Disquiet Junto Project 0318: Linear Training


CC0 picture from http://www.publicdomainpictures.net/view-image.php?image=102553&picture=&jazyk=HU

Held a B note into NI’s Prism synth, a patch named Wandering Organism, from a wonderful modulation-rich Reaktor extension to Prism by Don Garbutt: (http://www.dongarbutt.com/animatorforprism.html)

Recorded the audio - about 12 seconds, to catch the last modulation. Kept one dry track, and duplicated the audio track nine times, each with a different chain of effects. In keeping with the project brief, no other audio was used.

The dry note stars at the start.

Lots of effects used here, let me tell you… :open_mouth: All purring away in Ableton 9 on my Win7 32-bit machine. They don’t make them like they used to… :slight_smile:


Picked a short tone from a video of my son playing a concrete marimba.

There are comments about the composition and also the original video on my blog.

Cheers :slight_smile:


Hi all this is my first try at juno but I must say that this was a lot of fun to create.
The original held note was a C3 note held on juno6.
The main star of the show are definetly the ableton sampler fm modulation capabilities which are used on every sound.
I have created four drums samples: kicks, snare, hihat, and some percussion like sound.
And four samples were used to create melody.


Hi there! First ever post in this community and my first entry in Disquiet Junto.

I recorded myself on my iphone in a reverberant staircase whistleing, trying to hold one note steady til I ran out of breath. The sample was then mangled in Ableton Live. I did a lot of resampling with effects, extreme stretching, freeze/flatten. I figured throwing it into a sampler and play it chromatically would be too easy but I played around with automating the delaytime on different delays (Live 10 Echo, Grain Delay etc) and got pitch variations as happy accidents.

To get some low end/depth I did some extreme EQ/filtering, resampled and chopped it up to create the bassline.

All in all a fun exercise which allowed for some new discoveries and techniques in my toolbox.



The source for this piece is a 10 second recording of a sine wave combined with a triangle wave.


I recorded a twenty inch quartz crystal bowl for my piece. I got carried away and couldn’t get a five to ten second recording that I was happy with. The thing sustains for a very long time. Actually when I would play back the recordings it would start making sound again all on it’s own.


piano recording>er-301>filter+am from pamela nw via addac 802.
recorded on a portable recorder via a bass amp.


first disquiet! this was fun!

recording of a triangle oscillator from 0-coast
SQ-1 for rhythmic gates and cv sequencing
maths for enveloping and LFO processing
three sisters for filtering
cold mac for panning
dixie ii for LFO-ing
little bit of reverb from ableton

my girlfriend said it sounded like it was the soundtrack to carrying out some important mission underground/in a tunnel, which i don’t disagree with.


started with 10 seconds of ride cymbal struck with felt beater attempting to produce a single tone increasing intensity-
no sounds other than this recording used with digital processing to create mechanical pulses, blips, harmonics and so on- soundscape of alien cymbal factory!..not sure if aliens make alien cymbals or if the factory is on auto-pilot anyway:)


Everything in this track was made by processing a single note played on the Ableton Wavetable synth. The speech is vocoded using the synth note as the carrier. The percussion is the note sped up enormously, distorted, and pitch shifted down(for the kick) or up (for the hi-hats.) The melody is the synth note sped up and pitched up and down. The background texture is the note stuttered by a couple of Max For Live effects.


Whenever I hear the word tone I think dial tone :wink:

For tone I used a dial tone from an old rotary phone. After running it through echo, stretching, and reverb filters in Audacity and GarageBand, came up with an interesting rhythm, as well as some associated tones; final tweaking was of volume, which yielded some additional tones that only emerged when the whole thing was quieted down. The rhythm is from the recording also including the hanging up/cutting off sound at the end, which acted as a marker once the tracks were turned into loops.


First time trying the Disquiet Junto!

My initial tone came from the Make Noise STO, a variable waveshape modulated by Pamela’s New Workout. From there I recorded several processed versions of the tone through a number of modules, like Mutable Instruments’ Clouds and Rings, and Qu-Bit Electronix’s Tone. I then brought the recordings into Ableton for further manipulation (EQ, reverb, panning, tremolo)and arranging. I also walked through some of the process on instagram, which can be seen on my archived story @gregwht.


@kimchiboy @whitenoises welcome aboard!


The documentation that @whitenoises put up on Instagram is great. Do check it out if you have a chance. I love that you paused for Star Trek. We need to do a mirror universe Junto.


Hey there, I’m skipping projects quite often in the last years but I hope that will change again soon.

Here’s my contribution:

From the description:
Process: This is again just a single recording of modulating one note played by Aalto. Since there was a rhythm emerging, I checked again if I was cheating on the original task, which said to modify the single held tone and nothing else. So I made sure that only one voice of the synth was activated. The rhythm comes by step filters and other stuff Aalto does. Altering one held tone could also mean altering its pitch, actually. and one the other hand, if the held tone was only one single sine, no alterations would be possible anyway because of the lack of overtones. So maybe we can even say that everything is possible with a recording of one held tone with all the effects and filters and stuff we have. Just some thoughts.


All hail Emperor Disquiet.


Process: the initial material is a 10-seconds-long recording created by playing a held note using the Leaf Audio Soundbox (bowed on the springs), which serves as an excitation signal for a physical modelling synthesizer(Mutable Instruments Rings).
This initial material was then processed using the following methods:

  1. slowed down to 50% of the initial speed and slightly lowpass-filtered
  2. processed using a granular texture generator (Mutable Instruments Clouds) with various random CVs modulating the parameters
  3. processed using Clouds with a sequencer triggering the grains, and passing the individual clusters of grains via a lowpass gate (Rabid Elephant Natural Gate)for some rhythmic textures
  4. processed using Clouds and a delay (Alright Devices Chronoblob), with a slow LFO modulating the delay time
  5. processed with a waveshaper (Mutable Instruments Warps)
  6. processed with a ring modulator (Mutable Instruments Warps)
  7. bitcrushed and decimated(Alright Devices T-Wrex) then lowpass-filtered
  8. distorted by overdriving the input on Mutable Instruments Ears
  9. processed using a convolution-based reverb (Reverberate)
  10. processed via a highpass filter and a modulated, quad comb filter (Melda MComb).

The resulting materials were then edited together into one piece without further modification, with only a bit of reverb and stereo widening added.


Hi there,
The held note comes from a cheap analog synth. It goes through a pedal distortion, tremolo, crystallizer, low-pass filter, reverb, OTT and drive tube. Then played in chords.
The track is dismantled in the epilogue, so you can hear the bare note.


Inserted a virtual instrument track into Reaper. Inserted a Reaktor synth on to this track. Recorded one tone (F#) for approx.10 seconds. Copied then pasted this item 9 more times. Added a different FX to each pasted item.

  1. No FX
  2. Delay
  3. Minifilter
  4. Reverb
  5. Crossfader
  6. Reverb
  7. Bass processor and delay
  8. Tremolo
  9. Stereo chop chop
  10. Ring Modulator and ping pong pan
    Mixed and rendered in Reaper


The original tone came from a Juno 60 (thanks to my roommate!) sampled into my OP1. I then played the sample into a handheld cassette recorder and played it back into the OP1 at half speed and through some guitar pedals (reverb, filter, delay). These sounds are used to create keyboard tones using the synth sampler and loops using the drum sampler. The Nitro filter was heavily used throughout. All recording and mixing was done in the OP1, with some EQ and reverb applied to the final mix in Ableton.

I’ve been pushing myself to try and do more complete work in the OP1 and while I don’t love the final product I had a lot of fun, work-shopped a lot of ideas, and learned a lot in the process. This is my first disquiet and I plan on doing more now - having a deadline really helped me get over my analysis paralysis and actually say “ok, it’s finished.”

E: I haven’t listened to everything yet, but very impressed with the variety of approaches so far. Not at all what I expected!