Disquiet Junto Project 0257: Remember Noisevember


I combined “Schoolboy” Crush by the Average White Band, vocoded through white noise; “Fearless” by Pink Floyd, vocoded through pink noise; and “Get On The Good Foot” by James Brown vocoded through Brownian noise. I got all three colors of noise from here: www.audiocheck.net/


recorded three tracks with the EMS Sytnthi A, cut into six pieces,just tweaked a bit panning and volume,No FX used. thats it.



Suss Müsik fans (all seven of them) might be surprised to learn that Suss Müsik loves noise. We grew up on sweaty punk rock, after all, and our explorations in ambient minimalism are often the result of careful distillation, filtered over time from origins of pure dissonance. Our saxophonist is a disciple of Pharaoh Sanders, creating squalls of atonal mayhem that prevents the final output from becoming too docile.

Peter Hammill once said, “Too much politeness in music — whatever style of music it is — is usually very bad news.” Noise isn’t simply a matter of turning up the distortion and letting’er rip. We are reminded of the music of Faust, Einstürzende Neubauten, Diamanda Galas, Negativland, Luigi Russolo, even the post-classical works of Henry Cowell and Igor Stravinsky, all of whom employ chaos and confrontation as an artistic prerogative.

Suss Müsik has been known to use power tools and other machinery in our compositions, and we’re not averse to banging the odd sheet of metal when the mood strikes.This short piece starts with the sound of a Dewalt DW745 table saw coupled with a digital synth organ. The composite was run through a Korg Toneworks 411fx into a Vox Valvetronix amp and recorded straight to disk.

The metallic sounds were created by hammering scraps of pipe and aluminum sheeting found around the workshop. A Scream distortion filter (with generous clipping) added a bit of fuzz and dampened the piercing higher frequencies. The little 4-note phrase at the end was looped while our ears recovered from all the clanging. It was great fun.


Funny how we both referenced Neubaten.

1 Like

Noisevember looks like it was pretty awesome. In memory, this track is based around a recording I made of my street being paved last year. Other recordings: a dog collar, insect chorus, birds and ambient noise behind a strip mall, and breath, all looped and mixed in Ableton Live. I wasn’t sure how to structure it, so I picked up an Oblique Strategies card (en.wikipedia.org/wiki/Oblique_Strategies) and it said “Repetition is a form of change”, so I ran with that.



This is from a field recording of my neighbors – they install and service industrial vacuums in vans for carpet cleaning. Quite loud and goes on for hours. This is 4 minutes selected out of about a 50 minute recording thru cut/paste and I did a bit of EQ and filtering but not much. I take out the hiss at about 17 secs.


Hey everyone!
Mind the Noise(disquiet0257)

Noise made from noise for people who like noise…
Started out bringing 5 field recordings that were recorded through various effects(not sure which ones now) into Cubasis. The first was assorted electrical motors which were widened and eq’d. The second was a milling machine with previous effects but left alone in Cubasis. The third was I believe highway(?) noise with tape delay. The fourth was effected percussive tool sounds for a rhythm with added pan and tremolo. And the last came from I can’t remember where :slight_smile: and eq’d and run through Nebulizer. I also ran a sub Micrologue patch eq’d underneath just to rattle the windows! Definitely should be listened to loud…



I suppose this could be a study in the contrasting employment of noise. The metronomic underpinnning is done with a Doepfer A-118 processed through Mutable Instruments Rings, Warps, and Clouds. The caterwauling overlay is my portable shortwave radio processed through Mutable Instruments Clouds. Assembled in Ableton.


I’ve based the whole piece on a recording of a 2-way conversation over a radio. All the sounds are from the recording but with all sorts of filters and effects added to them. I just kept going until I was happy with what I had created.
The effects include; Drive Low, Moving 3-5-6, Slow Motion Drive and Transmission - all done in Ableton Live. Finally I chopped it up and reversed it in Audacity.



Composition musicale basée sur des interventions ou présences émergentes.
Attaque parasite, tension électrique, effet de masse.

Musical composition based on interventions or emerging presences.
Parasitic attack, electric voltage, earth effect.


Lines is eating too much bandwith for my slow (satellite) connexion, so not only does it take hours when I come here, but also every soundcloud song appears as a grey, blank space. I’ll have to wait until Mark puts out the new playlist to be able to listen to the community’s output. Of course it’s a limitation, but in the eyes of this junto every limitation should be upturned in a creative way. I often resisted the temptation of “going to hear what the others do with that” when composing my own contribution (writer’s block). Now I don’t have to resist anymore, which is good for creating.
Anybody wants to tell me something, better to message me on soundcloud, or comment my music over there.
Wishing everyone a good day Claude

1 Like


Been a while since I had time to do one of these! This recording is composed of surface noise - to be precise, the run-ins and run-outs on my copy of “Court and Spark”, looped and alternating forwards and reversed. The track length is entirely arbitrary.


i made this when i * really * should’ve just uploaded the roller-shutter door at the self-storage place:



In the video above you can see me read aloud Stuart Hall’s essay Encoding, decoding as it came to mind when I saw the diagram for the Junto this week.

Then in Ableton Live I created a simple loop of MIDI to drive the VST synth Massive, which was then encoded with my reading.

To keep it interesting I added something I prepared earlier in the year, a groove with bass guitar and drums. The latter was treated with Izotope’s Trash 2 effect, which was a recent purchase and gives great textures.

See my blog for more.


Thought I’d experiment with noise + structure + voice. I made a feedback loop using my Alesis Bitrman (anybody remember those things?) and recorded about 2:40 of noise as I tweaked the knobs.

Then I jotted down a quick set of lyrics that included “cucumber cuneiform,” which is a phrase that came to me after a Nyquil-induced doze. I really emphasized the rhythm of the words and at times the melody may come through, so maybe that will give a sense of structure. The words ended up being something about aphasia and the isolation of not being understood (on different levels).

I improvised a bit with the melody and came up with something I like, and then slapped a Vocoder on it that drew on the noise track, so the noise would be shaped into intelligible words…in theory!

In practice it’s not perfect, but since this is an experiment with noise, some unintelligible moments are ok. At least I learned more about Ableton’s vocoder.

Sandpaper sandwiches
Cucumber cuneiform
Indeed I isolate

All wrapped in wariness
My quirky scariness
when some words come out wrong

Some mystic headlines say
strange news from yesterday times
ten New York tenor tore

Terrible tetravores
View voters as vegetables
And only automatic

When words get in the way
Mangled meanings tangle seemingly
simple tasks smash like broken glass

When words get in the way
meanings mysteriously dematerialize
and I’m left nothing new

Warily waking, I
disease dozens daily, I
lie lightly living lies

a bashful bashing, a
soporific solo, a
subliminal sashay

When words get in the way
Mangled meanings tangle seemingly
simple tasks smash like broken glass

When words get in the way
meanings mysteriously dematerialize
and I’m left nothing new


Our Last November


This is an ambient piece, made in Renoise and exploiting the Renoise maYbe trigger. (http://tutorials.renoise.com/wiki/Effect_Commands)

You can download the xrns file from http://neurogami.com/downloads/disquiet_0257_neurogami_noisevember.xrns

It’s meant to play continuously in the background. What’s here is just an excerpt.

The various noises and sounds change over time as the Renoise song plays.

Renoise comes with a good number of samples and pre-made instruments. As it happens, thy have folder conveniently named “noise.” Those samples/instruments provided most of the sounds in the track.

The Y fx in Renoise lets you assign a probability that a note, or one of a set of notes, will be played. Most of the more striking noises in this piece are set to a low probability (10 to 30 percent).

LFO fx are also used to create sine wave signals that control assorted tonal controls, such as resonance, cutoff filtering, and the like. The cycle of these waves is set slow enough that even if you hear the same sample triggered it will most likely have a different sound, and possibly a different pitch.

The piece is best experience via Renoise. You can get the free Renoise demo at https://www.renoise.com/download

For playing songs I think the biggest demo hassle might be nag screens.


Been a while since I’ve done a Disquiet…

Listening with headphones recommended.

I decided to focus on the “noise” part: All sounds are taken from about 5 minutes of recordings I made in the hallway one morning while the family was starting their day.

Processing and composition done in Ableton Live.


oh my goodness, this is just fantastic. Well done.


Some art junq https://www.youtube.com/watch?v=iEcJNRv4Xkw

A little bit of noise remembrance for the 257th Disquiet Junto. A simple noisy percussive patch on the Make Noise 0-Coast running into a dub filter noise generator thingy Nord Modular patch, running into an RE-201 Space Echo. Burning a Meyer’s Orange Clove candle and some sage.


I love how a bunch of us went for the funny as well.