Disquiet Junto Project 0452: Let's Scream

Disquiet Junto Project 0452: Let’s Scream
The Assignment: Get cathartic. Be resilient. Turn your scream into music.

There’s only one step this week:

Step 1: It’s time to let out some stress. Record your scream and turn it into music.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0452” (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 “disquiet0452” (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, August 31, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, August 27, 2020.

Length: The length is up to you. Hold your scream as long as it takes.

Title/Tag: When posting your tracks, please include “disquiet0452” 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 452nd weekly Disquiet Junto project, Let’s Scream (The Assignment: Get cathartic. Be resilient. Turn your scream into music), 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.


The project is now live. Let’s join our screams into a chorus.


This pretty much sums up my day.


Two recordings of me screaming get a treatment with INA GRM’s Evolution tool.


Thanks, folks. The playlist is now rolling:

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I recorded a short scream, I had planned to record several, but the first one unsettled the dog and I didn’t want to worry the neighbours.
I stretched, slowed and granulated the sample and played them back over a bed provided by a random radio station picked up by the Fieldkit and ran through my Monsoon. I added a simple plinky loop playing throughout to give it the illusion of some structure and then re-recorded at differing playbacks until ear exhaustion set in.


Took my recorder and the op-z out in the field. music was made on op-z only, the scream I edit in ableton


I patched a drone with a just made DIY 0hp passive bandpass filter via an active matrix mixer with feedback from spring reverb. VCA modulated with NLC ARSEq. Recorded a scream. Processed and arranged in Daw.

Hope everyone is doing well. Thanks for contributing, listening and being a great community :slight_smile:


screamed into a cushion. a muted constipated scream. i could do with a proper scream but it would be difficult to get into the middle of nowhere and im too self conscious to do it it in suburbia

i applied wet reverb and paulstretch
then in live8 ran copies through xfadelooper and iris2 and then supermassive


The concept this week really resonated with me as I have been through the emotional journey of frustration, tension and some sort of release since Monday. I find that when we start to take notice of these frustrations and tensions within us, we also can feel the joy and sweetness of the release. I tried to express this within the piece I have created.

I captured a prolonged scream with the microphone and brought it to my favourite tool of choice, the sampler. The dynamics of a scream give some ripple effect so I knew it would work well for a drone type sound. So, from here I looped the prolonged section and chose the dreamy effects of reverb and tape delay along with some saturation from Decapitator. Layering up three different tracks to complete the piece. I also went for that broken lo-fi tape sound I love, that is more a choice of aesthetic rather than part of the concept.

The progression of the piece reflects the original dark element of frustration looping around which finally reaches its peak as the sound swells. This finally turns to a sense of sweetness or joy as major key chord progression enters as to the fading outro. It sort of represents my own week 


A scream into music. I’ve had those dreams where I really need to scream but can’t. Pressure building inside, fear, dread, painful, invisible like a cancer, growing and eating me from within. I open my mouth and–nothing. The organ that turns pain into sound has failed.

That’s how I’ve felt since my close friend Martin passed away on August 15. Martin and I played music together for close to 10 years. We had lost another close friend and bandmate, Steve, just this April.

It seems inadequate to say that his passing has left a hole. It feels like a gaping wound was torn through my chest and I can barely breathe, let alone scream or cry, just hurt and bleed.

I bought the guitar shown in the video recently–it’s the model Martin played (a Stratocaster), 1978, very beat up but functional. I usually play other guitars because that was his guitar, he really owned that sound. Listening to him play was like watching lightning in the distance at night, quiet, then a rumble and flash, fading and approaching, ebbing and flowing, beautiful.

This piece of music just fell out of me. I don’t have it in me to scream into a recorder. I’m pretty sure nothing would come out. Thanks for listening.

Gear used:
1978 Fender Stratocaster
Cuvave Fuzz
Dunlop mini-Wah
MXR Uni-Vibe
Hotone Krush
Vaux Flores DOSWave
Jamman XT Looper
TC Electronic Nova Delay
Recorded on my iphone using Sennheiser binaural microphones


A few hours ago, my sister showed me a project she’s been working on that distorts a vocal performance of “My Country, 'Tis of Thee” into something alien, as a political statement.
That inspired me to record these takes of Amazing Grace for this week’s prompt.

I hope the other folks in my apartment heard my yell - it was very satisfying.

recorded on my laptop microphone
processed with Valhalla SuperMassive, airwindows DeEss, and Dragonfly Room.



This is a 1 second recording of a scream done my son Todd in 2014, stretched, kneaded, and massaged to its current length.

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I didn’t feel like screaming, so I’ve used McBain yelling “Mendoza!” for the synth played by the guitars.


It’s been a while since I’ve participated. There’s been a lot going on. I’ve struggled to complete things and not all prompts have been personally possible due to various reasons. However, this one really spoke to me, both where I am emotionally and musically.

I’ve been exploring and experimenting with different approaches to composing music, and a few months ago I got a used Novation LaunchPad MK2. I’ve “discovered” the joys of building up a song, not exactly from samples, but by building MIDI building blocks. With these building blocks, I can trigger components and remix on the fly, experimenting with the song structure. This song came out of a series of jams that I then refined, grew, changed, morphed, abused, and then finally crystallized.

I’ll apologize in advance; this isn’t ambient or moody, it’s aggressive and industrial, and it’s a protest song against the current administration without naming names. This is my catharsis.

This is a demo, not a final product, but I am proud of it. I know I need to work on the mix will probably re-record all the vocals.


  • Ableton Live 10 Standard
  • Magix SOUND FORGE Audio Studio Pro 13 (mastering)
  • Native Instruments KOMPLETE KONTROL S61 (input)
  • Novation Launchpad MK2
  • Logitech C270 Camera


  • Native Instruments Battery 4 (custom drum set)
    • Native Instruments Transient Master - More Room
  • Impact Soundworks - Shreddage 3 Rogue Lite - INIT
    • Native Instruments Guitar Rig 5 - Double Fire Stack
    • Native Instruments Transient Master - Punch
  • Impact Soundworks - Shreddage 3 Rogue Lite - INIT
    • Native Instruments Guitar Rig 5 - 1993 Hot Solo Rig
  • Native Instruments - Massive X - Dunkle
    • Native Instruments - Driver - Excited
    • Arturia Chorus DIMENSION-D - Wider Bass
  • Arturia ARP 2600 V3 - Sync Seq
  • Arturia Mellotron V - Aged Strings
    • Arturia Chorus DIMENSION-D - Glitchy Vibe
  • Mysterious edited sample from an 80’s movie
  • Main Vocal
    • Native Instruments Guitar Rig 5 - Black Angus Lead (HB)
  • Chorus Vocal
    • Native Instruments Guitar Rig 5 - Dual Riff
  • Melodic Vocal
    • Native Instruments Guitar Rig 5 - Stray Dogs



This started with a repressed scream into a pint glass containing a contact and a lavalier mic. Mustn’t startle the neighbours.

I took the lavalier sample and added it to three tracks containing Audio Damage’s Quanta, Izotope’s Iris 2 and Ableton’s Grain Scanner all using the contact microphone sample. Grouped these tracks, including the audio track with the lavalier mic version, and proceeded to mangle the combined results with filters and gates, a resonator and a bit crusher, with automation, to build into a crescendo.


I did a quick recording of my daughter screaming into a plastic cup then played around with the pitch in Sampler and progressively added bit crushing using Puremagnetik’s Bitfight 83. I created a separate noisier track by feeding this audio (without the bit crushing) into my 0-Coast and added some bass recorded previously on the 0-Coast. The end result is a slightly disconcerting start descending into glitchy chaos.


Not really an angsty type, but this was appropriate to my week. The mention of sirens and screams made me reach for a feedback patch on my little mixer. Then I thought I’d take my 12 dollar Chinese megaphone into the shower and record some screaming. It’s the same model Alex Jones used for one of his recent tirades. To keep it from turning into a bad Whitehouse immitation, I added some bloopy rhythms and other bits that seemed to fit – there’s some bowing of a homemade string instrument thrown in. Hope you appreciate the levity.


This was a challenge. From recording the scream to deciding what to do with it, I had a few aborted attempts this week. In the end, the simplicity of using a single sample for the entire piece, as well as a single piece of equipment, the Polyend Tracker, won.

Who’s up for some retro side-scrolling shooter game music? The video describes the process. Jump straight to 4:03 if you’re interested in the track alone.


Enjoyed seeing your processing. Not sure I’d have believed they were from the same source! Great result, cheers