Disquiet Junto Project 0420: Luna Tick

Disquiet Junto Project 0420: Luna Tick
The Assignment: Make music that proceeds according to the phases of the moon, in celebration of Lunar New Year.

Thanks to George Kelly, whose suggestion inspired this project. Just one step this week.

Step 1: Lunar New Year is fast approaching. Celebrate it by making a piece of music that is inspired by the phases of the moon.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0420” (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 “disquiet0420” (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 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, January 20, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, January 16, 2020.

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

Title/Tag: When posting your track, please include “disquiet0420” 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 420th weekly Disquiet Junto project — Luna Tick / The Assignment: Make music that proceeds according to the phases of the moon, in celebration of Lunar New Year — at:


Thanks to George Kelly, whose suggestion inspired this project.

More on the Disquiet Junto at:


Subscribe to project announcements here:


Project discussion takes place on llllllll.co:


There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

The image associated with this track is by Manu Mejias, and is used (image cropped, text added) via Flickr thanks to a Creative Commons license:




The project is now live.

1 Like

This week´s junto is a great coincidende, because I had been working on a piece about the moon over the holidays and had it finished just a couple of days ago. It´s my take on a very famous piece abbout the moon - Beethoven´s Moonlight Serenade. Usually a very slow and meditative piano piece, I took the score and built a psychedelic band arrangement around it. One afternoon, sitting at a table somewhere very far away, I started to scribble down some stuff about the moon, thoughts and ideas around the moon. Recorded this over it. And asked the kid, what he knows about the moon.
I love that piece and this morning, when I opened my email and saw this week´s Disquiet Junto, I thought this is too much of a coincidence, I have to upload this piece.


One of the greatest human achievements was the voyage beyond our atmosphere to a celestial body most have seen but will never touch. In 1969, the Apollo 11 spaceflight landed the first humans on the Moon.

The NASA Johnson Space Center digitized, cataloged and archived audio from the Houston Audio Control Room and uploaded it to the Internet Archive. The tape has degraded; through the hum, warble and hiss of decades and acetate, the voices of ghosts of technicians and controllers discussing the mission can still be heard.


  • Cockos REAPER v6.03/x64 (recording)
  • Magix SOUND FORGE Audio Studio Pro 12.6 (mastering)
  • Arturia KeyStep (input)


  1. Spitfire Audio - LABS - Opia: Tape Loop Wobble
  2. Arturia - Pigments - Reverse Box
    a. Native Instruments Driver - Dark LFO
  3. Arturia - Solina V2 - Deep Breathing
  4. Spitfire Audio - LABS - Frozen Strings: Super Sul Tasto Cello
  5. A11_T648_HR1U_CH9_02-47-56_11-17-56_-_2015-10-01_Recording.wav
    a. Cockos ReaEQ
    b. Native Instruments Supercharger - Vocal
    c. Native Instruments RAUM - Guitar Reverse


Deep links are in SoundCloud.

  • Audio - Apollo 11 Audio (Public Domain Mark 1.0)
  • Photo - Apollo Director Phillips Monitors Apollo 11 Pre-Launch Activities, July 16, 1969 (No known copyright restrictions)

Thanks to @atomboyd for telling me about this group! I’ve enjoyed listening to previous Junto projects and I hope I can positively contribute.


A busy weekend ahead meant I decided to spend Friday morning experimenting with music inspired by the phases of the moon. I thought of a few things when I read the prompt. The one I committed to, somewhat obviously, revolved around phases of the moon forming a pyramid of light intensity over the month, so do the same with sound over 2 minutes.

And we are getting ready to ship Surge 1.6.5 - probably early Feb - with lots of cool new stuff. As we get close to the finish line on the release I like to use my dev version to make music to find accidental bugs, so lots of surge here. Notably the pulsing guitar sound is my electric guitar into stock logic distortion pedal run into an S&H modulated set of filters mixed with a sin blip. The other instruments are all Surge or Pianotec also.

To say that the idea to push the guitar through a synth’s S&H modulated filter was original would also be missing another moon related part of the week. Along with I bet a lot of the rest of you, I watched a lot of ARP 2600 retrospectives. That guitar-into-filter trick just invites Keith Moon to enter my track around 0:55. But he doesn’t, of course. (Also: How is it that the disquiet junto has me thinking about classic rock so much! Odd!)

And so, with that as a background, I hope you enjoy “Pyramids, Lunar (disquet0420)”


@nullconfluence SO GOOD! I’ve already listened twice. Way to come out swinging.

Makes me kick myself for not telling you sooner. Welcome to the party!


I find this delightful! And great serendipity for you!! Thanks for sharing it.

1 Like

Twelve phases of the moon—twelve tones.

Variation on Schoenberg's Op. 33a Klavierstück - disquiet0420 from Paul Reiners on Vimeo.


Hello everyone,

I’m still enjoying exploring ways of turning text into music, and this time I returned to my idea of spelling out a word in Ableton’s piano roll. I drew in the word moon and had the letters ascending slightly, in a probably unsuccessful attempt to represent the phases of the moon.

I then played around with the BACH arpeggio, teased out a second piano line, and wrote an accompanying bass line.

I really wanted to call the piece “Chanting faint hymns to the cold fruitless moon” - one of my favourite lines from Shakespeare’s A Midsummer Night’s Dream - but it didn’t really fit, so I opted instead for “let us listen to the moon” from the same play.


The idea behind this one is the mixed feeling of isolation, anxiety and disorientation conjured when I think of drifting in space.

-Used a flute through an FFT bin scrambler to get the siren sound.
-Drums are XLN AD
-Bass is a sample of the internal sound of a bomber in flight sent through a granular synth.
-CS80 emulator for keys.

Mixed on headphones so it’s muddy as hell on anything but DJ headphones it seems ;(


Twenty steps to the moon.

I usually take the assignment quite seriously, the challenge is the main point for me.
So excuse me to take a free interpretation this week.
The “theme” comes from the upcoming 20+20 mini album I did for @AudioObscura 's netlabel.
I used a rejected variation (the 21st one) from the 20 variations, 20 seconds each, I recorded
I expanded it using a project I’ve been working on these past few days, whose working title coincidentally was “Lunar Soundscape”. I used the 20 sec tracks and the Lunar tracks (not in the same key or tempo, but nobody cares, right?) and combined and moved them all to make this 2 minute lunar vignette.
You’ll hear:
Fretless Bass
Music Box
Muted upright piano

Photo courtesy of NASA

PS: I found all the tracks submitted so far particularly amazing, what’s going on? The moon suits well the juntonians , it seems.



I used guitar, piano, bass, arp bass, a twinkly pad, drums and some strings. The idea was to create a perfectly symmetrical composition reflecting the waxing and waning of the moon. Silence at the beginning and end represents the New Moon. xo


“Women’s cycles are controlled by the moon,” someone recently told Suss Müsik. “After all, the word menstruation is partially derived from the Greek word mene, which means ‘moon.’ Obviously there’s a connection, right?”

Data science suggests otherwise. Menstrual cycles do not sync with the phases of the moon, according to researcher Dr. Marija Vlajic Wheeler, who analyzed 7.5 million cycles and found no correlation between the two. Then again, perhaps the connection is not so much scientific as romantic—less empiricism, more mythology. Consider the following passage by Helsinki poet Paavo Haavikko:

You marry the moon
and the sea and the moon and the woman: ear less, all. ·
You’ll listen to their voices, you’ll talk to them
and they say
it’s a game.

You Marry the Moon is an example of “Haavikko’s awareness of the complexities of communication involved in any sexual relationship,” according to translator Anselm Hollo. Such acute awareness is “gained through the realization that only the particular is worth the attempt. It is there, a world, waiting for others to discover as much of as they can.”

Perhaps the lesson we take from this is to think of the moon as a transient being. The phases of the moon are defined by its position in the sky, fleeting and always temporary. Our lives resonate in proximity to heavenly bodies, the paths we cross subconsciously intertwined. As Haavikko wrote:

in sleep nothing exists, only the moon is full,
the moon your silver mother
sleep on
and the moon’s path will cross the sky of your sleep
be at rest
no-one will come, oh, no-one else, only the moon
crossing your dream sky on its way to earth’s.

For this weird piece, Suss Müsik sought to explore phases of sound that concentrate on “the particular” while crossing one “dream sky” with another. Human sounds are passed through a grain synthesizer at the same frequency as recorded static, their individual “phases” overlapping in cosmic synchronicity.

The piece is titled Haavikko. It was recorded live to 8-track in January 2020.


Actually, it sounds great. Nice work.


I took one bright sample to represent bright visible part of the moon,
another bass sample for visible shadow and one sample for the sun (this one actually is from Dischoir).

One bar for moon to pass
One bar for sun to pass
And so on

Then added fat beat just for fun.


My submission is based on a direct sonification of data from the Apollo Passive Seismic Experiments, downloaded from http://centrededonnees.ipgp.fr/netdesc.php?net=XA . This represents November 19–December 31, 1969 from the station left by Apollo 12. It has 3 channels of data, labeled Z, 1, and 2, where Z is up-down motion and 1 & 2 are in “non-standard orientation” (horizontal, I guess, but neither north-south nor east-west). I panned these to the center, hard left, and hard right, respectively. The data was originally sampled at 6.625 Hz but I simply read it at 48 kHz to see what I had. This processing is pretty trivial but I put it on GitHub just because I can.

What I had was a lot of pops, but also a lot of other weird noises. Some of the latter might represent moonquakes? Probably? The pops might be spurious from a seismological standpoint and I considered trying to interpolate them away, but I Am Not A Data Scientist.

Anyway, I liked it enough to want to use it wholesale with, by my usual standards, little tampering. So the pops are tamed a bit and everything else brought forward with a Transient Master on each data channel, then on the master track: Solid EQ (2dB boost in the bass, 2dB cut over 2 kHz), Solid Bus Comp (fairly high ratio but moderately high threshold), and Replika XT in diffusion mode. With this last, I modified the “Wormhole” preset to make the LP filter in the feedback loop quite resonant but with maximum modulation depth at rate 6.625 Hz. This seems mostly just to give some of the pops a random-ish-pitched tail that I thought added a certain something despite my earlier claim of little tampering.

EDIT1: What does this have to do with the phases, you might ask? It’s simple, really: I forgot about that part immediately after reading the prompt.

EDIT2: I calculated that the full moons occur at 0:52.417 and 6:47.029, etc, and added an automation track that’s 0 at the new moon and 1 at the full moons. This automation pushes the resonance higher, but cuts back on the overall feedback. I also lowered the Replika XT instance in the mix overall and rendered the whole thing a little louder.

New version:


Moon and all your splendor, knows only my heart…


I had wanted to incorporate Reich style phasing into a disquiet project in some shape or form recently, so this project came as a perfect opportunity.

@Elisa-room237 played a relatively short piece on the keyboard - but in order to hear the phasing effects to their full extent I think the final track would’ve needed to be quite long… and I’m touching right up to the boundary of the free SoundCloud upload limit. So, unfortunately, economics dictated the length and eventual outcome of this entry!

Instead we decided to feed the midi generated from the keyboard into various of the synth engines of the OP-1 and then use the Ableton warp feature to play at multiples / fractions of the original tempo. So, we “roughly” account for different phases of the moon in that respect. And we picked the engines that gave us a mysterious or otherwordly feel.

At the end after we’ve reached a full track we begin again to hear the beginnings of a new cycle.


Girls and boys, come out to play.
The moon is shining bright as day.
Leave your supper and leave your sleep
and come with your playfellows into the street.
Come with a whoop and come with a call,
Come with a good will or come not at all.
Up the ladder and down the wall,
a half-penny roll will serve us all.
You find milk and I’ll find flour
and we’ll have a pudding in half an hour.
– Mother Goose

I imagined a night sky filled with stars, beginning at the New Moon. For the stars, I wanted something random, pitiless & uncaring, so I used Kevin Hopper’s Reaktor ensemble Wool to play AAS Strum via the Widisoft Audio to MIDI plugin.

As a resident of the northern hemisphere, I experience the waxing crescent starting at the right side of the moon disk. Therefore, the moon theme pans from right to left, building from silence to full volume when it reaches the center of the stereo field (Full Moon), then decreasing back to silence at the end of the piece.

The moon theme is a setting of the nursery rhyme “Girls and Boys Come Out to Play” from “The Baby’s Opera” by Walter Crane (1877). It is played by a sampled piano with a drum track added, then fed through Audiority GrainSpace so as to become luminous and unrecognizable.


I spent a day exploring chord progressions, before deciding I wanted something that seemed obviously like an orbit.

Probably needed a night to sleep on the idea!