Disquiet Junto Project 0393: Mix Master

“Lullaby Sirens (disquiet0393)” is a blend of three tracks:

  1. A modified version of a section of my track “Coming Out of Anesthesia”, which was slowed down and run through my Empress Reverb box and will become a future release called “Dreamland Lullaby”, This was originally created in NodeBeat. “Coming Out of Anesthesia” is on my album “Drifting”.

  2. A section of a recent track called “Cheerful”, originally created in NodeBeat and heavily processed through my Empress Reverb box. This will be released on an as-yet-untitled album in late July or early August of 2019.

  3. A section of a recent field recording called “First Siren of the Evening”, which is on my album “Sirens and Rain”.


The weeks I can I submit to the Naviar Haiku blog. The three most current entries were titled A Clear Waterfall, The Shore Of A River, and When I Gazed Down The Ocean. It looked like there may be a pattern here.

I got the main themes for two of the pieces and a connecting section from the third. After getting the keys to agree I found that I could get these to play nicely with each other, thus Waterfall, River, Ocean

Waterfall, River, Ocean was written for Flute, Clarinet, Horn, Trombone, Cymbals, Gong, Crotales, Timpani, Violin, Viola, Cello and String Bass.

The score is available at http://bit.ly/32s4uEX


I found a couple piano recordings, one a cocoquantus piece and the other a norns otis thing. likely due to my only knowing a couple of chord shapes, they stack well. :sweat_smile: using logic I stretched them into the same time frame, and added a field recording of birds that I had yet to use.


Some weeks ago I noticed my song ‘Alright’ was the same tempo as my Junto track ‘Somewhat’ and found they worked well together.

I’d already used the bass part in my track ‘Bad Politics’ so I set about recording a new part, which then got used elsewhere.

So now I’ve brought the parts together.


In 2017, I started doing music stuff again after the last time I gave up and deleted everything (2010?).
I started accumulating <60sec sections of material I didn’t know what to do with, and very very occasionally getting further than that.
One thing I “finished” was “A Hole in the Ground”, assembled from recordings off AM radio as I drove to pick up my boyfriend from work on the day a cave-in was discovered at the Hanford nuclear site.

For this Junto I used two (oops) elements from that, and two unfinished sketchy things, “Silver Wife” and “Wife (Twirling Design)” (titles from a list of greeting card section headings). The first “Hole” element is a loop from an AM station playing an unidentified piece of? like? 30s-40s-ish pop? slowed down of course. The second is a truck braking at 1/32nd speed (this sample runs the length of “A Hole in the Ground”). “Silver Wife” had just a low-ish relatively-simple synth part in two voices and “Wife (Twirling Design)” had a drippier brighter synth loop with an intro and an acoustic drum sequence with a few variations, so I took all of that and smushed it into one file, and made some stripped-down variations on the drum sequence for the first part to hold it together a bit because I really have no idea what I’m doing any of the time; that’s all I could do; it sort of worked; so here we are


Three tracks from different projects. I had to do a bit of time stretching to get things to line up. One a reggae loop, the second a Hip Hop type loop, third, two voices from a random rhythmic sequence generated with the modular. The modular voices play serially at the top, then get mixed with the drum parts. The drum parts just switch back and forth under the sequence. Topped it off with the sort of guitar wankery that I usually avoid… but hey, I’m way out in the North Woods alone, miles from the nearest neighbor, and I had a bit of wine…


I took my strings from 391, and since this is only my third track w/ DJ, I only reused one element. Also went 100% off grid. The drums are very-off but kind-of worked. Every instrument had its own time, so I went with acoustic guitar and drums running together. It all sits together if you give it a shot.

Standard Ableton drum kit + 2 instances of Analog + moody acoustic chords (same ones I always play) + accidental delay drone/tail from the Alpha Juno and Moog delay.


And the playlist is now rolling:


A remix of particularly liked elements from
-> the sequence
-> the breathing
-> the lament sound
remixed using GleetchlabX, because it was a nice opportunity to check out the new version. I cut out three loops, one for each source and each around 60 secs of lenght, and looped them freestyle in GleetchLabsX, using a high ramp time as a mixing helper and some speed changes to create a feeling of connection between the parts, even if this is not very powerful. Some internal and vst fx have been added via GleetchLabsX routing.


See us shiver

with antici…




A combination of 3 different old pieces - experimentations with strings, harmonics and sub-stuff…

…I call it “all out in”.


Really liked the idea for this weeks project - though I’m not over the moon about what I came out with. Have a smattering of tracks in a few different styles of electronic music recently. I deliberately picked elements that shouldn’t really work together:

Eventual BPM of the track is 109 BPM - all tracks of different tempo I let Ableton’s warp work its magic:

  • Percussion comes from a clubbish track I had worked on recently called Vendor. Originally at 118 BPM. I had used the great “control all” feature on the digitakt to screw with all the sounds simultaneously and added a bit of filtering here and there
  • I took an FM synth sound from a track called Transmigration which I had abandoned, so its nice to have breathed new life into it. This was originally 109 BPM and was the basis for the tempo of this new track
  • 0-coast kind of slow ambient sound from a project called Une place importante that I recorded one night after returning home feeling quite alienated and alone and then realising how important the comfort and familiarity of a cosy home can be. Originally 120 BPM.
  • I threw in a 4th track to close out the song - which is a brief snippet of @Elisa-room237 humming over a song I wrote called Fôret while on holiday in the woods.

I felt like it was missing something so I added a quick bass sound to compliment the more dancey parts of the track. Quite interesting to see existing sounds recontextualized in this way, but I had a difficult time reaching a nice balance between the beat-driven and beatless parts


Good Evening,
Using 3 small loops I previously recorded from Some ROLI Noise sessions that were part of previous tracks. I set to various speeds and time signatures switching between all 3 using follow action other in Abelton Live 10. I then utilized 4 different loops at various rates from a MIDI sequencer of the sample created feeding to an additional looper with a Rthym generator with sin waves, then various EQ ducks and CV modulation. I utilized the KORG SV1 to input the MIDI that was feed thru the sequencer prior to looping. I added reverb and deli feeding this to a resample of the combined tracks with a looper.I applied various rates of compression to the multiple tracks. Have a stellar day!


I didn’t have a lot of time, but I wanted to give this a try.

I remixed my favorite parts from three previous songs done in Auxy, and turned up the “swing” a bit.

That’s literally all I did. :joy:


I had the same experience. Love the idea, don’t necessarily love what I came up with. Oh well, maybe next time? :joy:
Yours is pretty cool!

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This track was made from three small segments I have recorded over the past year. For the trumpet solo part I was experimenting with Delta-V Audio’s Spacecraft app earlier this year. I recorded a part in D minor (I think!) and then played the sample through the app using the small midi pad thing in th3 bottom left corner, to trigger random notes. There’s probably too much reverb on there (beginners reverb, I think it’s called!) but it was recorded with the sample so I had to leave it. The middle line is a preset called Tiney from a VST2 synth called Cobalt from Sanford Sound Design (recorded in November last year). I processed this through PaulStretch and slowed it down by 25x.
Lastly was an underlying texture recorded in Sunvox on the PC earlier this year. Everything was put together in Cubasis.
Enjoyed this project and has let me see a creative way of using all those 60sec segments lying dormant on the hard drive!


i used a couple of tracks i remembered liking they happened to both be from this album https://sevenism.bandcamp.com/album/y-su-masq (metamorphanomic and riverfade)
and a recent track from this album https://sevenism.bandcamp.com/album/intersep (cumulus striate)

plugged random bits from these tracks into protoplasm with a a bit of feedback delay and podfarm fx in live8


I decided to take old pieces that I felt didn’t quite get where I wanted them to:
Triermusic – Transliterate-late-reinterpret-disquiet0286
Triermusic – Always-remember-to-stretch-disquiet0318
Triermusic – Everything-in-its-own-place-disquiet0225-serialcomposition

It was easy enough finding one idea I liked from each song and then arranging them into a sort of structure. I added some new processing for flavor (like the auto-panning on the first low drone), and at the end the drone reappears, but gated to the electric piano delay so that it stutters and only sounds when the electric piano does.

This was an interesting project because it also made me think about what I have learned about making music since I created those original tracks. I paid a lot more attention to mixing now, including using a M/S tool that I made in Live, and EQ on the final track. I pitch-shifted some samples, which made some thorny EQ challenges in the mid-range at times, but on the whole I think everything glued together well.

The name comes from one of those “bad translations” websites that ran the text for this Junto through Google Translate. The output seemed utterly appropriate!


Edited-and-mixed excerpts from three direct-to-file single-“instrument” improvisations (piano>zebrify, comb-filtered noise “played” on a mapped Joue (barely audible here), and an experimental bidule patch highlighting formant processing. Simpler than that sounds.