Disquiet Junto Project 0284: Creative Commonfield


This one was a pleasure to work on, and all the different approaches have been great to hear.

Here’s some notes on what I did…

After listening to the original recording I really wanted to use the entire thing in my piece and manipulate it very minimally. The tone of the bells is beautiful, and I wanted to preserve the spirit of it while giving it a new form.

I imported the whole recording into Logic and cut a piece for an intro and a piece for the ending. After that I cut the rest of the recording into equal pieces, without regard for the audio content. These pieces are about 3.5 minutes in length.

I then moved each slice to it’s own track and added a fade in on each track, making each subsequent fade slight longer than the ones before it. Each snippet of the recording fades in at a different speed, creating a slow build.

Each track was then panned to a different stereo position, creating a dynamic stereo field from the original two track recording.

The short intro slice was looped and left playing throughout, as a subtle rhythmic pulse.

The ending snippet was cut down slightly to create a rhythm of chimes to close the piece.




I pretty much used the whole 90mins by chopping up the recording into 22 x 4min tracks played simultaneously. eq,delay, filtering, reverb and compression. A thick sound.



My close-to-annual entry in the Junto. I went with something languid, full of small things and lots of stereo information. I actually started with more stereo effects then the end result, but found it was all too whooshy.


In this disquiet project, I made two approaches. I started with recording sections of the recording into my looper, and in the first approach - this one -, I wanted to create rhythmic patterns alternating with tranquil episodes. Here I did not manipulate any of the loops except for one where I used a decent reverse effect. - The second approach is much longer, and is built up mainly by manipulated loops interacting with segments from the original recording.



in this disquiet project, I made two approaches. I started with recording sections of the original recording into my looper. In the second approach - this one -, I manipulated most loops with my Kaoss Pad, interacting with one another and segments from the original recording. In the first approach, I used the loops without effects - save one -, creating rhythmic patterns with tranquil intersections


Clay Bells Ensemble disquiet0284

Taken the V1 audio file and worked it over with several software like the Sonic Visualiser, You Composer and SoundGrain - i followed the soundspectrum of the claybells and translated those to a Wood Wind Ensemble accompanied by the edited bells.
It might sound not particular nice harmonic but this what comes out when i worked on the original MP3 - also the background noises play along which makes the composition a Creative Commonfield
For those who like to variate on this theme a MIDI file is available under Creative Commons BY-NC-SA 4.0 INT

2017 Creative Commons BY-NC-SA 4.0 INT


Here’s mine: https://soundcloud.com/plusch/st-louis-clay

I chose a couple of excerpts from the source audio and ran them through The Mangle and Kaivo. Reverb and delay were added with Valhalla Room and MFM2.


Disquiet 0284 -

Downloaded the source audio from here https://www.dropbox.com/s/vrkxjee2nyna38t/v1.mp3?dl=0

Shortened it with Paul’s Extreme Sound Stretch http://hypermammut.sourceforge.net/paulstretch/

Imported the file into Reaper

Manipulated the file with Fragmental

Mixed the project

Added panning effects


been awhile since I’ve joined in on the junto. here’s is my piece for this week’s project.



I revisited my interest in mensural canons, which are canons in which the different voices mimic the melody at different (proportional) speeds. I found a fairly active part of the source audio, isolated it, made it twice as slow, then reversed it. This became the foundation of the piece. Then I left in the original audio, but made it happen twice (since I now had twice as much space to fill). I also “un-reversed” the original sample. Then I made the original sample play twice as fast and happen four times.

This gave me some pretty good material - the slowed-down sample provided a lovely drone that underpins the piece (in fact the drone reminded me a bit of Brian Eno’s Music for Airports). It was still a little busy, though, so I calculated several Golden Mean points and then adjusted different sections so something interesting would happen at golden mean points (in doing so, I messed up the perfect proportions of the mensural canon, but all’s fair in love and art). The “something interesting” usually meant striking a bell, but sometimes it meant the section would go silent.

From there, I heard more tones emerging, so I used Ableton’s Spectrum resonator to figure out what pitches were resonating, and then reinforced them with Ableton’s Resonator plug-in.

Then, in keeping with the “circular” concept of the assignment, I added some auto-filters that slowly creep around each audio track’s strongest frequencies - the idea being to occasionally lessen their strongest character and make their return more interesting. I also added some phaser and flanger. At a couple of times you can hear the feedback from the flanger, but since it goes down and then up, that seemed appropriately circular.

Then applied compression and limiting as need be.

I didn’t think I was going to be able to get this remix done this week, but I’m pretty happy with the results and glad I snuck it in!


I took the source materials, made a bed by repeatedly stretching, shrinking, and re-pitching them. I then took a smaller section and processed a little bit less extremely, so the original tones are still evident. I overlaid and added some panning / volume / eq automation.

The Welsh title means “The Song Of The Clay Bells” - I chose it because I love the similarity between the words ‘clychau’ and ‘clay’.


First effort in a while. I deliberately made something quickly - so that means Ableton and a limited selection of familiar tools in it.

As explained at Soundcloud:

Recorded live in a single take. Four tracks: a primary drone, looped up in Simpler; a higher drone from Granulator; a delayed, high ‘line’ used occasionally; the insistent ringing run through filter. All delay/reverb on aux sends to an imaginary tape machine and an imaginary digital reverb. Panning set for several tracks, and oscillating for the insistent line.

I treated the tracks a little like pieces of tape, riding faders and mute switches. Not a great effort, but a recording committed nontheless.


First one I’ve done in a while.
Prepared some samples from the base material and dropped it into the Octatrack for processing, slicing and looping. Not in love with how it turned out but glad I did it.

Thanks to @disquiet as usual for organizing this.


it’s been a long time since I’ve tried one of these disquiet junto challenges. liked the sound source and had a bit of time during the weekend so I tried. actually ended up spending most of the weekend out of town. really nice that I had some time friday night to actually start something… which I ended up today.

I chose 5 random samples from the main sound source and tweaked it to get some ambient/drone vibes. actually ended up with some glitchy elements as well. used mainly u-he zebrify, ableton live effects and some eurorack stuff.


Lots of effects used and abused.
Hope you enjoy!

P.S. Marc: I wouldn’t hold it against you if you choose not to choose mine :slight_smile:
Can say that I can’t be accused of aiming “for a sound that is just as gentle as the source audio” this week :innocent: :no_mouth:


For having over 90 minutes of source material I really didn’t use much, maybe a total of 5-6 tones were used. The main sequence was done with the sampler in Caustic. I ran into some trouble here as the sound didn’t pitch up or down very well. For some variance I created what would have otherwise been a drum track and faded it together with the first part. theres also a drone part peaking through here and there


here is my entry:

I cut out three sections from the original file; I deliberately chose areas that included some space between the chiming clay pots… each of these sections were 2 minutes long (x2) and the other was 1 minute long. I loaded these three files into Aum on my iPhone: one channel ran the audio file at 75% with apeDelay and DubFilter - another channel played at normal speed feeding it’s audio into Dedalus and Reverb (Both by Amazing Noises) the third channel played at normal speed with no effects, but with a lower amplitude. This resulting audio recorded from this session was saved and a copy loaded into Borderlands Granular on the iPad, In Borderlands Granular I created three clusters of grains, some of which I modulated the pitch and panning, this created the background drone and wind noise. Finally I composited these two pieces together with eq compression and limiting in various amounts… resulting in the audio here! Please feel free to ask in case I missed out something!


Heh, and it was good. :smiley: I’m always conscious of blathering about some method or another being the path of least resistance, because it implies that’s a bad thing. It’s just in this case I wanted to try something other than smearing the sounds.


1 playlist = 50tracks = 4.6hours @ 5:45*average track length, I think I might have post traumatic bell syndrome or P.T.B.S. Wow what a turn out! :-D. *actual figures may vary, bad maths!