Disquiet Junto Project 0339: Rude Mechanicals

I thought a genre like this would need something mechanical, rhythmic and noisy. So I took a recording of a MRI machine and layered it multiple times using Guitar Rig’s Trance Gate and panning to create a wall of sound.


Figured i’d just get messy and have fun - maybe that could be considered rude? Ha. Wasn’t sure how to interpret the genre title. Again I’m not sure how closely related this is to the project rules but i had a lot of fun with it.
Drums are a rhythmic Music Easel patch being messed with.
The high end bleeps come from a Moog Model 15 patch… being messed with.
The bassy sounds comes from @TheTechnobear 's orac for Organelle, using rings and polybeats together.
The choppy resampling is using Segmenti for Organelle to sample the original Model 15 patch and play repeating segments on the keyboard.

Whole thing has various eq plugins on it.


that was the most incredible thing i’ve ever seen…this week. cheers!

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So I decided to interpret this week topic as follows:
Mechanical - I imagined some kind of contraption where one sound triggers the next etc. like for example falling dominoes pieces. For this task I modified my sequencer inspired by monome norns study 3 (https://monome.org/docs/norns/study-3/) and made it so that the first track was clocked by DAW midi clock and the next tracks were clocked by using special operator on track before. This way the track 2 only triggered in response to track 1 track 3 in response to track 2 etc.
Rude - mechanical beings that are not really interested in “pleasing” human tastes in music so I decided to use sounds with inharmonics etc (but probably they are still too much tonal)
For sound synthesis I used collision synthesizer from ableton.


I pray thee, gentle mortal, sing again.
Mine ear is much enamored of thy note.
So is mine eye enthralled to thy shape.
And thy fair virtue’s force perforce doth move me
On the first view to say, to swear, I love thee.

Methinks, mistress, you should have little reason for that.
And yet, to say the truth, reason and love keep little company together nowadays.

Shakespeare was known for great insults, but among his best was the moment Hermia calls Helena a “canker-blossom.” While Suss Müsik hasn’t always behaved properly, at least no one has ever referred to Suss Müsik as an infectious skin disease.

The rude mechanicals are the six amateur thespians depicted in the Shakespearean classic A Midsummers Night’s Dream. Suss Müsik envisions a musical genre named after this troupe to be a vocal sextuplet with minimal instrumental accompaniment.

For this intensely weird piece, Suss Müsik digitally created six vocal “mechanicals” based on their counterparts from Shakespeare’s play:

  1. Peter Quince the carpenter, establishing the flawed structure of the piece.
  2. Snug the joiner, emoting loud noises with no discernible phrasing.
  3. Nick Bottom the weaver, improvising leads that “hath no Bottom.”
  4. Francis Flute the bellows mender, singing phrases intended for a female vocal range.
  5. Tom Snout the tinker, vocalizing a wall with maximum distortion.
  6. Robin Starveling the tailor, attempting to provide a bit of light and failing.

The vocal parts were treated with various digital and analog processing devices and recorded live to 8-track. The fake strings and Moog synth bits were overdubbed.

The piece is titled Lysander, named after the Midsummers character who becomes the victim of misapplied magic and wakes up in love with the wrong woman.


That’s beautiful art all by itself.

For those who enjoyed last weeks Junto, here are the full live sets of the performances that we used in the challenge…



I took this somewhat literally as rude mechanics, which led me to Tom and Ray Magliozzi from Car Talk. I thought it might be very rude of them to interrupt an otherwise peaceful song, along with some industrial machine noise. The interrupted song angle didnt work as well as i had hoped, so this is what i ended up with. I hope you enjoy it… and thanks for listening.


The playlist is now live:




Mood: Rechanical

My plan was to create something rhythmic, with a decent mechanical feel, and somehow disrupt it. To that end I used a mixture of off-kiltered measures.

Specifically, I made this in Renoise and started with 32-line patterns, which gave 8 beats per pattern. But few of the patterns stayed at 32 lines. Most of them were changed to smaller values (20, 27, etc.), giving abrupt (i.e. rude) transitions.

I constructed some clanky percussion from filter sounds of prepared guitar and recorded a series of bass riffs against that. From those riffs I extracted whatever seemed catchy but machine-like. I then sampled that original percussion and used different looped sections during the song, to further push the mechanical feel, At different times the loops are placed out-of-beat.

There’s also some guitar sample from some other 118bpm project, and some sounds made in Renoise using the Dexed VST.


Thanks for watching. I worried it was too cheeky and might make someone blush.

For some reason I did this…


Rude Danube [disquiet0339]

Stretching the idea of “rude” to include what we are doing to our home planet, this is a version of the Blue Danube, taken from a crackly LP recording of an old Swiss music box (mechanical music) in the famous Bornand Collection, which has had various rude things done to it (using effects and vst plugins in Audacity) to paint a sonic image of what is now the most polluted waterway in Europe.



Hi there!
Rude mechanicals sort of implies someone lousy at their craft, so I find it fitting for my entry.

I started out searching for rude sounds. My bicycle-brake makes a really screachy sound that shatters the peace anywhere. I sampled that with my iphone, transferred it to the Op-1 (that I just got!). The opening low bass sound in my track is the bike-brake pitched down.

Today while visiting some relatives I found a boxing bag hanging. It made a really annoying sound when you swung it in motion. So I sampled that as well as me hitting the bag - to get some percussive elements.

The intention was to put it all together in OP1, but I didn’t manage. So I recorded some OP-1 clips onto to my SP-404sx sampler. I beefed up the Boxingbag-hit with the Subsonic fx to get more kick. The whole track was put together just through resampling. I had forgotten about the limited polophony so some loops switched off etc.

All done fast, with little love - don’t waste too much time listening!



norns and the ER-301 are the only sound source . Norns foulplay provides a rhythm track as well as a rhythmic kalimba and a slowed mellotron sample… sometimes. the ER-301 brings in a sample of a factory in action. A copy of the norns output is fed through my eurorack for processing. The processing chain is/was ER-301 -> Rings -> 3 Sisters -> Lofi Junky -> Erbe Verb -> Please Exist 2

Headphones are probably a good idea. The output of Erbe Verb feeds into two w// creating… idk… some sort of stereo craziness :grin:


the factory samples are from freesound user klankbeeld.


VCV Rack is my latest obsession. It’s free, it’s open source, it’s versatile – and it’s generally amazing. So most of the piece was made with a semi-generative patch.

“Caudal” is a module from the “Vult” series ([https://modlfo.github.io/VultModules/caudal/]). It’s a “a chaotic source that is based on the model of a multi-segment pendulum” – I thought it fits the mechanical properties part of the assignment.

The two instances of Caudal with 12 outputs do a lot in this patch: They drive the levels of the sound sources (Sampler, Plaits, Fundamental VCO, Bitstream Resonator), modify its effects sections and the effects themselves, the Parameter EQ and some filters - and they even modifies themselves.

To cover the the “rude” aspect, I added waveshapers (plus an instance of Trash 2 afterwards) to get some grit into the piece.

The patch ran for some minutes, afterwards added a vocal sample with Vocoder, Fuzz, and Reverb.



The 0-Coast and Mother-32 run off a sequence on the SQ-1. The Korg is seemingly rude as a repeater (however randomized), the Make Noise as an introvert, the Moog as an extrovert. The Moog keeps up debates purposefully with the Make Noise patch: speaking over, chopping up, syncopating without a plan, cultivating a cloud of noise, enunciating with some delay, interrupting in and out of some etiquette. Rude mechanicals, friendly machines.



My framework for this imaginary genre was too create a sound that was textured with mechanical feeling sounds: a clangy hi hat patch, ambient factory sounds run through a sampler can be heard at times. I wanted to avoid too much melody.

In terms of rudeness, I felt that was somewhat taken care of by the atonal nature of the piece, rude on the ears, perhaps. I layered in some dialog over the top for added rudeness. In this case, allusions to rude violence



Clay: E352, Mangrove
Knead: E355, Ornament & Crime Quadraturia, Dixie II+, R-120
Fire: 3 Sisters, Disting, RT60


All sounds are from freesound.org and are in the public domain with a CC license of 0

S: Whirligig2.wav by Puniho | License: Attribution
S: Ribbon Machine by Xulie | License: Creative Commons 0
S: 17.wav by DemonicElectronic | License: Creative Commons 0
S: laser cutter.wav by aerror | License: Creative Commons 0
S: Wind-up Crank by RICHERlandTV | License: Creative Commons 0
S: Fridge.wav by dsound1977 | License: Creative Commons 0
S: Lawn Mower PB by petebuchwald | License: Creative Commons 0
S: Drill bits falling 02.wav by dersinnsspace | License: Creative Commons 0



A cautionary tale wherein nature (portrayed here by the clarinet) occasionally sings out over the din of the rude mechanicals only to ultimately be mechanized itself.

Clarinet, samples and Cocoquantus