Disquiet Junto Project 0325: Fake Book

Disquiet Junto Project 0325: Fake Book
Make a forgery of an old jazz song by using samples from three Edison cylinders.

Step 1: This project involves using samples of pre-existing recordings to create a new recording. The three pieces of source audio are at these individual Internet Archive webpages:




Step 2: Download the tracks from Step 1 and listen to them. Listen for elements you might employ in your own new recording.

Step 3: Utilizing elements from Step 2, create a new composition that, to the extent you are able, sounds like it is from the same general era. Don’t add any other sound sources, though you can employ effects.

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0325” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0325” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Please consider posting your track in the following discussion thread at llllllll.co.

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Other Details:

Deadline: This project’s deadline is 11:59pm (that is, just before midnight) wherever you are on Monday, March 26, 2018. This project was posted in the afternoon, California time, on Thursday, March 22, 2018.

Length: The length is up to you. Roughly two minutes sounds about right.

Title/Tag: When posting your track, please include “disquiet0325” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track online, please be sure to include this information:

More on this 325th weekly Disquiet Junto project (Fake Book: Make a forgery of an old jazz song by using samples from three Edison cylinders) at:


More on the Disquiet Junto at:


Subscribe to project announcements here:


Project discussion takes place on llllllll.co:


There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

The image associated with this project is by Matt and is used thanks to a Creative Commons license:




The project is now live.

1 Like


one sample
two glitch machines
one delay

BowEcho - TAL Dub Delay I - Fracture


You checked Kunzru’s White Tears, Marc? This is dangerous territory. ; )


That was really nice! Somehow very soothing, at least at low volume.


Hi all,
Loop, loop, loop and loop, the same samples over and over on 4 tracks


Have a nice day,




Hey all!

I tried to imagine what an “experimental” composer of today might do with the given instrumentation if transported back to the time these recordings were made, and what it would sound like if that resulting composition was then heard by us here in the future via Edison cylinder. I used a bit of EQ and compression, but otherwise stuck to cut/paste and speed/pitch manipulation. Hopefully, the time-traveling avant-garde composer would’ve seen the Edison cylinder itself as an instrument ripe for manipulation - allowing my voice manipulation effects, in particular, to be period correct in this alternate science fiction history.



I used all three samples, slowing down two of them and using just the first bit of the third. The end result is weirdly addictive in a “Make it stop!” kind of way. Have a great weekend :slight_smile:


Is everyone familiar with the work of Leyland Kirby / The Caretaker in reference to this weeks project?


plugged the tracks into protoplasm with lots of delays and guitar fx in podfarm, played them at lower octaves and switched to higher octaves here and there pretty much randomly.

oh whoops i misread that it should sound like a modern composition… werent too many people making doom jazz in 1904 i dont think.


I think I’ll just imagine that there was a big scene for doom jazz in 1904, but the music went unrecorded due to fiercely narrow and populist aesthetic bias in the nascent recording industry.



Great idea this one! Loved doing it, I have a few old shellac discs which I started buying about 10 years ago and if I ever see people selling them will pick some up as they’re always fairly cheap. Sampling these sort of sounds is always enjoyable so tonight, making this, was much fun.


The project playlist is now rolling:


Downloaded the originals. Went to odd places.



When creating this track, I thought about what sort of sound manipulation would be available for someone using Edison cylinders. It seems the main ones would be reversing, speed and pitch, which I’ve stuck to - and I’ve also added some additional mechanical noise [think: badly-treated cylinders] and simulated the sound of music being recorded in a basement.

I was also quite taken by the deranged laughter on Ma Ragtime Baby, so I wanted to make something that sounded suitably strange and slightly disturbing.

PS: this was really fun! I had a nice time reading about Edison cylinders - been interested in their history, and I’ve got one myself [picked it up in a country town, from 1909].


All three samples were used–looped, pitched up and down, reversed, etc. in real time on an iPad using Samplr. Not sure if the results are “old jazz” – was ECM around in 1904?


I am loving that all of these sound so deranged :smile:


I liked the idea of making a forgery of an old jazz song but the Edison cylinders didn’t provide the materials I needed for samples.

So I took cues from music, particularly the tuba bass parts.

Izotope’s Vinyl VST was used to give a grainy finish, which is also in mono.

And, when I began pondering what imagery I’d use for the video, I found Georges Méliès film La Sirène from 1904.


Terrific! 20 characters



Suss Müsik likes the sound of dust on a vinyl record. A compact disk with dust on it simply won’t play. That’s a design flaw, in our opinion.

The Edison Spring Motor Phonograph was invented in 1895. The sound was emitted by a machine that rotated a ceresin wax cylinder across an incising needle at around 120 RPM. A standard-size cylinder tended to yield between two and four minutes of audio, roughly the length of a church hymn or short monologue.

Due to the high cost of replication, there was initially no method for mass-producing multiple quantities of the same recording. By 1901, however, several innovations cheapened production costs while improving sound permanence: more durable wax mouldings, spring-generated motors, and less penetrative needles. There’s no science for removing dust.

The subtle beauty of ambient detritus has been explored by a number of artists over the years. Junto participants might be familiar with Stephen Vitiello’s electronic compositions accompanied by visuals, or perhaps Stegan Betke’s grimy dub tracks performed under the name Pole. Nina Katchadourian went so far as to create an audio tour of the dust buildup at New York’s Museum of Modern Art. Suss Müsik can only imagine how thrilled the janitors must have been.

For this short piece, Suss Müsik sampled the “dusty” pieces of the recordings along with a couple of shorter bits. The sounds were looped through a ring modulation process at various speeds, with the occasional burst of brass or vocals. The lovely, swooping brass bit at the end was left unaltered. The effect is something like what might have happened if the Mille Plateaux label had existed sometime between 1890 and 1915.

The piece is titled Ozokerite, named after the naturally occurring substance from which wax is made. The image is a magnification of household dust from Suss Müsik’s headquarters.