Disquiet Junto Project 0467: Toolbox Show & Tell

Disquiet Junto Project 0467: Toolbox Show & Tell
The Assignment: Share a tip for making music that you learned during the pandemic.

Step 1: Much if not all of the world has been shut in for various stages throughout the pandemic. Think back to the experience you had making music.

Step 2: Think of one thing of use that you learned in the interim, a tip or technique you could share. It might be something new, or it might be an old habit that proved more valuable than you’d expected. Take the word “toolbox” in the project’s title metaphorically.

Step 3: In sharing the tip selected in Step 2, record a short piece of music that employs it.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0467” (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 “disquiet0467” (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, December 14, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, December 10, 2020.

Length: The length is up to you. Maybe you have learned something about time this year.

Title/Tag: When posting your tracks, please include “disquiet0467” 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 467th weekly Disquiet Junto project, Toolbox Show & Tell (The Assignment: Share a tip for making music that you learned during the pandemic), 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 Peter de Gree, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:




I tried to write something song-like, but it was boring. I tried two or three times. Then it was clear that the real thing for me this year has been to endure it. Often I’m just trying to get through the worst of these days, and that’s something. Survive nadir. Take the low and keep breathing. Be constructive with your blues.


I used two tools in my toolbox:

  • Reggae riddims: Learned second-hand through the Clash
  • Movie dialog: Learned from Big Audio Dynamite

I had two inspirations for this. Last night I watched the 1980 movie Babylon. That’s the reggae part. The second was that I’m reading the book Dylan and Me by Louis Kemp and the movie Exodus was mentioned in the book.


  • Exodus movie dialog written by Dalton Trumbo (based on book by Leon Uris)
  • “Real Rock” reggae riddim transcribed to MIDI by Baroque Dub

The project is now live.


“…let us not talk falsely now, the hour is getting late…”

Teach By The Lake was made with a multi-tracked Rogue lap steel into an Empress Reverb box on the green ghost; a thing I made in the iOS app Musyc run through the Empress Reverb also on the green ghost; a dialed down sub bass pattern; and a dialed down combination of three drum kit loops at 64 bpm.


Who and/or what is the green ghost?


got manjaro linux working with tidalcycles
jack, cadence, carla, uhe repro 5
made a creative commons bongos sample pack on github

'goat hill is a spot above the santa ana river, right where it hits the pacific ocean
mi suegro siempre dice que it was where his sister would find lots of arrowheads, and molcajetes when she lived up there at the sepulveda adobe with her family
even the city had to put up a sign saying it has been long inhabited
next to the spot with all the clam shells laying on the ground, on account of the fact that it has undeniably been a great spot to live for hundreds, or thousands of years :slightly_smiling_face:


apologies in advance for the long write-up this time… just feel like sharing a bit about the technique… but first, the music:

:point_up: been playing with feedback in different ways(after bouncing from a max patch involving FFT processing and delays i made), i played/edited in post with Logic having aux busses setup to feedback into each other:
aux1 has Softube Tape into Valhalla Vintage Reverb into a noise gate,
aux2 has a compressor into limiter(but these have a more drastic effect than on the master and on the source track… this one used for parallel mixing)
aux3 has Softube Tape(different setting) into FabFilter Reverb into a noise gate
i setup all three to feedback into each other, and also setup aux1 and aux3 to feedback into themselves(aux1 and aux3 being especially used to color the feedback using the tape and reverb plugins).
i also setup multiband compressors on aux1 and aux3, with their sidechains set to listen to the opposing aux. for these, i split the spectrum in half(around 1k), and the higher frequencies of their sidechain guide compression of the lower frequencies of the output, while lower frequencies of the sidechain guide expansion of the higher frequencies of the output(allowed the feedback to tame itself into mid-to-higher frequency ringing, rather than getting overwhelmed from the bass of the source).

finally, i drew automation and revised/edited until i could surf the waves of feedback into different gestures(the feedback drops in and out according to edits/filter-sweep-automation/send-amount-automation/etc.)

the noise gates after the fedback auxes also help to control the feedback in a way so it can get loud without going infinite… plus i like the sound of the noise-gates set to crumble the dying signal into tiny pieces(set for faster reaction times)

this feedback setup in Logic is something i’ve been playing/experimenting with more during the pandemic for some reason(i think it creates a certain tension to it that resonates)


Whoa been busy… Nice!


I really like the sound - and the piece - what is it?

1 Like

fantastic sounds :slightly_smiling_face:


It’s been a while, but I couldn’t sit this one out. Both during and after the lockdown, in the spring and early summer here in Denmark, I’ve been recording more than usually. I wanted to share something new to me in connection with field recording; dropped rigs recording overnight. This particular recording is from June 24th and was edited to about an hour… everything worth noting is in the track description on Soundcloud.


Observe nature: plants, their modular structure is a source of inspiration.


Earlier this year I found a clever website that encodes text as MIDI.

The song accompanying my video How To Ferment Chillis uses this wonderful resource to turn poetry into piano and trombone parts.

The website Solfa Cipher Secrets is a lot of fun.


During 2020 I have bought a DAW license. I do not use it as often as I wish.
Here we have my own Christmas Carol. It was planed for three voices, a small choir.
I do have/had lyrics (ironic and reflecting 2020. Maybe I have deleted them…).
Luckily I saved the project and added strings and a flute, instead of voices.
Only VSTs following with the program. Still I have so many DAW related questions…


What I learned during this peculiar year is the interest of two things I did a lot lately, one that I’ve been doing forever:
Archive (record and backup everything)
And one other I’ve been doing a lot since the pandemic and lock down started: Recycle.

Thanks to the lockdown and the lack of proper work on these past 2 months I decided to (finally) open and old box of DAT I got from my storage place in Argentina when I was forced to close it and decide what to keep (bring it home on the plane), what to sell, what to discard.
These DAT (my go-to recording/archival media in the 90s) included loads of tapes with Jams and impromptu encounters that I recorded there live and never ever listened to.
I realize now how good that attitude was,( just tape everything that happens at home or archival purposes), I did that all the time, stopped later, I promise to myself to do it again in the future.

I discovered many gems, funny and intense moments, I include here one rehearsal for a song I composed in 1985 (one of my first proper composition) . I make a little bass solo that’s pretty lame, but my partners live-at-home performance is awesome and I’m glad to make this available for you to listen and criticize.

This happened in Buenos Aires, March 9th 1995 at my home/studio in the Julian Alvarez street of the Palermo Viejo area. Recorded live to DAT (one mic for the guitar, one for the bass, a stereo AT mic for the percussion set.

Gabriel Kirschenbaum: spanish guitar
Rocardo Hambra: percussion (tabla, bombo)
Daniel Diaz: acoustic bass guitar

Photo: Palermo Viejo, Plaza Cortazar by DD, Circa 2000.


I love you cooking shows - this one is no exception, :star_struck:


On the Empress Reverb, it’s the “Ghost” setting, but the green colored LED version of it. And then various knob settings which I never preset… But if you’re on the Green Ghost then you’re in the stylistic neighborhood.



You are too kind. It’s just surface noise, pops and scratches from a record. I doubled it then pitched one of the tracks in logic and added some reverb.