Disquiet Junto Project 0315: First Chair

First Bass


A series of bass lines in a more-or-less pop song format (A B A B C A B D) with some faint glitch percussion (to aid in accompaniment). Panned mostly left .

I first had the glitch stuff louder, but decided that worked against potential collaborators.

The question I kept in mind was, What options or choices does this music open or close? What decisions am I making available? What decisions am I making for any future collaborator?

My first attempt at this had far busier melodies. I toned that down to (I hope) open up more tonal space. Except the final section where the bass line is busy.

I stuck to a lot of repetition to leave it to others to add more spice.

It wasn’t until I was uploading the track and checking over the project details that I saw that this is meant to be part of a trio; I had been assuming it was for a duo (of sorts). So now I’m extra glad I toned down the backing ticks and scratches.

As is typical for me I tried not to get to hung up on things while working, a strategy mainly used to ensure I actually finish on time but one that can help reveal ideas that might get buried if I spend too much time trying to finesse something to make it Just So.


Written in Logic, featuring celtic tin whistle, poly fat bass, and a few pads. Panned all to the left! Cheers!


Loosely played to a click track at 90bpm. Best take I could do at 4am with the insomnia I’ve been having!
My Windows partition is hosed, so I can’t use SONAR, instead I used Audacity on a linux OS. Open source, free, OS and DAW , for a CC project. Yay!



Hi All!

Just messing around with AUM, into Soundscaper, then Ableton . . . 62BPM . . .

Have a fruitful week!

H U :wink:


hey ya’ll

i wanted to make something somewhat sparse, or at least leaving room for another element to be added.
I did not want to use an explicit time signature to create a specific rhythmic pattern, nor have an overt melody. Hoping that without these elements there is room for someone to add them if they choose, and not be pushed in any direction.
i think i mostly succeeded, there are aspects of melody and timing, but overall it comes out as a somewhat abstract rhythmic piece. A bit more dense than intended though. The tonal parts are in C minor(i think). Ableton says it started at 190 bpm, but i doubled this through warping.

i used an ipad instrument called TC-11, which i have been really into lately. It is a deep instrument with many preset patches of great variety. Each patch can be edited in a simple but thorough way, most parameters can be changed and customized. But the most interesting part of it is the performance interface. It uses the uniquely ipad touch capabilities very well. Different parameters are affected by touch duration, number, and distance from one another. It responds to swiping, tapping, all manner of swirling, and even takes advantage of tilt. This input variety opens up a lot of expression and it helps to get away from the more typical interface of chromatic keys or beats on a grid. So thats why i chose it for this project. Not sure why i am going into such great detail about it here, but just wanted to share an exciting and fun instrument with you.

This is two patches combined. At first i was trying to leave things sparse and only use one, but they sounded good together so i went with it. Hope you enjoy and find this piece inspiring and easy to work with.



I recorded a bass part at 81 BPM.

It starts E D C, then E G D. Then arpeggios through E G D C, I think.

There’s a bit that holds A B7 D, then it goes through the arpeggios again.

You can download my recording here


This recording uses a SuperCollider instrument I’ve been tinkering with that generates short sine tones along a harmonic series whose root is controlled by a MIDI keyboard. Various attributes of the tones are randomized, with the ranges of their randomization and other parameters like the amplitude envelope adjustable as you go. I like this process because by tweaking the envelope’s attack and the density of the tone spacing, you can shift between hearing the notes as individual events and hearing them all as an accreted drone. I thought it would be a good fit for this prompt since those notes and drone can either be a backdrop to other sounds or resampled in a more structured composition. The recording is in C major (mostly resting on C) and played to a metronome at 80 bpm.



This week I imagined myself as one of Bob Will’s Texas Playboys. I recorded a western swing guitar accompaniment. The key is G maj and the tempo is 100 bpm.


Unedited improvisation on Ableton’s new Wavetable synth.


I took my discarded attempt from the last Disquiet prompt and was able to make something out of it, so this is very much about starting and finishing things.

I recorded myself dropping an ice cube into a glass and sliced it up. I noticed every iteration of the ice-cube drop had certain repeating “gestures:” a big inhale from me, the squeaking of the ice-cube tray as I loosened the pieces, and then the inevitable clink in the glass.

For the first iteration of about 30 seconds, I rearranged the audio to be a sort of loose cannon - the first ice-cube drop is layered with the second ice-cube drop, layered so that the clinks happen at the same time, but the other, non-intentional sounds (the breathing, the squeaking) will happen at different times.

The second iteration, each entrance of the clink is repeated until all four are playing simultaneously. I also added a loop underneath it that feels like a beat (but is actually looped ice-cube sounds). A drumkit version of that loop also begins to sneak in here.

The third iteration is like the second, except the drumkit is much more prominent.

That took about 1 minute and 30 seconds, which wasn’t long enough, so I copied and pasted everything (repetition is the artist’s friend!). However, this time the drumkit slowly fades out, so in that sense the piece may feel like a palindrome.

Then I panned it hard left, as per the instructions.



Made a nice little ambient-style base out of loops of (very processed) potato peeling, claps under concrete, and the sound of a space needle flower sculpture. Hopefully suitable for combination in trade.


had to re-post bc some error in first listing at SC, idk >_<

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Rather than record a melody, or a bassline, I recorded an effected electric piano ostinato, with some pseudo-random twinky notes added to be used as an underlying pad for a track. It was so hard not carrying on and adding more layers to this myself!

I worked differently this week - I recorded two different midi clips in Reaper, and then used some of the MIDI effects to a) humanize the velocities and timing of the Nord piano riff and b) add random modally-related notes to the more sparse second loop that runs the D-05 for the twinkly sounds. Much of the sound design involved careful EQ, and setting up the reverb and two delays to give an interesting riff with some movement.
Tempo is 110 BPM, underlying key is F# minor (I think!)




This is my homage to Federico Durand and the lighter, more ambient material of Oren Ambarchi. Both of whom I’m a big fan of.

I took my daughter’s small music box and used a contact microphone to record several snippets into my Boss SP-202 sampler. I hadn’t used that sampler in quite a while and was pleasantly reminded of it’s lo-fi beauty. I played basically random sequences of reversed loops and one shots through reverb and delay and recorded that into my DAW on a single stereo track. I recorded another track of messing around with some small wrench sockets in a tin through two delays and kept that really low in the mix. Finally EQ’d it, bringing up the lows and really cutting a lot of the mids and highs since the 202 lo-fi setting really cuts. Panned it to the left and voila!

Looking forward to the rest of this sequence. Shout out to everyone participating.


This is my first Junto submission. I’m really excited by the concept, but I decided to keep this one pretty simple. This is based around mutable’s rings - I patched the resonators output back into the FM input - which led to a quite shakey wooden sound. Some notes seem to respond to this effect a lot more. I left a lot of empty space in this recording in the hope that someone will fill it in.



Tried to pan left but it sounded bad so I kept it. Might actually use this as part of a last minute addition to my album.


I enclose my contribution



finally a playlist that we can use to convince our enemies that their speakers/headphones aren’t working properly!*


It’s not like i wouldn’t say most everything that i make wasn’t already incomplete. Still. Here’s a loop from one of the precursor tracks to my submission to last week’s Junto, rendered lo-res and filtered egregiously with a view to its incorporation in something else next week…

*like, in this context the fact that first few in the list aren’t hard panned left is a feature



This is a 2 channel mono rendering of the left side of the original recording.


Heh, I like this idea.

“Your playback is unbalanced. Trying to convince me otherwise will lead me to think it’s not the only thing unbalanced.”