Disquiet Junto Project 0443: In Two Landscapes

Disquiet Junto Project 0443: In Two Landscapes
The Assignment: Take two different field recordings and combine them to make one track, as in a mash-up.

Step 1: You will need two field recordings for this project, preferably ones with clear differences between them.

Step 2: You will be creating a mashup-up of these two field recordings. Listen closely to them and locate distinct elements, as few or many as you wish.

Step 3: Extract samples of those elements selected in Step 2.

Step 4: Within minimal alteration of the source audio, combine the samples from Step 3 into a single track. It can be as chaotic or placid, realistic or artificial, as sounds right to you.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0443” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0443” (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 tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

Step 4: Post your tracks in the following discussion thread at llllllll.co:


Step 5: Annotate your tracks 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, June 29, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, June 25, 2020.

Length: The length is up to you.

Title/Tag: When posting your tracks, please include “disquiet0443” in the title of the tracks, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, 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: It is always best to set 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 443rd weekly Disquiet Junto project, Disquiet Junto Project 0443: In Two Landscapes — The Assignment: Take two different field recordings and combine them to make one track, as in a mash-up — at:


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.

Images associated with this track are from Ted Laderas and Thorsten Sideb0ard, used thanks to Creative Commons licenses and Flickr. The images have been cropped, colors shifted, and text added.






And the project is now live. Thanks, everyone.

In this case I had a couple of recent field recordings which I’d wanted to use, so I went with those. Specifically one was taken in the city and one in the countryside. There were a lot of elements in both so I was struggling to pick out very specific things as the background level was so high. Instead I picked out short loops with more interesting elements.

The loops are all around but not precisely the same length and are played in a ping-pong fashion. The only processing other than taking snippets out was band pass filtering and panning. The loops all have a transient element so they imply a tempo or rhythm. What you hear is a combination of all the elements in one recording get replaced by a set from the other. There is some EQ and a little delay and reverb applied to add space.

All in all this is quite different to my normal approach and sound, but I thought this prompt was a good opportunity to try something different. It’s not quite as intersting as I’d hoped, but it was fun, as always. Thanks!


It was with a sense of deja vu that I responded to the Junto prompt, as I’d considered doing this for Project 0436.

The video above uses the footage I shot of the “2 tracks” sign, which I thought would be a clever nod to the idea but ended up using galahs roosting instead.

Galahs are still a feature this week, as they can be heard returning to their treetops on an evening when I’d filmed a sunset for Naviar’s haiku project 0331.

You can also hear my son amusing himself, as I asked him to keep an eye on my camera while it recorded the weathervane.


Lovely rhythm happening when the first loop fades out and the new one is presented…

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I hear you with the deja vu - I felt it too
It sounds like it could’ve been one single recording - like it’s a real place on earth that sounded that way that day…


Tired of eating only seed and bread, a band of rebellious ducks go to the supermarket for a change of scenery and diet…

or a light hearted blend of two differering locations sonically juxtaposed for effect. No effects, just cutting, splicing and raw field recording.

The ducks were recorded a couple of days ago at a secluded spot on the canal. Luckily I had some oat and raisin cookie left over to share with them. When the cookie was gone they went back to diving under water the way their mum must of recently shown them to.

The supermarket recording was done a few months ago by simply walking around pushing the trolley, shopping with my phone in record mode. As well as checkout sounds there’s trolley sounds and the loud freezer section.

More on this 443rd weekly Disquiet Junto project, Disquiet Junto Project 0443: In Two Landscapes — The Assignment: Take two different field recordings and combine them to make one track, as in a mash-up — at:


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.

Images associated with this track are from Ted Laderas and Thorsten Sideb0ard, used thanks to Creative Commons licenses and Flickr. The images have been cropped, colors shifted, and text added.






So I woke up this morning and read the email about this weeks Disquiet Junto assignment - once again it hit bulls eye - both in terms of how I usually work with field recordings, and because I have been fiddling with a similar idea this past week…

Since the lockdown in March I have found myself recording a lot - more that I’m usually able to, and the two recordings I chose for this piece, were both done within the last couple of months.
I Googled “ Musical Mashup” and read this on Wiki “… is a creative work, usually in a form of a song, created by blending two or more pre-recorded songs, usually by superimposing the vocal track of one song seamlessly over the instrumental track of another”

So I decided to treat one recording as the instrumental, and the other as the vocals. The deep drone (instrumental) is a recording of the vent shaft (in the track picture) that sits outside the music conservatory where I teach - I used a LOM Audio Geofon to capture the resonance.

The other recording (vocal) is a recording I made on the small island Fur in the northern part of Denmark - it features a sprinkler system at a tennis court - again I used equipment from LOM Audio - the sprinklers were recorded with a pair of USI pro mics in ab 40 into a Sound Devices MixPre3 II

I really like the oscillation that occurs in both tracks and the interplay between them.


Funny and such a great idea - I can almost see the ducks standing in line at the registers


the prominent recording is thousands of seabirds at bempton cliffs. i really want to go back there
the other recording is outside my front door; a pigeon and a car passing


It’s been a while since I contributed to the project, so now is as good a time as any to return!

The two tracks are archive recordings of mine. I wanted tracks that were very different and the contrast of a busy beach in Majorca against the relative calm of a woodland close to the Norfolk Broads in the UK served me well.
There’s no editing or manipulation of the sound. I simply took my cue from the birds to dip the sound of the beach by a varying amount at each call, until we get a section with no beach at all.


Recently I have been enjoying using the accelerometer in an old iPhone as a controller.
One sample was recorded on the iPhone by the Rio Durcal in Spain last year. The other was recorded on cassette tape at Rochester Square in the UK yesterday.


This “mash up” of field recordings consisted of two elements, the first being a recording of various marsh birds and gulls feeding at cockle sheds on the Essex coast after the bins had been emptied out, the second being a sound walk through a South East London street market (in the days before the pandemic). Some compression and eq’ing was applied as well as some automation of volume levels


Yes, I think you’re right. They’re different parts of the day but only separated by about one kilometre.

I like the way the cars overlap to sound almost like one vehicle.


I decided to take two field recordings from very different parts of the world, albeit unified by the presence of water in-situ and - in part - influencing the most distinct sonic aspects of the respective recordings.

The first is one of my favourite field recordings that I’ve made: the flow of the Rocky River on the remote western edge of Kangaroo Island, its ambience regularly punctuated by the beautiful sound of banjo frogs (also known as ‘pobblebonks’.)

The second record is another favourite of mine: a recording made on Rassada Pier on the Thailand island of Phuket. This recording consists of a tyre rubbing against the bow of a small boat, which is bobbing gently in the water. At the time, I was struck by how resonant and expressive this sound was.

In order to bring these two disparate recordings together, I selected several excerpts from the tyre rub recording and positioned these across a continuous excerpt of the Rocky River recording, with the tyre rub preceding the ‘bonk’ of the frogs.

The original field recordings used here can be found elsewhere on my Soundcloud page:


Really nice and interesting in terms of harmonics and rhythms. Successful and inspiring outcome!

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‘Who are they? What do they want? Why are they here?’.
Great pulp track!

This is great. The vent shaft takes care of the lows and the sprinkler system does the highs and the rhythm.

I’d never considered getting GAS from a field recording but I would now like a voltage controlled sprinkler system :smiley:

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Haha… would be wild bringing it on stage🤩


I wanted to mention that part of the idea for this week’s project came from my having listened to a recent @rrizzi field recording. The recording is an edit of material recorded overnight in a meadow, and the editing got me thinking about how editing field recordings create an ersatz naturalism, which then led to the idea of what if you combined field recordings. Here’s the track:

And here’s a bit of what I wrote about it: