Disquiet Junto Project 0386: New Colors

Disquiet Junto Project 0386: New Colors
The Assignment: Out with the old white noise, in with the new.

Thanks to Todd Burns, a conversation with whom led to this project, and to Jason Wehmhoener for the use of his original art.

Step 1: The goal for this project is to develop new realms of white noise, new colors of noise.

Step 2: Think of your audience as a new parent, and also their newborn. Think of noises that can cancel out the world, that can provide comfort and a sense of safety.

Step 3: Record a piece of music that results from your thinking about Step 1 and Step 2.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0386” (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 “disquiet0386” (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: If posting on social media, please consider using the hashtag #disquietjunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Additional Details:

Deadline: This project’s deadline is Monday, May 27, 2019, at 11:59pm (that is, just before midnight) wherever you are. It was posted in the afternoon, California time, on Thursday, May 23, 2019.

Length: The length is up to you. Presumably this piece will be played for a long time, perhaps on loop.

Title/Tag: When posting your track, please include “disquiet0386” 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: Consider setting your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

More on this 386th weekly Disquiet Junto project — New Colors / The Assignment: Out with the old white noise, in with the new — at:


More on the Disquiet Junto at:


Thanks to Todd Burns, a conversation with whom led to this project, and to Jason Wehmhoener for the use of his original art for this project’s “cover.”

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.


I started with an iridescent hue, but the colors turned over one another quicker than I could have imagined. The word squall kept coming to mind, until I eventually realized that it has more than one applicable meaning, depending on what you hear in this.


Inspired by this thread Your iOS arsenal
An all iOS production
AUM et al
Uploaded via AudioShare
Babies are amazing
Their cry dialed in to get their parents attention
(It’s usually only 1 of 3 things…diaper, nap time, hungry)


“Furtheridge” is a re-configuration of my 2019 single “Further Ridge”, which itself is a re-configuration of a track released in 2014 called “Feather Ridge” which was created from samples I recorded in 2007.

Some babies love that subtle bass that flows in and out like I present here.

Overall, I think the track has enough random things happening where you can loop it for a long time and it remains interesting and seems to reveal new or different things upon each listen or loop play.


I’ve revisited a video shot at Valla Beach last year, in part because the directions reminded me of the ocean recording I’d play for my newborn children.

I looped the video in Live while arranging a few synths to play in the background, but it doesn’t seem to loop as seamlessly on Youtube.



I don’t know how could this track fit in the project’s avant-propos, but hey: I didn’t participate on the junto for a little while and really like this one.

I have my own favorite noise, I’ll call it black noise.

Black is the new white.

But instead of going for my idea of pure “noise” and make an ambient track out of it (I will do, mind) I take advantage of this track I finished mixing this morning that includes loads of that noise.

I’m infatuated with convolution reverbs, the more unreal and outrageously long the better, and I use it as background noise quite a lot, particularly infinite reverbs and very long ones, passed thorough wah wah or other extreme filters to make them sing and get some sort of pitch.

In this track (a new version of a 2017 track, performed on electric piano and bells back then) I used my Stratocaster electric guitar and vibraphone. The background is mostly 25-40sec reverbs passed through filters and wahwah. That’s my “black noise” and besides the track could be good as a lullaby for any dark, depressive and cold blooded child.

Photo by Yuriy Garnaev

Performed by DD in Paris, May 2019.



Thank you Marc for yet another wonderful prompt. This one made me recall chapter 87 of Herman Melville’s staggering Moby Dick:

But far beneath this wondrous world upon the surface, another and still stranger world met our eyes as we gazed over the side. For, suspended in those watery vaults, floated the forms of the nursing mothers of the whales, and those that by their enormous girth seemed shortly to become mothers. The lake, as I have hinted, was to a considerable depth exceedingly transparent; and as human infants while suckling will calmly and fixedly gaze away from the breast, as if leading two different lives at the time; and while yet drawing mortal nourishment, be still spiritually feasting upon some unearthly reminiscence;- even so did the young of these whales seem looking up towards us, but not at us, as if we were but a bit of Gulfweed in their new-born sight. Floating on their sides, the mothers also seemed quietly eyeing us. … And thus, though surrounded by circle upon circle of consternations and affrights, did these inscrutable creatures at the centre freely and fearlessly indulge in all peaceful concernments; yes, serenely revelled in dalliance and delight. But even so, amid the tornadoed Atlantic of my being, do I myself still for ever centrally disport in mute calm; and while ponderous planets of unwaning woe revolve round me, deep down and deep inland there I still bathe me in eternal mildness of joy.

I set my Strymon TimeLine to self-oscillate (using the GRIT control to bring forth calls) in an attempt to sing a whale lullaby:

Pitch-shifting, overlaying and reverb in Ableton yielded a deeper, more oceanic, setting.


I can’t actually see the prompt or project…am I missing something?

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instructions were on the email (and also the slack thread) but it seems Marc didn’t copy/paste here. Did you got the email?

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Thanks, @DeDe! Sorry about that. I always do post here, and yet somehow hadn’t yesterday. The prompt is now up top, @Tunnelwater. My apologies.

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https://soundcloud.com/vonna-wolf/vonnaz-newbaes-disquiet0386 I thought of all the babies I had 5 and 1(my god daughter) all the chaos each brought. I thought about breathing and bathing them. I bent the noise till it felt like I was unwinding from the day, in that moment rocking them to sleep. Driving them in the car, hoping they would sleep long enough to get the dishes done, homework and maybe shower. I miss those days sometimes but I much prefer “Mom, where’s my shoe!” Conversations to the nights in the rain on the porch under an eclipse, I couldn’t get my Eyklipse Rain inside, she wasn’t having it. Now, she can stay out there if she wants, I’m going inside it’s cold in the rain.


And the playlist is now rolling:

No problem, thanks to everyone for pointing me in the right direction! I’ll sign up to the email list now! Thanks folks!

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Sure thing. Wednesday was the end of the semester, and I think I was a little spaced yesterday. I have a list of all the things I need to check off each Thursday, and I remember thinking, “Oh, I don’t need to look at that. I’ve got it handled.” And … I apparently didn’t."

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What a fun one, this week! I have a few noise modules I really cherish but haven’t had much use beyond percussion for them, so this was a great opportunity to explore some things.

Used a Red Noise generator to make a good turbulent storm sound and then combined a number of colors from the FSFX 5U version of the SSF Quantum Double Rainbow. The module is literally built for this challenge, which you’ll see with the front panel:

So I mixed a bunch of those noises and added a little modulation. It’s not ‘Soothing Sounds for Baby’:

But I also used up all my Raymond Scott references with the last challenge

This is instead Soothing Sounds for Convicts, continuing the story from last week:


I have used a germanium diode based noise source. Classic. The recordings are made with a Zoom H1. The wav-files got a peak amplitude -6 dB in Audacity. First part of the sound is a shaped (colored) noise. I tried to make a soft soothing noise. Second part is the raw noise. Noise is important for me. The other day I made this noise exploration https://freesound.org/people/gis_sweden/sounds/471047/. But how will you experience my noise? Does everybody like the same noise?

My noise uncolored - log scale.

Shaped/colored noise - log scale.


I haven’t done anything for a Junto which saddens me deeply but fortunately I had some time to create something for current Junto.

So my main idea was to create a constantly moving type of noise which is kind of comforting and also masking external sounds. So I used few white noise sources filtered by low pass filter to create this low frequencies rumbling sounds and then I created a bank of 4 bandpassed filters sounds which frequencies were controlled by processing.org script that analyzed sounds considered unpleasant by me and tried to discern frequencies at which this sounds were most prominent and then setting the bandpass filter frequency in such manner that bandpassed noise would mask the unpleasant sound.


Noise filtered through flickering filter banks (& a little piano) - supercollider/Norns, Zebra


By the time each one of us is born, we’re already intimately aware of security. We sense our mother’s heartbeat while residing in the womb, which carries us through childbirth. As an infant, when we hear a familiar voice—frequently that of our mothers—we begin to develop the rudimentary physiological responses that correspond to feeling safe and protected.

The human brain is remarkably adept at processing complex information, which arguably is what separates us from other living creatures. Plants have no parents and thus no thoughts or feelings—or so we assume. Suss Müsik poses an interesting philosophical dilemma: it’s a crime to harm a human being, and there are strong moral arguments for treating animals with the same level of respect. And yet, the ethical argument against plucking a tomato from its vine is considered an exercise in absurdity.

Clearly, one must draw a line someplace. Any living creature—human, plant, or animal—can only express the information it receives and internalizes according to its cognitive capabilities. That said, it’s entirely possible that the concepts of timbre, pitch, rhythm, tone and context are untranslatable between species. And none of us can formally declare that a plant doesn’t verbalize danger in its own fashion. Wasn’t it Roald Dahl who wrote a short story about trees that scream?

For this soothing yet quietly unsettling piece, Suss Müsik sought to create a concept known as “evergreen noise.” A soothing synth wash was played for an amount of time in one channel (the “human” side), then pitched downward with a dollop of static added in the other (the “plant” side). In the background are sampled female voices coupled with heavily treated audio recordings of deciduous foliage fluttering in the breeze.

The piece is titled Tomatis and named after Dr. Alfred A. Tomatis, a French otolaryngologist who specialized in the way infants use sounds produced by their parents in order to develop cognitive and social skills. The image is an organic “herb wall” in Austin, TX.


Speaking from personal experience, it gets more fun as you get older: “Where are my glasses?” “Uh, you’re wearing them.”