Disquiet Junto Project 0460: Creative Destruction

Disquiet Junto Project 0460: Creative Destruction
The Assignment: Show how you got to a tortured sound.

Step 1: Through some multi-step process, arrive at a complicated, tortured sound. Keep track of how you got there.

Step 2: Record a piece beginning with the end result: that complicated, tortured sound. Then transition to the start of the process and build back up to the end result, slowly repeating how you got you there.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0460” (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 “disquiet0460” (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 the end of the day Monday, October 26, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, October 22, 2020.

Length: The length is up to you. The sound should be torturous, not necessarily the experience of revisiting it.

Title/Tag: When posting your tracks, please include “disquiet0460” 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 460th weekly Disquiet Junto project, Creative Destruction (The Assignment: Show how you got to a tortured sound), 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.

Image associated with this project is by Chris Smart and used via Flickr thanks to a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:




The project is now live. Thanks, everyone.

1 Like

The project is now alive and so am I. Got the mail. “Hmmm, interesting”, I thought. Started to work. I recorded. So I might as well post the result.


  • Turning effect send/return feedback down
  • Reduce reverb
  • Reduce delay
  • Reduce driver
  • Turning spring reverb feedback down
  • Stop sending mix to NLC GENiE
  • Stop sending random cv to oscillator
    Welcome to the middle…
  • Start sending random cv to oscillator
  • Start sending mix to NLC GENiE
  • Turning spring reverb feedback up
  • Add driver
  • Add delay
  • Add reverb
  • Adding effect send/return feedback up
  • Fading out



I started with Chopin’s Prelude in B Minor. I found a MIDI transcription on IMSLP. It plays twice with a Chaos MIDI effect on the melody, but not the harmony. (I wanted it to have some stability.). The Chance setting on the Chaos effect is set to 100% the first time through. Then, it drops to 0% at the start of the second time through and increases gradually back to 100%.

There’s not really much to this, I admit. I did most of it over part of my lunch hour. It is interesting, though, to hear a melody you’ve probably heard a million times, but slightly off.


  • Fryderyk Chopin
    • Prelude in B Minor
  • Eugène Delacroix
    • Portrait of Chopin
  • Performer: MIDI file by Pierre Gouin
    • Publisher Info.: Montréal: Les Éditions Outremontaises, 2017
    • Copyright: Creative Commons Attribution-NonCommercial 4.0

Yeah, it’s been tough getting them out early lately, and I’m trying to get back in the (semi-regular) habit of sending them early on Thursdays, rather than after dinner.

1 Like

And the playlist is rolling:


I’m happy to present my first participation with a Disquiet Junto.

Perhaps a rookie move, but my track is the same name as the prompt… oh well.
(Edit: Realized I could change the name on SoundCloud and I did)

Here is the flow of my creative destruction:
-Remove Generation Loss from signal path
-Reduce mix of signal running through reverb to 0
-Reduce mix of signal running through delay to 0
-Reduce LFO level being fed into filter
-Arrive at naked melody
-Add things back in in reverse steps

On a personal note, this was an exercise that was helpful for me tonight. I’ve been really stressed recently and focusing on this was good for my brain. Thanks for this, and I hope to continue participating.


I’ve tortured a recent track by running the kick, bass and ukulele through effects pedals and also a Sherman Filterbank.


generated a 40hz sine wave in audacity
pitched up
tempo stretch
izotope vinyl
duplicate pitched up
tempo stretch
pulled into iris2 with supermassive and played something that fit the tone


Created by DD on Friday October 23rd 2020
Synthesizers (8 tracks, mostly arpeggiators)

I created a very slow nice and tame, sequence with several arpeggiators playing complementary riffs in C minor.

To produce the tortured sound I just accelerated the master 6X.

I respected the instructions, so it is in mirror: Chaos/Fast - Calm/Slow - Chaos/Fast
This is how it goes, for the tortured souls that really want to listen to this:
00:00 Count down
00!01 Start at fastest tempo, all tracks playing at once
00:12 All tracks playing, slow down starts
00:27 Slow tempo, tracks start to mute one by one
00:59 Slow tempo, basic track remains and the build up starts, each track (re)entering in turns
02:27 All tracks playing
03:10 Acceleration starts
03:39 we arrive to the beginning’s tempo, and finish

photo: bicycles, scooters and other things taken back from the bottom of the Seine river in Paris 2020.


This was all done with the fantastic new Gamechanger Audio Motor Synth. I started with just one voice, and gradually added the second voice, messed with some modulation settings, cross modulation, filter resonance and pitch modulation, then finally started detuning the voices. This thing excels at long complex tones. I highly recommend looking into it.


Welcome to the Junto :slight_smile:


“What distinguishes a particular engineering discipline from another is only the palette of things to be put together,” says structural engineer Mark. E. Eberhart in his book Why Things Break. The same might be said for how things are broken apart.

Human beings are compelled to be destructive; otherwise, we simply don’t evolve. Our survival quite literally depends upon our capacity to wreck stuff. Destruction is a fundamental component of construction, for without the ability to sculpt raw matter into tools we have no means by which to build. Destruction is evidence that we have successfully moved forward as a species.

For this exercise, Suss Müsik approached the concept of destruction as both starting point and continuum. A simple counterpoint sequence for fake strings and piano was duplicated and distressed, using heavy distortion filters and run aggressively through a pitch-shift modulator.

The resulting artifacts form what you hear at the beginning of the piece. From there it was simply a matter of reversing the “destruction,” which seemed weirdly self-referential: could the act of destroying the destroyer be considered, by reverse logic, a form of construction? Suss Müsik will leave that for you to ponder.

The piece is titled Entropy and was recorded live to 8-track. The image is refracted sunlight dissipating through a glass of water on a white table.



hello, friends/strangers. I couldn’t help but participate this time, because if there’s one thing for which I have a visceral love, that is definitely destruction :slight_smile:

I’m afraid I must admit, though, that my destructive process wasn’t spectacularly creative. I just took a very mellow synth string sound, and added effect over effect. it probably conveys the tortured sound concept, but could definitely be more complicated than that. oh well.

around this sound, I built a slow and repetitive ballad type of thing, with the enthusiastic participation of a bass, some synthetic drum (more of a quirky percussive sound really), and a massive gong sample by Omachronic from freesound.org, to set the overall mood.

how I destroyed the sound, in order of appearance/disappearance:

  1. distortion times 2 (foldback + overdrive)
  2. trifecta of modulation (flanger + chorus + phaser)
  3. slightly subdued bitcrusher
  4. slightly overdriven octaver
  5. in the final/initial phase, a leslie effect + a layered delayed chiptune sound

in the central section (1:40-2:00) you can hear the pristine sound without any effect. everything was done in Caustic, a mobile app, with minimal post-mixing in Ardour. thanks again, and enjoy :slight_smile:


I like recording short snatches of radio from my Fieldkit and so I used one for this week’s project. The brief asked for a tortured sound so I performed a variety of mashing, slowing and speeding up, saturating and reverbing until the string sample became a screaming dirty wall of noise. The track starts with the end result and then morphs into the original sample. The audio degradation then proceeds in the order the processes were applied with the resulting wavs overlapping a little to give a sense of continuity.


My torturted sound is a guitar sample of Sarah Longfield included with the Polyend Tracker. I also used her single shot drum samples from the same set.

Destruction is by means of bit depth limiting, as well as heavy side-chain compression on the Tracker’s master limiter. All in all this results in surprisingly pleasant grainy noise.

As prescribed, the sample gets decreasingly distorted as we go, ending with an almost clean version at the end.


I sat down to make music with the intention of finding a way to express my emotions at the moment (this is the second in my “Therapy Sessions” series), and I was confronted with a wall of mental noise, presented to me by all the music technology at my disposal. While I struggled to find my heart, my mind was busy thinking about technology and technique. After a bit of discussion with @okeryon and @Hawthorn, decided to run with that as the concept for the piece. This is the result.

I decided to also take inspiration from #disquiet0460 and start with a tortured, complicated sound (evocative of the mental “noise” that comes from using music tech for expression) and transitions to the starting point, then returns to the chaos.

I started with a simple arpeggio on a nylon guitar (which I later changed to a synth sound). Added a Bitwig Micro-pitch device set to an obscure Wilson scale, and added a send track with Output Portal (granulated pitch transformations in this case) & Thermal (more glitchy feedback fx) on it. Added automation to start with Micro-pitch wet, FX send volume, and global tempo set very high, decrescendo, and then re-crescendo, over the course of the track.


Hello, here is my contribution:

started with a simple repeating organ melody using DSK B3x plugin. faded in my favorite granular effect machine Argotlunar and played with granularization parameters to destroy the sound. Next in the effects chain is a distortion plugin followed by a convolution reverb using a techno loop instead of an impulse response and faded both of them slowly in. voila, you end up at a metal concert with a jet crossing after you got sucked down an ocean vortex.
it was fun!
maybe the end noise is not that complex, but I feel it has a cleansing effect


I started with some more or less innocuous drone sounds in Bram Bos’ Mononoke driven by his Collider. Then a put Cality ( a midi processor) in between Collider and piped that through Minilogue XD, a Skulpt, and Axon) The I used several LFOs to more or less randomly modify the parameters of the apps while playing a bassline on the Moog sub37. This all came about because I have been thinking a lot about the karma that has all of us living in a hellworld.