Disquiet Junto Project 0500: Humming to Your Selves

the disquiet junto turned 500!! happy anniversary! and thanks for all your work and time which you dedicate to this project @disquiet! :slight_smile:

this is ¶radio hummingbird’s contribution to this week’s disquiet junto with the serial number 0500. in short, the requirement for this contribution was to record a tune played by myself as well as by two other fictional characters.

i really loved this week’s prompt, however, it turned out to be quite difficult to achieve with the characters i have chosen. thus, this piece is certainly one of my more difficult tracks lately. but you might grow on it over time (hopefully)…

well, the first part (and introduction of sorts) is played by yours truly. i decided that i will be just my mere self just like on any old day. curious, challenging, playful and always whistling when a tune got stuck in my head.
i am followed by a rather curious persona. a random guy in a suit and top hat which you might bump into at any old fun fair. a stumpy man pushing a barrel organ through crows for a living. although he is a percussionist by trade. let’s call him james.
james is succeeded by harold. harold is a dapper young man in skinny jeans and denim shirts, sporting a nicely kept mullet and a mustache. he likes smokey basements and towers of music gear instead of humans.

1st part: looping pedals, dried plant seed pods, shells, nuts, balloon, mouth. basically a little courageous sound art/experimental pieces like i love arranging them.
2nd part: glockenspiel/carillon, chimes, diy music box, bowed glockenspiel chimes, tape loops, 4-track tape recorder. all tunes have been created especially for this track. that includes the arrangement for the music box.
3rd part: modular synthesizer, tape echo/delay. a deep look into the possibilities of sound synthesis with a vintage twist.

a daw or computers were only used for arranging the tracks and a little mastering in ableton live. easy.

please enjoy and listen loud.


I had a bit of trouble deciding how to play it “as you might play” because I have been making music mostly by clicking piano rolls and programming the past few years, but I don’t really know what I typically sound like when I do that. So, I played something on the guitar.

The other identities are a free jazz trumpeter and an old computer and a simple computer program.

I like what I’ve heard of free jazz, but I have no idea how it’s made. I had fun trying, though!

The computer program was one I made eight years ago. It is a rather dumb composer. It accepts what pitches and durations it should use to make riffs, then it makes them, and plays them through a piano soundfont.


Congratulations Marc (@disquiet) with the 500. Thank you for your steadfastness and tenacity for making it happen, no matter the turn of the world. I must say, it’s quite impressive.
Also a big thanks to all the Junto contributors for their creativity, comments and work on display every week. I’m happy to be a part of it - when I occasionally submit something :smiley:

Same shit different day. Likes to make weird and gritty music from his own field recordings and tries to make things somewhat structured.

Is a trance producer, he drives fast cars, does what he wants and everyday is a party. He brushes his teeth with Heinekin.

Prefers his music to be clean, entirely emergent and without predifined structures. He’s developed a signal chain through decades of experience and likes to dump interpreted field data into it. Everything that comes out becomes a legendary masterpiece.

I used four different synths for this one: Europa, Pigments, Massive X and Farfisa. A UVI piano and the Drum designer. I learned a couple new things making this track and it was liberating working according to a persona. The first section is being myself and where I established notes and chords. Middle section is Dalgo and Klymer finishes off. It’s all aranged very different and it’s clear what’s what.
The Klymer section is generated by triggering randomised sequences in Pigments, using the all the note data from the “undermulden” section. I then used that to improvise the piano drops. I also used some low volume walla: “Posh dinner party by 7by7” from https://freesound.org


I didn’t have quite the time I’d hoped to for this, but I did have a concept and come up with a couple of artists with a very thin back story. First we have:

  • ChalkWalk: This is me!
  • D’ Money: A wannabe hip hop star trying to make his mark making beats. His preferred source of samples is underappreciated electronic music uploads from SoundCloud set to download/creative commons.
  • Pierre Synthétique: An experimental musician trying to explore their new take on musique concrete. They especially enjoy experimenting by cutting up samples of material that is already sample based.


My concept was to put a track together then sample it for the second part, then sample both prior parts for the final section. The first section was made with a few of my regular synths. I somewhat rushed through the initial track to give me a chance to explore the other two sections.

D’ Money:

The second section is my attempt at a hip-hop beat. Despite being an MPC user I’ve never really explored that genre. I loaded the first track in, did some alignment then made some chops. I played the chops then added a basesine, some drums then finally a lead. If my rapping skills were non zero I might have attempted something but instead we are left with an instrumental.

Pierre Synthétique:

Finally I loaded both parts into Bitwig and chopped them on audio onsets. I stretched one instance a bit and used the other, in snippets, in a wavetable synth. All in all I enjoyed the result, and this is my favourite of the three.

Thanks everyone for making this community great!


Congratulations to Marc Weidenbaum for hosting this 500th consecutive weekly Disquiet Junto project! The assignment this week was to invent two alternate personas, and perform a tune three times, once as you might play it and once by each of those two personalities.

Alan: I’m a guy in his 60’s who plays around with synthesizers for the fun of it without having a defined style. Lately I’ve been layering synth tracks over drones, so that’s what I made. The drone is created from several Eurorack oscillators with some modulations, the tune is played on a Moog Matriarch.

Zachary: He’s in his 30’s and plays techno at dance clubs, or at least he did before the pandemic. Now he live streams his performances on youtube from his basement where his only in person listeners are his cats. He created a techno version of my tune using Ableton Live.

Rosa: A classical violinist who refuses to tell me her age, but I’m certain she’s older than me. She talks of the old country in a thick Eastern European accent, and claims her violin is 500 years old in honor of this 500th Disquiet Junto. I have my doubts.


Three takes on a single tune (based on an Up-Tempo Blues MIDI download from www.musicstudents.com). Edo giving it the industrial treatment; Jim vamping it up on the B3 and me mangling it with granular reversals, wave folders and time stretching.

Congratulations, @disquiet, on the 500 consecutive Junto prompts—such a great source of inspiration.


I actually did that some years ago: invent two people who are more or less active on the internet. I was possibly inspired by Pessoa, of whom I had heard a few things at the time, but maybe also by Robert Schumann’s Florestan & Eusebius.
I won’t disclose the “real” names of my two persons, because I don’t want to give them away, so for the time being I will refer to them as Rose and John. Rose is very much into classical music. She plays the flute and the harpsichord. John is more into experimental music, heavy metal and electronics. Also being somewhat of an anarchist, he doesn’t play the melody, which he finds a bit boring, but instead goes full Iron Maiden over the chord sequence.


Sat down and conjured up two other personalities who proceeded to play the same tune I played at the start. Don’t know how they got access to my modular system.


From a superb recording by Mireille Helffer in a Ladakh monastery:
Character 1: Points: Sound collage of breaths, silences, throat noises, which punctuate the sung parts.
Character 2: Lines: Character 1 is stretched to make lines.
Character 3: Clouds: Character 1 is multiplied to make clouds.

With Pure Data patches and edition with Audacity.

“Clouds… They are everything, collapses of height, only things that are real today between nothing earth and the inexistent sky…”

Thank you Marc for proposing these 500! creative constraints which are so fascinating.


More a mishmash than three discreet personalities. I started with a chord progression and melody, inverted them, and added electronic, Latin, and Gamelan sounds.


I had promised myself to submit for the 500th Disqiuet and found myself reading the announcement one hour before deadline. So what could I do? I did the following:

Two persons who are real living persons that inspired me and that are responsible for what I am doing now nearly every day. The first person I want to mention: It’s Christopher Alexander. I his talk at OOPSLA he was invited to talk about some technicalities of object-oriented programming but instead gave out a task for the perplexed audience. This was in 1996 and another person much later helped me to realise how this could actually work for me.

I made a transcript of the speech by Christopher Alexander that is also heard in the piece - recorded from Youtube with my phone btw.

You can listen to the talk here and I can only recommend it: Christopher Alexander - Patterns in Architecture - YouTube


Because of the complexity of the situation and because of the way software is done, software that was designed to do that could very rapidly take the world by storm.

The people responsible for certain specialty are then followed by a technical innovation and then the people who are responsible after that innovation are completely different people.

It is conceivable to imagine a future in which this problem of generating the living structure in the world is something you would explicitly recognize as part of your responsibility.

I want you to help me. I want you to realise that this problem of generating living structure is not being handled by architects or planners or construction people now.

There is no way that they actually be able to do that because the methods are not capable of it.

The methods that you have at your fingertips and deal with every day are perfectly designed to do this.

So if you have the interest, you have the capacity and you have the means.

… expanding phenomenon, programming and so forth, “where is all this going and an uneasiness “… what is it going to do.

Please forgive me, … but it could be that he technical way in which you look at programming at the moment is almost like guns for hire.

In other words: “you are the technicians, you know how to make the programs work, tell us what to do daddy and we’ll do it!“

What I’m proposing here is a little bit different from that. It’s a view of programming as the natural genetic infrastructure of a living world.

Which you are capable of creating, managing, making available and which than could than have the result that a living structure in our towns, houses, workplaces, cities is an attainable thing which it has not been for the last 50 to 100 years. That is an incredible vision of the future.

I realise you probably think I am nuts because this is not what am supposed to be talking about to you and you might say: ”Great idea, but we are not interested”. But I do think you are capable of that.


Congratulations and hurray for assignment 500!! :tada: For this assignment, the two people I “created” were two alternative versions of myself, who differ from me in the sense of having made different decisions at pivotal moments in my/our youth and thus evolved to have slightly different creative approaches/philosophies.

N1 (my actual self) started this assignment by recording myself improvising on the darbuka (a goblet-shaped drum I’ve recently starting learning) for approximately 6 minutes, focusing on the idea of “being authentically myself to the best of my current abilities with this instrument”.

N1 then selected about 2.5 minutes of the recording, copied/layered the track twice, adding a variety of effects to each layer including surround and convolution reverb, flanger, bass, and phaser, and keeping the original speed intact (as this felt necessary in the sense of “authenticity”/purity).

N2 took the track N1 exported and listened to her concerns about maintaining the original speed, but determined that it was not at all “less authentic” to alter it. Armed with confidence, she made 2 new tracks, at 125% and 150% speed respectively. She kept the first half of the 125% track, the second half of the 150% track, then made 3 copies/layers of the 150% track, and added a variety of additional effects including delay, phaser, pitch shifter, noise reduction, distortion, de-reverb and a lot of flanger to the assorted layers.

N3 agreed with N2 about speed alteration and went further to assert that adding new content wouldn’t compromise whatever “authenticity” or “purity” N1 was trying to get at. She then selected one of the 3 tracks from N1’s composition and slowed it down to 85%, selected an excerpt from it, and, being a militant open source enthusiast, layered it with audio recordings of herself reading passages from The Ardour Manual, alongside an ambient/slightly dramatic track from freesound. Numerous effects were added to these layers, including more phaser and a variety of delays/echoes to the speaking track.

All three Ns then brought our tracks together into the track posted here (in order, N1-N3), collectively reflecting on how we all enjoyed exploring how the darbuka can sound through various effects/filters, and how the evolution of the rhythm and the contrasting layers accurately reflected many aspects of our mental processes/“ways of being/seeing in the world”.

Equipment: Zoom H4N, 43 cm copper metal Gawharet El Fan Darbuka, 2 hands, 3 minds, edited in Adobe Premiere (but onward soon to Ardour!)

Works cited/sampled:

  1. suonho // erh-p1-2o2bb12-14-alien-sounds-floating-fortress-rwrk // from freesound.org // CC BY
  2. The Ardour Manual


I experienced the variations preceeding the theme in the sense that the mood felt like a person’s life story passing by and then you find out who they are, like the frame of a frame narrative, at the end. Very nice!


Congratulations to Marc for creating and maintaining Disquiet Junto for 500 cycles so far. I was not able to participate this week, but I did want to take the opportunity to say what Disquiet Junto means to me:

  • It creates a weekly rhythm in the creative process - even when I can’t participate, I think about where I would take the challenge upon release of the prompt.

  • It forces me to use equipment and technology that I might not otherwise try, and I am always happy to move past the barrier of new approaches

  • It forces me to publish/produce which is really the only way to get ideas out of my own head and into another medium. Ideas are easy, producing them is hard - and material only gets better when there is a persistent effort to build a volume of work.

  • It provides an audience of unlike-minded artists having vastly greater talent and with so many different approaches to the same challenge who listen and thoughtfully comment on the work - even if the listening is only the first 15 seconds, it means that I should make the first 15 seconds worth hearing.

So thanks Marc for creating this opportunity for artists at all levels to come together on a weekly basis. And thanks to all the participants who make this community so enjoyable. I look forward to the new Junto challenges ahead.


Inspired by the exercice given by Marc Weidenbaum from the Disquiet Junto project, here is the process I followed :
I had to create three chararcters like Pessoa would do with writing.
I created a midi track with a melody that I repeated three times.
Then I improvised a second midi part with my keyboard while listening to the first midi track.
Then I duplicated the first midi track in order to have three midi tracks.
This step allowed me to produce the music for Adolfos Abalo, the first character, a South American pianist (in my imagination).
For the two other characters I kept the three midi tracks (without modifying them in their forms), I simply changed the sounds (the synthesizers and other virtual instruments). The second character is Atlex Phfin an obscure electronic musician which is found at the very beginning of the song, followed by the pianist’s then finally the beat maker’s.
For the third part, Dr. Dri a ghetto blaster beat maker, I divided the tempo of the midi tracks by two (going from 160 BPM to 80 BPM).
To finalize the song and allow the characters to be chained together, I added radio noises, as if to give the feeling that we are trying to listen to another music (another artist).