it actually means to me.

Thank you for your support, I should have some new things to share with you very soon.



While looking for Arduino projects to build I found the Algorithmic Noise Machine. I was instantly intrigued by the noises it generated using bitwise operations.

Looking further I realized that Supercollider added support for bitwise operators in v3.5. Unfortunately the only documentation was a single example (quoted below).

// 8-bit magic
play {
    var t =;
            ((t * 15) & (t >> 5)) |
            ((t * 5)  & (t >> [3, 4])) |
            ((t * 2)  & (t >> 9)) |
            ((t * 8)  & (t >> 11))
            - 3 % 256
        ) / 127-1 * 3
        , 20

I decided to explore the concept a to understand how bitwise operations work on an audio signal. My examples are written in Supercollider but much of this could be applied to other audio languages.

Other Concepts:

Before we get into the bitwise operators I figured we should talk about three basic concepts used in the code above.

	i =;
	t =;
	[i, t, t % 8]
  • Impulse - Sends out single sample pulses at the frequency specified. This is often used to trigger other Ugens.
  • PulseCount - Outputs a number that is incremented each time it receives a trigger. In the plot above notice the steady ascent from 0 to 20.
  • Modulo % - The remainder from a division operation. Very useful to “wrap” a number into a certain range. Notice in the plot above how the numbers count from 0 to 7 and then repeat.

Bitwise Operations:

Bitwise operators are used to manipulate numbers directly at the bit level. A bit has only 2 possible values, 1 or 0 (True or False). If you need a refresher on binary numbers I recommend this tutorial.

  • AND & - Result is true only if both bits are true. ex. 9 & 3 = 1
    00001001 = 9
    00000011 = 3
    00000001 = 1
    Notice how the result only contains true bits that both numbers have in common.
  • OR | - Result is true if either bit is true. ex. 9 | 3 = 11
    00001001 = 9
    00000011 = 3
    00001011 = 11
    Notice how the result contains all the true bits from both numbers.
  • Bitshift Right » - Move all bits right the number of digits specified on the righthand side of the equation. ex. 100 » 2 = 25
    01100100 = 100
    00011001 = 25
    Notice that between the two numbers the pattern of digits is the same, they have simply shifted two places to the right.
  • Bitshift Left «  - Move all bits left the number of digits specified on the righthand side of the equation. ex. 31 «2 = 124
    00011111 = 31
    01111100= 124
    Notice that between the two numbers the pattern of digits is the same, they have simply shifted two places to the left.

Re-examining The Example:

Now that you understand the basic operations you can look at the middle section of the code as a complicated formula to generate values. The results of this formula are run through a 20 Hz highpass filter to remove excessive bass and a tanh to shape the output. I have put this formula into a function and created a loop to output the values produced using the numbers 1 thru 100 as an input:

f = {|t|
		((t * 15) & (t >> 5)) |
        ((t * 5)  & (t >> [3, 4])) |
        ((t * 2)  & (t >> 9)) |
        ((t * 8)  & (t >> 11))
        - 3 % 256
	) / 127-1 * 3

A Simpler Example:

The formula is still pretty complicated so I tried to make a simpler example to understand why it sounds the way it does:

    var t =;
	a = (t * 15);
	b = (t >> 3);
	c = a & b;
	c % 256;          
Breaking this down into it’s pieces:
  • a = (t * 15); - value that is incrementing by 15. (ex. 0, 15, 30, 45, 60, 75, 90, 105, 120, 135, 150)
  • b = (t » 3); - incrementing value with a bitshift right 3 places applied. (ex. 0, 0, 0, 0, 0, 0, 0, 0, 1, 1, 1)
  • c = a & b; - apply a bitwise AND to both previous values. (ex. 0, 0, 0, 0, 0, 0, 0, 0, 1, 1, 1)
  • c % 256; - this keeps the numbers from incrementing infinity and forms the basis of the repeating pattern.

Why does it form a sawtooth shape?

  • The result of an AND operation will never be larger than the smaller of the inputs.
  • A bitshift right will always produce a smaller number.
  • Based on the previous two points variable b will always be much smaller than a and will control the rate at which the numbers increase.
  • The modulo operation will “wrap” the numbers around instead of letting them rise infinitely, thus performing a repeating pattern.

Closing Thoughts:

Bitwise operations are capable of complex and chaotic rhythms, a little bit of knowledge about them will help you to bend these patterns to your will.

Further Reading:

A comment suggested this paper as further reading on the topic.