Disquiet Junto Project 0341: Sample Forensics

Disquiet Junto Project 0341: Sample Forensics
The Assignment: Place a fragmentary sample into a natural-seeming setting.

Step 1: Choose a sample, a very short piece, roughly two to five seconds in length. It’s best if the sample has no fixed meter, no explicit rhythm, that it feels frayed at its beginning and its end — perhaps a snatch of melody, or a fragment of a field recording.

Step 2: Consider how you might create a piece of music into which the sample from Step 1 can be set, so that it is as if that setting is the point of origin for the sample. This is an act of forensics and of forgery.

Step 3: Record a piece of music based on the planning in Step 2. At the start of your piece, repeat the original sample three times separated by two brief silences, so the listener knows what to listen for in the completed piece. (It is fine to repeat the sample in your original piece, but not to run it continuously as a loop.)

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0341” (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 “disquiet0341” (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: Post 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, July 16, 2018. This project was posted on Thursday, July 12, 2018.

Length: The length of your track is up to you. Roughly a minute or two sounds about right.

Title/Tag: When posting your track, please include “disquiet0341” 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 341st weekly Disquiet Junto project (Sample Forensics / The Assignment: Place a fragmentary sample into a natural-seeming setting) at:


More on the Disquiet Junto at:


Subscribe to project announcements here:


Project discussion takes place on llllllll.co:


There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in.


The project is now live.






the original sample is from an article on the “sound of Saturn” (https://www.techtimes.com/articles/232078/20180711/saturn-sings-an-eerie-cosmic-tune-to-enceladus-here-s-how-to-listen-to-it.htm) It sounded a bit like a kick-snare crash followed by noise sweeps and random tones, so I set up a gradual terracing of those sounds, and then a gradual deconstruction. One noise sweep is a standard bandpass filter sweep, the other randomly jogs the center frequency. The tones are from a sine oscillator that is triggered with probability 30 percent. The entire composition is programmed in ChucK (message me and I’ll be happy to send you the code).



The sax/drums/bass sample which repeats for the duration of the song is from “A Girl in Trouble (Is a Temporary Thing),” by Romeo Void. The rest is me in Logic with drums, sax, bass and strings. Cheers!


I’ve had a really busy few weeks - finally have time to make something for the Junto :slight_smile:

For this piece, I thought about how I could incorporate a “fake” instrument into a piece, and have it sound like it belonged.

I remembered recording a sample of water in a bucket when I was doing the Readycut Residency in 2016 [we were carrying the water from the river to the camp where we were staying], and I slowed it down to bring out this eerie resonance.

The other instruments here are a variety of gongs and chimes.

The piece alludes to how I feel sometimes when faced with writer’s block!





Here’s mine. I took some samples of a Bin Sasara and put them into a Morphagene under modulation; I then used the gate out of the Morphagene to drive the rest of the patch: involving the SMR, a black noise into an LPG, Rings, etc.




Shouldn’t be too hard to find this sample, cheers everyone:-)
Scene From a Sinking Ship (disquiet0341)
This weeks piece is fairly minimal, just a handful of field recordings and a synth. The first track was created in Borderlands granular layering five different field recordings including a small guitar sample. This was recorded live while moving and changing the node perimeters. The second track was recorded live using a nice evolving pad in AudioKit One while tweaking its multitude of settings. The next two tracks, in full and shortened form, are the forensic samples of exasperation given the following discovery and subsequent track. And the last track, the inspiration for this whole mess, a literal and rhythmic drop in a bucket. Not a purpose made sound, just another in a series of unintentional and unwanted found sounds.
Another damn leak.
Mixed and effected in Cubasis2 with DLYM, Grind, Quatromod, StudioEq and some panning and volume automation.
The title seemed fitting given the shifting sound and timbre in addition to the salty-dog voice of the sample…
Track pic = true story :-/


I created a short piece of music for the short vocal sample in part B.
Having finished it I am off now to listen to the other contributions.
Cheers everyone



Fun assignment again! Thanks Marc!

This time I won’t start with apologizing. I thought this turned out really nice, a bit whimsical, but not without beauty. Once again it’s all OP-1. I sampled a few seconds from a classical radio station with some opera singer and a harpsichord. I recorded it and slowed down the tapespeed on the OP-1 to create a background pad. Then played the sample over it with fx. Improvised some melody lines on two synth patches - 4 tracks, and that’s all.

The clean sample introduces this piece.

Thanks for listening!

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i was at a wildlife sanctuary yesterday and there was a bird making a digital sounding dialtone. it sounded completely artificial and i’m not sure why i could tell it was a bird . didnt get a chance to record it as there was too much human noise.

i’ve twisted the assignment a little. i wanted to replicate this experience . generated a dial tone in audacity and added fx

in podfarm i had a mic picking up room sounds amped through synth string, random s&h and other echo/chorus modules to get a rainforesty/bird sound

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The playlist is finally live:

Just got home from England. Wiped out, but happy.