Disquiet Junto Project 0327: Time Zoned


I like the sounds and the shape of the overall wave. The middle has a safe feeling, before having to leave. Just like when you only get to visit home for that small space.


The Junto this week reminded me how good it is to use a 3/4 time signature for basslines.

I also enjoy using unlikely time signatures when making soundtracks for my toasted sandwich videos.

So I took the opportunity to make both a 3/4 bassline and a sandwich.

The Latin percussion follows 7/4 and an 808 beats 2/4, as well as an organ and cello both in 4/4.

This is my 140th Disquiet Junto video and my 27th Remarkable Sandwich.


So good! (Song and sandwich, both :slight_smile:)


George Lucas is apparently obsessed with the number 327. On message boards and wikis around the Internet, fans of the Star Wars series have circulated increasing amounts of evidence. The docking bay station that holds the Millennium Falcon is number 327, the number of the Cloud City landing platform is 327, etc. And so it goes.

“The folk tale is for entertainment,” wrote the mythologist Joseph Campbell. “The myth is for spiritual instruction.” The unconscious mind rules subliminal behavior by converting fuzzy nuances into absolutes, thus rendering indistinguishable binaries that would otherwise never connect. Paul is dead, except he’s not.

Immanuel Kant believed that humans actively construct pictures of the world according to speculative theory. Working with three time signatures at once is a similar work process. The ear wants to create order from disorder by locking into a groove, because that’s how the brain digests information.

For this short piece, Suss Müsik created three distinct fields. The opening piano chords are played in 2/4. The fake woodwinds and accent piano are played in 3/4. The drums and acoustic bass are played in 7/4. To create a sense of randomness, the piano and woodwinds were passed through analog effects pedals at the same tempos as their parents and mixed live to 8-track.

The piece is titled Herodotus, named after the first known historian to systemically arrange a list of events for the purpose of testing their accuracy. The image is a distressed sheet of acrylic press type.


I tried to keep the pulsating binaural beat in sync with the tune for the 2/4 part. The main synth plays the 3/4 part and the FM drum something like 7/4.
Recorded on 4 tracks cassette slowing down and speeding up… Thanks!


Totally unexpected, and so well executed! Bravo.


I’m hungry now! :slight_smile: Cool track too, got a funky vibe to it.


Really enjoying this - the piano line leaves me pleasantly melancholic.


I travel to India every six months or so. The time zone difference between there and Boulder (where I live) is eleven and a half hours. The idea of this week’s project was a technical challenge for me, but also triggered some reflections on those time zone difference I feel when I travel. That half an hour difference seems small, but it throws clocks out of sync in strange ways. Whole hour time zone differences are easier to comprehend. Calling home, being on the top of the hour when my family is on the bottom of the hour, gives an extra bit of strangeness to the call, compounded by the idea that we’re on opposite sides of the planet.

I kept the piece as simple as possible, because I wanted to be able to hear the differences in the time signatures. There’s only a few notes, composed as clips in Bitwig with the stock sampled piano as instrument. The clips were started at different times, then edited in the arranger to bring the three lines together to end on an aligned note. I added a modulated field recording from an early morning walk in India, noisy birds with music in the background, coming from the town center.

Image for the track is a photograph I took in Chennai. Many of the shops had these chalk drawings on the sidewalk in front of their entrance. I don’t know if they have a meaning, or are purely decorative.


Thank you. It started off as a slightly funky jam reminiscent of Gamble & Huff era Philly soul. The tempo slowed down as the hour got later and the beers took their effect.


3 arpeggiated lines in iris2 demo / live. 3/4 melody, 7/4 bass and pad, 2/4 rhythm. sequenced in audacity coz i didnt know if live 8 could do multiple time signatures. goes slightly out of phase towards the end.
sliding pitch shift of 1 semitone. mastered in audition


OK- so I re-recorded my piece today, exporting it as a midi file, slowing it down to 42 bpm (I finished reading Mostly Harmless this morning) and recording it a few times with my synths (D-05, JP8080, BS2, Streichfett, Nord Piano) and varied settings on my effects pedals and EQ etc.

Quite happy with it.



A sine wave sequenced with variable voltages and clocked simultaneously in 3/4, 2/4, and 7/4 by a .com Gate Math.


I started this track with an acoustic guitar melody in 3/4. It sounded very different in the beginning. :smiley:
The guitar track ended up in the ER-301, played slowly enough that the time signature (RIP challenge) and instrument doesn’t really matter anymore. As well as the slo-mo guitar, here are a couple percussion loops, one a mindless 2/4 click, and the other a 7/4 pattern of clicks and blips. I also ended up putting a simple kick and snare pattern that I think is in 7/4…


This was a fun one! After making something really boring in Ableton I decided it would be more fun to try and do this live with hardware.

I sequenced this using a beatstep pro - the voices are a rings, an erebus, and a dixie2 - I mostly focused on setting up the different time signatures rather than creating any interested sounds. I hope to return to this idea and develop if further.


Usual suspects for me:
Bass by my Ambika playing in 3/4 time
Rhodes in 7/4 plinking away
A modular synth sounding like a guitar in 2/2
Guitar sounding like a pad playing once every 4 bars.


Can the BSP do that? I knew it could play different lengths, but I didn’t know if could play alternate signatures - can it do that?


You can set a last step for each track - So I made a sequence of 28 steps length and then tried to phrase it like 7/8 time.

edit - It’s possible that I don’t actually understand time signatures.


0327 Disquiet Junto
7/4 + 3/4 + 2/4 = 4/4
The concept was to create a recording using three different time signatures at the same time.
1. Track one is a Yamaha RY-30 drum machine playing in 2/4
2. Track two is a bass vsti playing in ¾
3. Track three is a modular synth vsti playing in 7/4
4. The time signature for the whole piece is at 7/4 which was set in Reaper at a tempo of 115 bpm


Hey all,

Morbus Sumus(disquiet0327)
And it had so much promise…
This week started out with a nice polyrhythm on a acoustic kit in Patterning and when looking for melodies to match, it took a turn for the worse. The three time signatures sounded quite nice together, but any attempts at a melodic accompaniment eluded me. I turned the acoustic kit turned to noise and began working on a random evolving patch in Ripplemaker. Then both were loaded into AUM mixer where volumes and tempo were adjusted live while recording. The randomness of Ripplemaker was vexing, so four recordings were made. While one was close, the buildup still wasn’t right. Then, while looking to cut and layer in Cubasis, the sound came. Having two recordings that were slightly off gave a nice conflicting pattern at the start, but then all the elements merge to a cacophonous and fitting end. The patterns have a small bit of factory verb and Ripplemaker is running an instance of Eos in AUM. Automated panning for both channels resolves into the center, adding to the noise as each individually panned instrument begins to appear. The phasing effect is a happy byproduct of channel cancelation…I think? Knowing 3:27 was overkill given the material, a dyslexic 2:37 was maintained during the live recording, so maybe half credit?
The mood is both frantic exasperation and kamikaze spin cycle :-/
Can’t spell or remember gear