Disquiet Junto Project 0504: Tranform Formula

Instructions went out, as always, via tinyletter.com/disquiet-junto. This week’s project was proposed by @Hainbach.

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, August 30, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, August 26, 2021.

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

Disquiet Junto Project 0504: Transform Formula

The Assignment: Take a sound, change it, and contrast that with the original.

This week’s project was proposed by the musician Hainbach. It shares its theme, transformation, with his new album, Home Stories, on the Seil Records label.

Step 1: Listen to the world around you.

Step 2: Record a sound you find interesting. (In a situation where there is no notable sound, make your own sound without thinking. Just do something that will create noise.)

Step 3: Transform the sound by taking what interests you most about it and developing on it.

Step 4: Make it into a piece of music by contrasting the original and the transformation.

Here are some examples of transformations:

  • play the melody, rhythm, texture or the sound on an instrument

  • Convert the recording to MIDI and let it play

  • re-synthesise it into a new form

  • harmonize the overtones

  • notate and arrange the sound for more players

  • stretch it apart and filter until you find it’s secret

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0504” (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 “disquiet0504” (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 track in the following discussion thread at llllllll.co:


Step 5: Annotate your track 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.

Note: Please post one track per weekly Junto project. If you choose to post more than one, and do so on SoundCloud, please let me know which you’d like added to the playlist. Thanks.

Additional Details:

Deadline: This project’s deadline is the end of the day Monday, August 30, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, August 26, 2021.

Length: The length of your finished track is up to you.

Title/Tag: When posting your tracks, please include “disquiet0504” 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 504th weekly Disquiet Junto project – Transform Formula (The Assignment: Take a sound, change it, and contrast that with the original) – at: https://disquiet.com/0504/

This week’s project was proposed by the musician Hainbach: https://www.hainbachmusik.com/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0504-tranform-formula/

There’s also a Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion.

The image associated with this project is by Hainbach.


And the project is live. Thanks, everyone, and especially @Hainbach!

  1. play the melody, rhythm, texture or the sound on an instrument. I did this.
  2. Convert the recording to MIDI and let it play. I did this.
  3. re-synthesise it into a new form. I did this.
  4. harmonize the overtones. I did this.
  5. notate and arrange the sound for more players. I added one solo voice.
  6. stretch it apart and filter until you find it’s secret. I stretched it and filtered it, but I couldn’t find its secret.

At this point, I felt like I had a muddy mess. Then I took out the voices, transformations, and effects, until I was left with only what I did in steps 1 and 5. I felt like that was its secret as it were.

I wrote and played this while the power was out in my building because of the storm. This is probably the closest I’ve come to writing and recording something at the same time.

I decided I needed to do some sort of transformation. I couldn’t completely ignore the assignment. So I reversed the whole track and laid it back-to-back preceding the original track. I think I might like the backwards version better. I think I’m currently in either the Revolver or the Sandinista! phase of my musical development.


I really dig this prompt! Thanks @Hainbach, I’m a big fan of your YouTube channel!

for this I thought I’d record the sound of an object hitting the dogs’ water bowl (in honor of International Dog Day!) I like that kind of ‘bonging’ sound–I hear it a lot in our house (we have four dogs).

So I put the dog bowl up on an inverted ceramic bowl, turned on my phone recorder and hit it with a bunch of different kitchen implements. I was going to pick one ‘bong’ but I thought why not let the universe speak by picking the bongs? So the code randomly picks a spot in the clip.

I loaded the whole clip into ChucK and let it rip, first with three bongs from the original recording, then modified with pitch-shifting. I expanded the amount of pitch-shifting as I ran successive versions of the code. All recorded ‘live’ by running various modified versions of the code in real time.

The routine that generates bongs also has some echo with the source and echo panned randomly between -1 and 1, but to opposite channels (e.g source.pan = -1*echo.pan). Also randomly varied the number of beats per bong. And there are some random kitchen sounds too–percussion? Why not?

Here’s the code:


And the playlist is now rolling:


Added some notes about the processing to my blog.


This piece is based on a recording I made one summer morning of many happy voices in deep conversation - probably high school students - passing by my house. I guess part of the excitement was, that they were able to be together for the first time in a looong time…

The recording has been run through many different effect units with automated level adjustments. Also, the recording has been fed through a midi-converter, allowing different synth voices to interpret the talking. This is the result…

Below a screenshot from the ableton-project using Max-for-Live “LFO clusters” for modulation.


Tired of being forced to work underground in terrible conditions the duck’s decide to escape…

A processed field recording of Swans, cygnets and ducks being fed by myself a couple of days ago is the only sound source.

Made in the box with Puremagnetik’s Zerone and Fathom’s. S+A cycles and Audio things (and Hainbach’s) Things - Motor :slight_smile:


This week I am working on a small woodworking project. So I decided to record my circular saw :smiling_imp:
I used my Tascam DR40 as a recorder and captured sound from its inbuilt stereo mic as well as an AKG c411 contact mic mounted on the plank I cut. Suffice to say the latter was the most “interesting”. The raw recording had an almost Mick Gordon like sound :laughing:

I imported the sounds to the octatrack and started mangling them using time stretch and resonant filters. In the final performance there are 3 layers: Stereo ambient noise, Low bass drone and blow-the-speakers-distortion-lead. All sounds originate from the same recording.
During the performance I was tweaking the rate of playback on the lead as well as it’s filter cutoff.



Played a languid guitar, bass, and bongo groove. Delayed, stretched and otherwise mangled the original guitar tracks and mixed them back in. Ran the whole mix through the Sputnik spectral processor and used an envelope follower on a mult of the mix to make some modulation cv and food for the logic processors that controlled the spectral processor… switched to that as the main rhythmic part after the break.

Fun one!


So the sounds around me today, and most days, are made by birds, this was transformed into MIDI that played some Synths and then the birds join in.


I have never converted a wav-file to MIDI! :face_with_hand_over_mouth:
My first thought was to record a printer at work and use that. But the recording was not good…
So I decided to use a sample from my modular, that I have used in a song I made.
I made conversion to midi with an online service. I have to say I’m impressed.
My submission. First you hear the original sound. Then the midi playing an Celtic harp. Then I used “Riff Machine” function in FL-studio. Development indeed. Turned into a track that needed some background noise (noise from my modular Freesound - "Noise For D504 - 210829.wav" by gis_sweden), voices, bells and strange drum sound.
Name of the track is Spice. That’s what I called the sound when I made it (krydda in Swedish).


The original track is a mix of noise recordings that I made a couple of weeks ago. This is then transformed by slowing down the tempo a little & filtering to create a metallic resonance. The second follows from the first without a break.


This piece follows the below guidelines with the exception of a little bit of humorous splicing and dicing of the “original” material. In honor of the lovely toxic air we are enjoying in the San Francisco Bay area, the original material is the sound of me coughing.
The processed version of the recorded coughs is the result a brand-new resynthesis tool I created just for this piece: It allows me to read in a fast Fourier transform data file (created via existing tools) of the sound recordings, and use the amplitude data for that back into a script which I can use it to control any other synthesis tools (in this case, just sine wave oscillators).


Excellent sounds, I really like this … it reminds me, in a good way, of the sample stretching provided by the AKAI S950 back in the 80s :smiley:

1 Like

I made a recording of a garden party in the far neighbourhood and manipulated it with a granulator, resonator and delay to enhance the harmonics I hear in the recording.


Transform Formula-Sailing Ships At Dock (with rats) disquiet0504.

Disquiet Junto Project 0504: Transform Formula
The Assignment: Take a sound, change it, and contrast that with the original.

The sound of a spring on a desk lamp.

Zoom H5, Octatrack, Samplr, Straylight. Recorded and edited with Audacity.

Ship image from Oakland North.


I captured my bathroom exhaust fan, a happy little guy with an ambience that I often hum along to and harmonize with from my shower. I transformed the pitch, adding a third, a fifth and an octave and underscored it with a five-times stretched version. I love experimenting with PaulStretch (Paul's Extreme Sound Stretch). I added some additional tonal harmony with Ableton’s Resonator. Hand-drawing the automation curves to manipulate the resonator’s base pitch was time consuming so I’m looking to develop a Max for Live device to capture the information from a keyboard.


The sound of a stainless steel mixing bowl being lifted off a wet surface (and put down again) then stretched to various lengths, reversed, granularised and harmonic filter-swept with added reverb.


I was walking home and listening for things, which is kinda my default mode network. It was raining and I liked the slooshing sound of wet car tires slicing by. Dry tires, I don’t like.
Incidentally I stumbled upon a road construction pole(?), I don’t know the proper name for it - it’s used for fencing off roadwork or holes in the ground. I had my recorder and some small omni’s in my bagpack, but as I was tired and hungry, I couldn’t be bothered zipping it all out. So I armed my phone and slid it into the pole, turning it towards a traffic intersection, expecting great things.
As I was standing there, feeling hangry, I began to think about how this would likely sound cool through a Comb filter and maybe some Drive on a Delay, too widen things a bit.

And that’s what I ended up doing in REAPER: I used the complete recording beginning with insertion of the phone. You immediately hear the the tone and filtering the pole creates, similar to holding a conch shell up to your ear. I gradually introduce the comb filtering, reacting to some wind noise. I tune the filter resonance to the traffic tone, making it musical and send everything into a Valhalla Delay (with some Drive) and a Little Plate. I repeat the signal chain one more time and low-pass the accumulated harshness, revealing a nice modulating pad.
I then morph that pad with the original recording, engage a third comb/delay/verb chain and morph back into Car tire Zen for a bit.

The track ends with me disengaging the processcing and pulling the phone out of the pole.

Thank you Marc @disquiet and @Hainbach for proposing this weeks project!