Disquiet Junto Project 0318: Linear Training


my submission is here…a little screachy maybe

also pleased to have done 3 juntos in a row…havent managed that in a while.



Combo 4500 / Junto.

The source tone is a plucked c# octave on my guitar, through my normal effects rig. I did about 4 or 5 effect passes, and in doing the effects processing, found that I quite enjoyed the simple act of layering them all together. The timing of the single pluck, plus the ring out of the effects, reversals, etc, fits in nicely with the timing constraints of the 4500 project.


Just a brief one from me this time: https://soundcloud.com/plusch/toned-disquiet0318


This time I was not very inspired and with just a few minutes before the deadline, I decided to produce something random.

Warning: There is no prize for those who listen the full two minutes! :wink:

I recorded about 10 seconds of a C note in my Hohner soprano recorder. This was my held tone.

In Ableton Live I insert three drum racks in thre midi tracks.

The first drum rack contained the original recording plus seven processed samples from original:
a) Through Korg Monotron tweaking VCF cuttoff and peak.
b) Through Korg Monotron tweaking LFO int.
c) With Ableton Live auto filter
d) With Ableton Live chorus
e) With Ableton Live redux
f) Processed wwith VST Pecheneg Tremolo
g) With Korg MS-20FX

The second drum rack contained eight times the original recording but each one with auto filter set to a different frequency.

The third drum rack contained eight times the original recording but transpose to each note of diatonic scale.

Each drum rack was preceded with Ramdon midi effect.

Reverb, delay, stereo enhancer… and click to play.


for this week’s project, i again used the makenoise 0-coast as my source.

(note: very little of interest comes across on latptop speakers or earbuds, so if you have headphones or good speakers, use those to listen.)

i began by recording a single tone on the 0-coast into my daw. the tone was harmonically rich, with lots of overtones generated by using the slope section in cycle mode as an fm source. i then used izotope rx to slow the recorded audio file down by various very small amounts. this produced 4 additional files that, when looped and panned across the stereo field, produced interesting phase relationships, stereo movement, and emergent overtones.

next, i processed the tone using a hexe revolver pedal, recording 4 additional files into my daw.

i looped all 9 files (the original, plus the 8 processed files) added various lowpass filters to differentiate the voices timbrally, and then chopped up the audio files semi-randomly, muting chopped regions to create microrhythms and some sense of compositional development.


In at the last minute! Here’s a heavily processed and layered bowed electric bass.


My first post. I recorded a wall door stop spring, duplicated the sound 5 times, and then processed and played everything in VCV Rack. Sorry about some of the high frequencies. Be careful!


I played a note on my accordion and then processed it two different ways. The first way, the A section, uses time/amplitude effects (tremolo, time-stretch). The second way, the B section, uses various kinds of distortion. The final section, the C section, combines the two (my own little #soundart sonata form).

I realized just before uploading it that I didn’t hold my first tone for long enough, so I was going to add a note encouraging whoever uses this track to timestretch the notes as needed. Then I realized I could do that myself!

I used two different pitch-shift methods to make the first tone 7 seconds long, then put the two tracks against each other, slightly panned to the left and right. One track is pitch-shifted down, old-school style, and the other was stretched using Ableton’s Warping algorithm and then “tuned” down.

This generated a lot of wild overtones and distortion that are more D00M than the initial draft!


A little bit behind schedule! Had a busy weekend, but really wanted to participate again.

I sampled one single note with my acoustic guitar. I then processed that one sample with different effects, EQ and some time stretching. One dogma I followed was not the manipulate the sample into different notes other than one octave up or down. I used re:mix and my grid to lay down the main parts of the track. I then sent some of that into the Morphagene and Clouds’ granular mode. Other than that I made a simple rhythmic part at the end, just chopping samples in Ableton.

A nice experience and challenge for sure. It was really tempting to improvise guitar or some other melodic instrument over it. I may make another version of it later, or just take inspiration from it.

So much cool stuff here. Going to take a listen to more of it!