Disquiet Junto Project 0401: Noise Pacing

Many thanks to everyone who joined in this past week’s Junto, our 400th consecutive project. Malka Older, the author who provided the story and the recording for our use, has been super enthusiastic about the effort on Twitter, which has been wonderful. And now we’re on to the 401st project, which is the third and final of our collaborations with Musikfestival Bern, to be held in Switzerland later this month.

Thanks, as always, for your generosity with your time and creativity.

Disquiet Junto Project 0401: Noise Pacing
The Assignment: Use background noise as a beat, as a rhythm.

This project is the third and final of a series being done in collaboration with Musikfestival Bern, which will be held in Switzerland from September 11 through 15. For this reason, a German translation is provided below. We are working at the invitation of Tobias Reber, an early Junto participant, who is in charge of the educational activities of the festival. Select recordings resulting from these three Disquiet Junto projects will be played publicly as part of the Rauschlabor Schützenmatte (musikfestivalbern.ch) or broadcast on the festival’s radio show, Radio Antenne (radioantenne.ch). If you don’t want your recording to be used in this way, please note so wherever you post it.

Step 1: Familiarize yourself with the German word “rauschen,” the theme for this year’s festival. Understand that “rauschen” is noise in the sense of white noise, waterfall noise, background noise, static, wind in trees, rain, etc. The blurred, diffuse, continuous kind of noise, not short individual non-tonal sounds.

Step 2: You are going to make music in which one or more “rauschen” noise(s) will be used as the beat or rhythm for a track. Record and listen back to such “rauschen.”

Step 3: Select one or more noise elements from Step 2.

Step 4: Create a track using the elements from Step 3 as beats or rhythmic material, and then layer something melodic atop it.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0401” (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 “disquiet0401” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of 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 hashtags #disquietjunto and #musikfestivalbern 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, September 9, 2019, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, September 5, 2019.

Length: The length is up to you. Shorter is often better.

Title/Tag: When posting your track, please include “disquiet0401” 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 401st weekly Disquiet Junto project — Noise Pacing / Use background noise as a beat, as a rhythm — at:


This project is the third and final of a series being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. The source audio was provided by the Tobias Reber. More details at:


More on the Disquiet Junto at:


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.

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The project is now live. Thanks again to @TobiasReber of Musikfestival Bern for the collaboration and encouragement.

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I utilized a clip from some Fajitas a server was running to another table that I captured. I then looped the clip and added Roland 808 drum sequencing. I then used the ROLI to add in additional tones. I added some bass and compression to the Fajitas.
I’m hungry now.


I made a bunch of drum loops to explain to my music theory class what polyrhythm is. Then I read about this Junto project and thought, hmm, making a beat out of noise, let’s use them for this too! I vocoded the loops using a straight noise carrier and used an LFO to automate the vocoder’s release parameter. I used Follow Actions to randomly sequence the loops, and then edited that sequence for better flow and musicality. In order of entrance, the polyrhythms are 4-vs-3, 5-vs-4, pentuplet swing, septuplet swing, and 11-vs-5.


Here is my contribution, using bits of my previous 399 disquiet track - which was based on “rauschen” itself.



missing a 0 in the title

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I’m using the Croaker reggae riddim. Instead of traditional drums, I’m using rauschen to create a beat. There are bits of Ezra Pound reading “Hugh Sewlyn Mauberly (Contacts and Life)”.

My rauschen is from my Disquiet Junto Project 0399.


•recipe• 1. A hip-hop beat; 2. A sort of smeared/reversed version of 1. that actually appears first; 3. a rhythmicized chopping - using Sugar Bytes - of some noise samples from ASMR; 4. a 19-tone ‘melody’ of sorts oozing in from behind, now and then.


Hi everyone,
I used 5 noise’s (the metal door, analogic telephone, boiling water with fx, a swing net and a beer botle). That’s the main rhythm for music. After I used some effects (delays and phases) in my bass and some free improvisations.


My washing machine seemed a good candidate for a rhythm, as it’s rauschen is one I’ve heard while doing three loads of washing this week.

However, today is rainy. So I’ve used a recording I made of the machine in 2016.

Back then I’d identified the rhythm seemed kinda metal, so I’ve tried to add something melodic in that style using my electric ukulele.


Here’s mine:

Created the rhythm using the echo from the Dreadbox 'Lil Erebus on the edge of self oscillation. Then added the two note bassline (that sounds a bit like a cello) using the 'Lil Erebus as well, slowly opening the cutoff. Then Korg MonoPoly for the high harmony and the bass line at the end. Pleased with the final result - it’s got a bit of an Eno/Cliff Martinez feel to it (which Marc will appreciate) - even if it nearly caused me to have a nervous breakdown almost losing the whole thing because the laptop didn’t have enough free space when I tried to save it.


For this week’s Junto I used a field recording of the Ingalalla waterfall, which is located on the Fleurieu Peninsula. I added samples to Ableton’s Simpler and applied filters, delay and a bit of spatialisation, accentuating some of the sibilant character of the water sounds. It’s quite thin on melody and instead heavily emphasises complex grains and narrow bands of frequencies.

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The “bass drum” for this track is “gated” stereo audio of the beehive geyser in Yellowstone national park. The other main rhythm is the sound of horses also recorded at Yellowstone. The break is a Yellowstone field recording of the Maple fire. The coyotes were recorded in Yellowstone as well. The bass and bells are from Zebralette.


Finishing something that was incomplete may be the most exciting aspect of disquiet for me. I enjoy hearing new sounds from you all and using alternate tools and perspectives to create, but there is a special pleasure that comes in unexpectedly completing something that had been held at arm’s length for a long time. This one began about five years ago as an introduction to another song. It only feels completed today. Now it stands alone, succinctly phrased. There are layers upon layers here with everything from accordion to traffic noise. I have a deep-seated love of this little piece. It’s likely my favorite and the most personal I’ve offered to disquiet. I wrote this for my wife who has an interminable affection for the work of Charlie Chaplin. The picture is from Spain, taken in 2018, but seeming much older, even as I looked through the viewfinder.


here’s what’s going on in this thing:

Godin fretless “Glissentar” into ChucK where it is processed by a random looper (pulls off loops of random length, random replay speed, and random number of repeats, with some echo and reverb too). It’s tuned to DADGAD.

Then a separate piece of ChucK code is playing back samples of various household implements scraped on the concrete floor of my basement. I slowed some of them down just for variety.

Looking forward to listening to your stuff!



Sampled a cycle of my dishwasher and processed it on the Elektron Digitakt to create this cheesy techno beat.


Love those blast beats!

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The playlist is now rolling:


Congrats on reaching 400 projects! I regret I was away for a bit on another piece.

Here’s this week’s:

The beat is actually more visible than heard. I used a CV crossfader to set up the rhythm, which you can see here in this waveform screenshot:

Peace, all - E