Disquiet Junto Project 0484: A Movable Heart

Each Thursday in the Disquiet Junto group, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. (A SoundCloud account is helpful but not required.) There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Deadline: This project’s deadline is the end of the day Monday, April 12, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, April 8, 2021.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0484: A Movable Heart

The Assignment: Transplant the sounds of Chris Kallmyer’s wind chimes to a new location.

First, some background: Artist Chris Kallmyer’s “Two hearts are better than one” is a pair of wind chimes, one of which is depicted in this week’s cover image, crisscrossing Los Angeles at the height of the pandemic. Installed at homes for week-long listening sessions, the chimes formed a duet across a city and provided intimate experiences with sound for 16 families sheltering at home. (More at chriskallmyer.com.)

Step 1: Chris has provided us with a recording of the wind chimes, a little over five minutes long. The audio was cleaned up by Alex Hawthorn to maximize the clarity of the chimes themselves, removing much of the background sound, thus situating the chimes in what might be thought of as a platonic space. Access the wav file at dropbox.com.

Step 2: You’ll be continuing the journey of this wind chime. You’ll do this by playing the wav file recording out loud somewhere you choose, and recording the sound of the wind chime in that environment.

Major thanks to Alex Hawthorn (@Hawthorn) for support.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0484” (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 “disquiet0484” (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, April 12, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, April 8, 2021.

Length: You’d likely keep your track to the original length, but vary as you see fit.

Title/Tag: When posting your tracks, please include “disquiet0484” 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 484th weekly Disquiet Junto project – A Movable Heart (The Assignment: Transplant the sounds of Chris Kallmyer’s wind chimes to a new location) – at:

More on Chris Kallmyer at:

Major thanks to Alex Hawthorn for support:

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 Pieter Kaufman and used with the artist’s permission.


The project is now live.

I was at a loss as to what to record for this. During the pandemic I’ve worked from home and about the only place I go to is the grocery store. I thought about walking down to Lake Harriet and recording the sounds there, but that seemed like too much work. I decided to drive to the grocery store and record my trip. But I ended up not liking that. Too much noise in the recording. I had pretty much given up and was reading a book while the dishwasher ran. I kind of like the sound of a dishwasher. It has that wet, swooshing sound. So I ended up recording that. I couldn’t leave well enough alone, so I added a phaser effect to the dishwasher track.


You’ve made my day. Thank you.


My recording comes from the living room of the house where I’m holidaying at Valla Beach.

You can see some of my son, who was playing Minecraft, and hear my partner clicking on her laptop, as well as the noise from the beach that I’d hoped would be more prominent.

Towards the end I had the idea to accompany the wind chimes with my ukulele.

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Played on speakers and recorded with Roland R26 in my room with window open.


I don’t have an excellent set of field recording equipment, but I did my best with what I have from my open window:


A trip to the canal with a cassette recording of Chris Kallmyers wind chimes

Transferred the recording to my phone and from there to an SA90 cassette via the aux in on a brand new Bush cassette recorder.

The trial recording to tape was too low so I turned up the volume on the phone the second time. This was much clearer but also added some tape saturation at some points.

Found a nice spot on the Leeds - Liverpool canal and just placed the cassette recorder near the Zoom H6. If you have any tips on where you would of placed H6 recorder and cassette player let me know :slight_smile:

Unedited recording with no effects and some slight wind jammer fail at one point :slight_smile:


I played the recording through my guitar pedalboard and amp, and added some delay and reverb, then set up a mic on the other end of the room to record it. Additionally I took that recording and fed it to a couple of granular synths in Ableton, added more reverb to those and had them scan through the recording at different rates.


The playlist is now rolling:

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Using A Movable Heart for this week’s disquiet project, I decided to play it through the bluetooth Jam speaker you see before you while I was prepping my lunch in the kitchen. The whole point of is so that these wind chimes could journey all over the world. Windchimes are always in the background of our lives so I thought it appropriate play the track and record it while I was making lunch. Remnants of said lunch are in the picture. The windchime track really freaked out Lorraine, so I’m glad I got this to work in basically one take. Also nice simple exercise, you will hear some trickling of the cat’s water fountain I need to refill in the background at times.


Windy day. Not a good day for a recording by the sea. I went to the ruin (almost nothing left over ground…) of Hunehals Castle (57.4482, 12.06869). I improvised a wind shield for my recording device. I played the wind chimes in the car stereo. The castle was built by Count Jakob of Halland probably around 1290.


I played the recording on the balcony at night and re-recorded it to add some natural sounds to it. It wasn’t enough for me though. I added a recording of me in the bathroom using my electric tooth brush. Layered all of those recordings, pitched them down a bit and added lots of reverb and quick phasers to give the sound more crisp and spice.


Hello everyone, I hope you are well.

On Saturday April 10th 2021, I left my apartment at 04:15 and walked 31km to Tokyo Fuji Art Museum in Hachioji. In the left channel, you can hear me playing a .wav recording of Chris Kallmyer’s wind chimes - they were played at 06:06 against a background of birdsong near Wakabadai.

In the centre channel, slowly fading in, you can hear my heart beating at around 10:40 in the presence of Camille Pissarro’s 1900 painting “Spring, Morning, Cloud, Eragny” which is on display at Tokyo Fuji Art Museum. (The EQ slowly opens up right near the end so that you can hear me taking a photo of Pissarro’s painting.)

In the right channel, you can hear me playing the .wav recording of Chris Kallmyer’s wind chimes - this time, they were played at 16:32 against a background of traffic from my apartment balcony. (The recording is offset slightly against the left channel, to produce a gentle echo effect.)

My intention was to have the left-centre-right fields represent slices of my day (06:06 >> 10:40 >> 16:32.)


I liked the assignment, because I just did a full album with only wind chimes in different compoundings. I transferred the recording (thanks to Chris!) to a portable speaker and took a stroll of around 5000 steps to a place in Munich, from which I hoped it could give some meditative ambience plus some natural reverb. Both wrong. Arriving at the underpass (Munich, Giesinger Berg), I already noticed that a place sounds different in the imagination than when you are at it (and whenever I crossed this underpass, I thought about recording something there). The bottom line is that there was more generic urban noises then expected and the natural reverb was quite unnatural, compared to VSTs ;-).

Anyway, the recording used a Zoom H4n and I think it gives a pretty good impression of Chris’ wind chimes in this place. The playback started (note the mobile speaker bootup beep) not at the beginning, I don’t know why, therefore the recording either, but it’s a full loop.


The original track with parallel recording, equally random, of noises made with stones & pebbles.


I took a visit to our local seafront in Southsea, and walked out to the front from directly by the Yomper outside the Royal Marines Museum. It was a calm, bright day, the sea lapped rather that battered the shore. There were numerous dog walkers and people unsure of what I was doing.
I play the wind chimes sample in question from an iPhone through a portable amplifier/speaker via an aux cable. This was positioned as close as possible to the shoreline. I setup the Tascam DR-40 on a small tripod and added some wind protection to the microphones.
I recorded the piece in one take and took it home to process. There was a little wind rumble that was tamed with RX5, and a couple peaks from the volume of the wind chimes that I calmed in CoolEditPro2. Other than that I was happy with the recording. I did another version in a local supermarket carpark, but it wasn’t as interesting - maybe I’ll upload that one later.
It would be too easy to choose to process this sound further, but I wanted the final piece to be true to the moment/place it was played.


The wind chime recording was played through a submersible speaker into the River Kelvin in Glasgow, Scotland, and recorded with a hydrophone.


I recorded the chimes to an SP404 and played it back with a tiny bit of compression and flutter though a portable speaker down by the river in my back garden at dawn - tried to set a level that felt like what the chimes might sound like - recorded it into my Norns via an old Zoom h4n and processed gently in Otis quite low in the mix with a bit of modulation on track direction (flip) and pan - got some glitches and wind in there so I might do a second pass at dawn tomorrow (or maybe its all part of the charm)


I played 2hearts V3 Heavy.wav back over a Bluetooth® speaker in a three storey stairwell at work on Friday evening; work, you’re going to probably be unsuprised to hear, is pretty quiet. It’s a stairwell i’m quite enamoured of - when the heating’s on it has a real Lynchian hiss to it - but at the moment it’s almost comically unevenftul. You can hear my boots creak at one point, i’m sure, probably concerned that somebody from security was going to come by bewildered by the racket in the almost empty building.

The speaker was on the last set of stairs, on the way to the roof access space, me & the recorder were on the ground floor more or less directly below. I’m a lousy technician so the recording peaks about half-way through.

Thanks to Chris & Marc for this prompt; it was a lovely five minutes to inhabit i think.