Disquiet Junto Project 0347: Remix Remodel

Disquiet Junto Project 0347: Remix Remodel
The Assignment: Update a track by one Junto participant by adding beats from another Junto participant’s imaginary drum machine.

Major thanks to Matt Nish-Lapidus and Jason Wehmhoener for having helped put together this project.

Step 1: Two weeks ago in the Disquiet Junto, people made beats for their own imaginary drum machines. Last week in the Junto, people used other people’s beats from the prior project to make their own tracks. This week, the third week of this multi-part project, you’ll remix a track from the second week using beats from the first week.

Step 2: Listen through the tracks from last week, and choose the one you want to remix:


In addition, there may be some other tracks from the project in the Lines discussions, here:


Step 3: Listen through the tracks from the first week’s project, and choose the one whose beats you want to use in your remix of the track you selected in Step 2. The beats appear at the start of each of the participating tracks in the week’s SoundCloud playlist, here:


In addition, there may be some other tracks from the project in the Lines discussions, here:


Step 4: Having chosen tracks in Steps 2 and 3 above, confirm the tracks are downloadable. If one isn’t, either get in touch with the musician who made it, or choose another track.

Step 5: Remix/rework/remodel the track you selected in Step 2 with beats you selected in Step 3.

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0347” (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 “disquiet0347” (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 Monday, August 27, 2018, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the afternoon, California time, on Thursday, August 23, 2018.

Length: The length of your track is up to you.

Title/Tag: When posting your track, please include “disquiet0347” 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’s important for this project 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 following information — as well as the name of the individual whose beats you’re using, and a link to that source track:

More on this 347th weekly Disquiet Junto project (Remix Remodel / The Assignment: Update a track by one Junto participant by adding beats from another Junto participant’s imaginary drum machine) at:


Major thanks to Matt Nish-Lapidus and Jason Wehmhoener for having helped put together this and the preceding two projects.

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.

Image associated with this project is by Bradjward, used thanks to Flickr and a Creative Commons license:



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The project is now live.

disquiet0347 remix of PIL, and Gbel, thanks
remix code based off the 'patterns section of
eli fieldsteel’s video (where I’m at, right now)
I made 3 folders of samples (in audacity)
from the previous two juntos, loaded the buffer
and supercollided-ed 'em
added satin


I feel like I should give people access to a version without the crackle for this, so here goes:




used the first tone from https://soundcloud.com/pil-belgium/pil-psychedelic-breakfast-in-daniels-kitchen-disquiet0346 and some of the hits from https://soundcloud.com/detritus-tabu3/the-no-joker

used arpeggiator, tx16wx sampler, vinyl, podfarm for pil’s bit
used arpeggiator iris2, ddly for tabu’s hits.

sequenced, automated in live, recorded distorted in audacity


he mission: to remix another Junto participant’s track from last week’s project, incorporating a drum kit from yet another participant’s project two weeks ago. My base track is by Mountain View Mark, and its three-bar phrases determined the rest of the metrical structure:

I looped samples of Mark’s track, put a tempo-synced filter sweep on, and transposed a few pieces to make a chord progression.

My additional drums were from Nate Trier’s delightful tuba kit:


Nate had a particularly nice blowing sound that I gave some extra auto filter and echo. He also had a squeak that reminded me of Miles Davis. As it happens, my favorite Miles Davis tune, “It’s About That Time,” has an iconic three-bar phrase running through it, so I couldn’t not sample it. I also wanted a vocal, so I used the ending of Miles’ “Gingerbread Boy.”


Cheers everyone!
Jonesin’ for Some Slapdash (disquiet0347)
Those whose beats and songs were mangled,
Plusch – Slapdash-disquiet0346 was the basis from last week
Gbel – Sample-jonzies-disquiet0345 were the beats added this week
Mtnviewmark-bits – 0345-br-beat-disquiet0345 were the original beats in Plusch’s song

Extra Bonus Round! Wasn’t expecting partie trois but still had some ideas floating around to get me started. I enjoyed Plusch’s Slapdash with the added bonus of using MtnviewMark’s br-beats, a kit I had originally pulled down for the first week. The combination of these two gave me a nice space to work in. I also enjoyed Gbel’s kit and imagined a little modular beat sneaking into the mix.

After a hurried late night download, all of these were G-drived to the iPad and the fun began. Gbel’s sounds were chopped and brought into Patterning 2 for ease of playing as Cubasis seems to choke on large amounts of individual hits if any effects are in the chain. Maybe just my aging gear/pad?

Next, Plusch’s piece was brought in and checked for bpm (100 bpm it seemed) and copied into two tracks. I also ended up doing some slicing and rearranging of measures, but nothing too drastic I hope. There are two Patterning beat tracks that change positions throughout.
The first melodic track is eq’d with a small Duplicat tape delay/flutter and some panning automation. The second melodic track is eq’d and is sent to Replicant2 for some increasingly crazy repeat/stutter/scatter.
The beat tracks are two individual patterns with different drum hits, with one eq’d to roll off the bottom end. The only effects, panning, delay and verb, are in the Patterning mixer. I really thought the low roll into a snare(?) on the sixth hit was nice, so it was used for as a sort of bass line.
There is some transposing scattered about, both for dynamic width and for the coming step.
Increase in tempo. Not much(a 15 bpm increase), just a little frantic energy boost to reinforce the title and feeling intended. But Cubasis is meh with time shifting, and I thought a bit of DJ effecting could be fun, so it was mixed down and sent to Algoriddim’s djay 2. Tempo increases are easy, sound good and all the turntable staples are all there. Fortunately for everyone involved, I’m a craptastic dj and gave up on effects quickly. You can thank me later :slight_smile:
A round trip to Cubasis for one more part, two of the up tempo tracks were created with a minor panning differential and only one receiving a guitar plate ADVERB2 send. Oh, and this track was also offset 1/64 note ahead, just for more sonic confusion!
Tried to incorporate all in the title and art this week, but couldn’t figure how to get br-beat in there, apologies to Mtnview Mark, and everybody else for that matter. See what happens when you post your music online…let that be a lesson ;-D
Apologies to all :open_mouth: let me know if it needs to go!



This is Suss Müsik’s first Junto project in a while, following a period in which the studio was used as temporary storage during a renovation. it’s difficult to create while working around 4’ x 8’ stacks of building materials. In between were periods of travel, illness, confusion, sedation. It’s been a weird summer.

Re-emerging from a self-imposed hiatus is something like awakening from a cryogenic slumber. The world has changed, except it hasn’t. In his classic children’s novel The Wind in the Willows, Kenneth Grahame describes (through the voice of Mole) the benefits of hiding away:

“Once well underground, you know exactly where you are. Nothing can happen to you, and nothing can get at you. Things go on all the same overhead, and you let 'em, and don’t bother about 'em. When you want to, up you go, and there the things are, waiting for you.”

Suss Müsik poked through the topsoil recently to discover two amazing pieces of music by longtime Junto participants. One is a lovely bit of electronic froth by mat; the other a bracing percussion sequence by Daniel Diaz. Suss Müsik enjoyed these bits immensely and thought they might sound nice together.

For this strangely tranquil piece, Daniel’s kitchen percussion was sequenced front-to-back while mat’s synth noodlings were split into smaller bits. Both components were played in real time at various “glitch” and “swell” settings using Hologram Infinite Jets and Moogerfooger MF-102 processors. No other instrumental voices were used other than a single piano chord.

The piece is titled , named after the Danish word for “thaw.” The image is frozen juice pulp.


Awesome title for this piece as well.


And the playlist is now rolling:


Thanks Suss, sometimes being a cheeky monkey pays off! The just added decription tells a bit more of the story.

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:slight_smile: nice work


I selected from artist
bassling.blogspot.com/ “scum machine”

Tracks from week 1 and week 2 for each artist. Then I blended with my contribution from week 2, Vonna, AreThereDrumsYet Drumachinations Disquiet0346.
I wanted to work on some follow clip skills in Abelton 10. I created a version of the selections and played thru those. I then created an additional scene and loaded the creation into the Launchpad and played thru the Launch while engaging the automation in the follow clip scene. I then EQ and ducked the low end and processed side chain compression. I really enjoyed programming the drums these last few weeks.

I may have not been able to contribute to the conversation as much but with 4 funerals and 2 more in the next few weeks from natural causes,suicide, murder. It has kept me sane and working on my skills while pushing me to inquire and think about how I am processing sound. I started out 2018 wanting to create a song per week. Now in week 34 I have had a few weeks where work was heavy but I have exceeded that number. Not all good, bad but finished, even during chaotic times. Even if I wasn’t satisfied it was complete. I don’t know where I would have been this last month with out the Junto, I might have lost my mind. Music skills and musical systems skills keep moving forward.


I read Splash Dance and was confused until I reread the title. Very creative on getting the title Dancing fun, it sort of has a main stream dance craze macarena shake. :stuck_out_tongue_winking_eye:


Dance party in the kitchen! The 8 year old yells from the other room to come hear this jam!

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Love the shattering tones and bass. The juice pulp looked like broken glass. The sound transition at 1:14 :star_struck:



A remix with Hypoid and Plusch


i jumped at the chance to make fairly bold & kinda arbitrary excisions from AIsynthesis’ Drum Machinations [Forcedamage – 0346-drum-machinations] & auditioned the first week’s kits/samples again - i was uhming and ahhing about maybe going with Yasha’s glorious clinky set for another week but though mixing it up more in the spirit of the brief and i kinda fell in love with mzero’s [Mtnviewmark-bits – 0345-br-beat-disquiet0345].

So yeah, i made a point of arresting the rather nice unfolding of Force Damage’s piece, making a couple of tight loops,one played pretty much straight at the start, the other murkily processed, slowweedd ddoowwnn, & used at the end; a loping beat from was made from BR Beat to compliment the loop & then sort of arbitrarily take over in the middle along with my main audio-not-arrangement contributions - unatteneded machines in a train station & rain (both processed & unprocessed) recorded yesterday afternoon.


I’m an old MIDI hacker from the 80’s so I don’t have a lot of experience remixing audio tracks. But here goes…

I used the funky melody from @plusch’s Slapdash track from last week, transforming it several ways using EQ, vocoder, resonator, delay and pitch change effects in Ableton Live. Layered my own synth playback of the melody.

For percussion, I took the drum sounds from @sarmism’s Modular Ryddm track from two weeks ago and applied it to a beat adapted from one of Ableton’s add-on packs.

Source tracks:

plusch: https://soundcloud.com/plusch/slapdash-disquiet0346

sarmism: https://soundcloud.com/sarmism/disquiet0345-sample-time-modular-ryddm


For this week’s challenge, we had to take the beats from one other participant from two weeks ago, and the track from another from last week and remix that track using those beats. I almost managed to do that, and then I got a bit overly ambitious. I ended up using beats from @yasha, @sarmism, @morgulbee, @widdly and @triermusic to remix not one but two tracks - and quite drastically so - by @duckpow and @pil-belgium, the latter of whom I only just now found out is a compatriot of mine by copying his username. Those were some of the tracks that I liked most from the wealth of results of the last two weeks’ challenges, and I shopped around for bits and bobs that I liked and mixed and matched and made a monster of a track that starts like some dark ambient, then turns into a bit of almost nu metal before going to techno and then house territories. As I said, overly ambitious. The process wasn’t spectacularly interesting or innovative, but I do take pride in the fact that I used no other sounds than those I cut from the tracks mentioned above - not even a kick or a crash from anywhere else.