Disquiet Junto Project 0426: Cellular Chorale

Disquiet Junto Project 0426: Cellular Chorale
The Assignment: Make music with the source audio from (and inspired by) a Patricia Wolf project.

Step 1: This is a collaboration with Patricia Wolf, based on her Cellular Chorus. Check it out at:


Step 2: Download the 64 source tracks of the Cellular Chorus at:


Step 3: Create a new piece of music using only the source audio. Use as many of the samples as you’d like, but don’t add other sounds, or process the samples to any extent more than slightly altering the individual material.

Background. Patricia Wolf has said of her original piece: “Cellular Chorus is a work of spatialized aleatoric music using smartphones to bring people physically closer to have an interactive and collective experience with light and sound. The piece is played by each user visiting Cellular Chorus on their smartphones. … The sounds I made are meant to harmonize. There is no right or wrong way to play them. The intention of this piece is to repurpose your smartphone for deep listening, creative experimentation, and to immerse groups of people in a sound and light environment with face to face interactions.”

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0426” (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 “disquiet0426” (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, March 2, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, February 27, 2020.

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

Title/Tag: When posting your track, please include “disquiet0426” 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 426th weekly Disquiet Junto project — Cellular Chorale / The Assignment: Make music with the source audio from (and inspired by) a Patricia Wolf project — at:


Thanks to Patricia Wolf for collaborating on this project.

More on the Disquiet Junto at:


More on Wolf’s Cellular Chorus 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 project is a still from a video, provided by Patricia Wolf, of a Cellular Chorus event.


This was inspired by Steve Reich’s phase music. I generated it from one of Patricia Wolf’s recordings using ChucK. The code is available here. It’s short enough that I can include it inline:

me.dir() + "CellularChorus0_Coast_c85d9c.wav" => string filename;
if (me.args()) me.arg(0) => filename;

SndBuf buf => Pan2 p1 => dac;
filename => buf.read;
SndBuf buf2 => Pan2 p2 => dac;
filename => buf2.read;

fun void play(SndBuf buf, dur duration, Pan2 p, float offset) {
    while (true) {
        Math.sin(now / second + offset) => p.pan;
        0 => buf.pos;
        Math.random2f(.2,.5) => buf.gain;
        duration => now;

spork ~ play(buf, 11000::ms, p1, 0.0);
spork ~ play(buf2, 11010::ms, p2, Math.PI / 2);

while (true)
    30::minute => now;

I usually like to keep my music short, but making this one long was unavoidable if I wanted to shift the phasing all the way around. I also phased panning.



I versioned my earlier track in Ableton Live. The main change I made was adding a recording of black holes colliding from the LIGO (Laser Interferometer Gravitational-Wave Observatory) Scientific Collaborative. I know that adding something is against the rules, but I had earlier made my original version that followed all the rules.

I also sprinkled some fairy dust (mainly reverb) over it in Ableton Live.


The project is now live (tracks have already begun to be uploaded, which is great). Thanks to @patriciawolf for making this happen.


Only broke one rule!


I find @patriciawolf’s “Cellular Chorus” to be deeply inspiring. I have had the rare opportunity to see/hear this project develop over the past few months and know how much hard work and determination went into it. Last week I got to experience it in person with about thirty other people. I loved the way people engaged with the work. At first people were scanning through the sounds rather quickly but then I noticed people would tend to stop with one caught their ear and they would settle in for a while and let the loop play. Some were just enjoying the mixes that the people around them were making and others were using their hands or objects to amplify or filter the sounds. It was a wonderfully immersive collective experience.

For my Junto reworking I decided to focus on just a handful of sounds. Most have been slowed down and have had some EQ applied. All of the voice recordings were kept at their natural spreed/pitch but were EQ’d more aggressively to kind of mimic the way they sound coming out of my phone’s built in speaker… including the subtle clipping when I have it up too loud. This piece begins with the sound of a mountain stream and nearly ends with the sound of rain in the streets but the music and sounds hang in the air just a little bit longer.

Thank you for this project @disquiet + @patriciawolf!!!



The playlist is now rolling:

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Quick update: I accidentally had the phrase “More on this 426th weekly Disquiet Junto project” as “More on this 425th weekly Disquiet Junto project” in the instructions I posted.

A joy to work with these sounds. I spent a quiet afternoons noodling very happily


fixed it on my soundcloud post :v:t4:

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Really had fun working with these samples. Great stuff.

I decided to load all of the samples into my digitakt… which totally ran out of project memory so I selected a subset based on sounds I liked. Everything was done in that machine with no external processing. And it was just a 1 bar loop.

I tried sticking to the rule of not manipulating the sounds much… but quickly found myself breaking it. Some of the tracks are using very low random trigs to keep some essence of aleatoric music. Other sounds are used in a more granular / time stretch way, plus other random bits and pieces that I’ve forgotten :sweat_smile:

I recorded myself playing live with the samples - mainly just messing with filters… it’s quite obvious from the way the music evolves I only had access to one screen at a time.
As it was done on the fly I see little bits that are rough or I’d like to change - but I also kind of like it that way. Did a few different takes and each one came out a bit different in quite pleasing ways.

I usually just use (and really enjoy) using the Digitakt as a one shot drum sampler for most things I do. Rarely thing to use it in this more longer ambient, textural kind of way. I did moreso when I first bought it and was still experimenting - so I’m really glad to have got the chance to reconnect with that way of using it a bit through this weeks project


Amazing and really atmospheric use of the samples here. And the way it slowly fades out is lovely.

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Thanks so much. I didn’t manipulate the samples at all beyond layering, looping, and chopping.

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Such a pleasure repurposing the music from this incredible project from @patriciawolf

The four samples used for this piece:

Cellular Chorus harp_b367e6
Cellular Chorus harp_cca1fe
Cellular Chorus P6_13_318339
Cellular Chorus_Harp_790dc1

I kept it playful and fun, imagining a group friends together playing samples on their phones using just a volume knob to control the sounds. I love @patriciawolf’s work and did my best to honor her original performances including timing and emphasis, so I left the original timing of each sample and just looped each sample, layering each one on top of the other using just the volume knob to manipulate these samples. Panned each performance to put the listener amongst friends :wink:

Looking forward to listening through the pieces posted for this. Thanks to @disquiet and @patriciawolf for the opportunity to iterate this awesome project. Much love.


Hello Everyone,

Here is my remix of my Cellular Chorus project. I followed the rules and did not significantly alter the sounds. I did some eqing in Ableton with EQ Eight and some additional fade in/fade out, but aside from that and some adjustment of levels there were no changes. It was just about layering and arranging the sounds into a song. It’s funny because I recorded all these sounds piecemeal or exported them from other projects I have done in the same key not knowing how they would all sound together. I am very pleased with the results and love hearing everyone else’s arrangements and interpretations. Thank you so much for participating in this! Have any of you tried Cellular Chorus on your smartphones with friends? You can access it here at cellularchorus.com. Just make sure you have “Silent Mode” turned off otherwise it will not work. Thank you!


My overall feeling is that I didn’t really keep to the “spirit of the challenge” but I quite like the result. I only used 9 of the 64 samples and made something far more ambient than I originally had in mind. This is partly because I wanted to leave the samples in their original form for the most part.

The samples were all handled on my MPC. The ambient samples were looped with a little automation and delay/reverb as required. The vocals were cut into phrases and applied randomly with similar automation, an HPF and some manual panning. The two instrumental elements were treated similarly as loops and sat alongside the ambience.

In this case only one device (the MPC) was used. No external effects or even EQ in the mixer. My generally feeling is that I didn’t get the best out of the material available but I did enjoy the process and made something I quite enjoy.


I had played with Cellular Chorus earlier in the week and was mesmerised, so it was a treat to get the source material to work with.

I set the vocal samples on independent loops, and added another 2 loops for the foundation drone and “lead”, with LFOs controlling various parameters. Finally I had another LFO granulating the “bass” sample.
This was all done in a Digitakt, with outboard delay modulation and reverb provided by a Mirage and a Polara. Recorded the stereo mix into Live and ran it through Ozone.

A huge thank you to @disquiet and @patriciawolf for making this happen!