Disquiet Junto Project 0505: Line Out

As always, instructions went out via tinyletter.com/disquiet-junto.

. . .

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, September 6, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, September 2, 2021.

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

Disquiet Junto Project 0505: Line Out
The Assignment: Share a track, get feedback, and give feedback.

Step 1: The purpose of this week’s project is to provide participants opportunities to get feedback on works-in-progress. Consider work you’re doing you’d appreciate responses to from fellow Junto participants.

Step 2: Either upload an existing recording (sketches and mid-process takes may prove optimal), or record something new and post it online for feedback. If there are some things in particular you’d like feedback on, mention what they are.

Step 3: After uploading, be sure to listen to the work of other participants, and to post responses.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0505” (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 “disquiet0505” (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, September 6, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, September 2, 2021.

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

Title/Tag: When posting your tracks, please include “disquiet0505” 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 505th weekly Disquiet Junto project – Line Out (The Assignment: Share a track, get feedback, and give feedback) – at: https://disquiet.com/0505/

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-0505-line-out/

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 Alex McConnell, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:




The project is now live. And there was an error in the email. The project is titled “Line Out” (not “Open Up”). Sorry for any confusion my mistake caused.


Hello everyone,

I’m exploring using chance and probability functions in Ableton to get a more “live” feel to my drum tracks. This time, I set up a number of clips in session view and had them running randomly into each other. The process was recorded to arrangement view three times (for editing), with the quieter second and third kits panned left and right.

Is it too cluttered?

Looking forward to hearing tracks from everyone else!!

Stay safe, htnc


This is a piece that used to be much faster, and I slowed it down on a lark. I like it this way, but I don’t if that’s because I know the original version. I’m wondering if it feels too long or too sparse to people. Other impressions welcome.

@howthenightcame Your piece does sound really live and not at all cluttered. I’m not a drummer, but I do find it plausible that this could have come from one kit.

When they cut out, they make that plaintive guitar part sound really striking.


This is one of two WIP tracks that I’m working on in collaboration with the Adelaide-based artist, Simone Kennedy. Her new work, Pilgrimage to Imago (The Primordial Mother Project)continues her exploration of themes associated with the notion of the ‘mother’, memory and identity. Her work is characterised by juxtapositions of these themes through ‘soft-sculpture’ and photo media. Insects - prodiminantly flies - feature heavily across her body of work.

I’ve been collaborating with Simone since 2014 and it’s always such an immense privilige to work with an artist whose work frequently astonishes me. She’s currently in London finalising the work and I should have these compositions finished in October this year.

“The Lasting Waltz” is one of two ‘waltzes’ I’ve been asked to compose, sourcing inspiration from Engelbert Humperdink’s 1960s hit, “The Last Waltz”. This is what I’d regard as a deconstruction of a waltz, since the semblance of the 3/4 meter is there, but prone to be realigned and disrupted. As per Simone’s prompt, the piece embodies a dance between the daughter and the fly.

I took the original track by Humperdink, ran it through RX8 and separated the instrumental parts so that I could use the piano, strings and drums in isolation. The bulk of the rearrangement was done using a Make Noise Morphagene, creating ‘plastic’ loops and layers that could be stretched, constrained and obliterated. On top of this, my own musical elements and aspects of musique concrete are applied.

The original track for reference:

Whilst it’s arrived in the shape I’m after, there’s still a lot of refinement required. Any feedback on the WIP is most welcome!


This is a solo thing right now, but I was imagining adding a breakbeat kinda hardcore drummer’s flailing to it. Naked City vein. Thoughts, prayers, prayer requests?


This is the beginnings of the front half of a modular piece I’m working on. Currently there are two layers, which play kind of similar roles, and I’d love thoughts about what to add next. Questions I particularly have include what to do about a “rhythm section.” The parts so far are pretty meandering, and I’m wondering whether to contrast with that or keep the vibe completely the same. (Sorry for the length!)


Part of a work in progress (on hold, almost abandoned) I planned to build 5 repetitive pieces using percussion instruments and tempo delays. My plan was to build some hypnotic rhythms in odd time signatures (3/4 5/4 7/4 9/4 11/4) and make it more in the 1970’s repetitive music vein and not on a groovy world music percussion track.
I’m not a serious percussion player really so I can’t develop a swinging percussion solo, but I thought it was interesting to explore the “mechanical” development of repetitive, copy/paste grooves I can create using multiple percussion instruments and other objects.

I already shared here the first Pulse 3 track, this is the second I recorded, then a few months back I decided to stop, cause I don’t think this is really interesting.
Is it?
I consider three options now:
1- Should I use these full tracks as the basis for something else? (adding other melodic instruments and textures above it?)
2- Should I make a 1 minute snippet and use it as a rhythmic interlude on an album or something?
3-Or should I trash it and just extract some rhythmic loops for my Loop Vault?
Comments, opinions and critics are appreciated.
DD Sep2021

Performed by DD June 2021 on several acoustic percussion instruments and objects, with further edits and copy/paste for the basic layers.


This track started as a web jam. I’ve edited the multiple takes down and made it into a structure I’m happy with. We didnt have a bass player, so I made a simple bass line playing the 8th off the beat to offset the pulse on the beat. I thought things might sound better with a real bass. We hooked up with a bass player… He did an ok job, but I’m not convinced. There are some bits that are ok.

I’ve uploaded the my original edited track with my simple bass, then appended the same track with the bass player. What do you prefer? A or B?


@alanza Hi, nice track, I think it gets a bit too dense and start losing focus around the 10th minute, you could add some wild drums there to accentuate the chaos feel, but the calm after the storm feel after 12th minute is great, I won’t put any rhythmic instrument there, IMHO adding a straight tempo/beat will make the whole progression less captivating.

@ryanscottmattingly I can definitely hear a wild distorted drummer over that maniac S&H drone.

I think the track is fascinating as it is.

@jimkang It’s a great ambient track as it is, going back and forth from soothing to a bit menacing or distressing. It might feel too long or too sparse to people not interested on Ambient, but I like it as it is.

Sounds fantastic, I feel a real drumer there, the drum’s soundstage is great. A drum solo can’t be too cluttered, can it?
The upright bass player is a rock!! :wink: Great sound.
The delay touches are elegant.
The coda is surprising and a lovely moment.
Only critic: the splash (or open HH?) at left gets on my tits a little bit. I would calm it a lot on the mix or use it more sparingly.

@klaatuberada I prefer the bass player’s take mostly but sometimes your more basic bass works better IMO, like 1:25 into the track , on the little vocal part, and after that, I think he (the bassists) overplays a little bit, his fills and licks get a bit systematic and less interesting. If this is done with a click you could just copy/paste and male him play “less” ?


@DeDe Yeah absolutely, there are bits where what hes played work ok, but I think he just didnt get it. I actually programmed his entire performance in MIDI, but haven’t got around to editing it yet. I think for me the main issue is that he didnt quite get the groove. His playing doesnt feel tight.

I liked your piece, I think it works as a soundtrack/narrative piece. I dont have anything constructive to add other than, “nice”. :slight_smile:


An unfinished track made with Norns Raindrops and Nts-1. Some enhancements with Vst’s. Wondering what else it needs ?

Some feedback.
The drums sound great and do have a ‘live’ sound to my ears. The busiest part where I thought ‘sounds like two drummers’ could benefit from the crash ? or cymbal, reduced a little.

@bassling I like this and it already has a lot going for it. Additions could be in the mixing stage such as a high pass filter to make the low end temporarily vanish only to come back in at the right moment and perhaps some spectral shifts to break it up just a little here and there.

@NorthWoods I like this too and it has a wonderful delicateness to it. I agree with others on adding some low end. In my head what I heard was a softly played electric bass that moves around the root note of the chord.

@jimkang Listening this I would be thinking about adding some textural things to it . Maybe vinyl crackle or something similar.

@tristan_louth_robins This is fine as is to me. I did wonder if small parts of the piano reversed would fit in but that’s just a personal thing I would try but not neccessarily implement.

@gis_sweden One thing this track definitely is, is fun. It’s nice to listen and the bass sounds, rhythm and vocals fit together nicely.

@raph Enjoyable sounds in the B section are a nice contrast to the speech in the beginning. The speech felt too long to me but that’s probably my aversion to tension perhaps.

@alanza I like the meandering sounds as they are. If I added anything I would be thinking of a gentle but perhaps slightly dark field recording to add some grit to it. Maybe something high frequency would work.


A generative track I literally just finished when I saw Marc’s tweet about this Junto project.
It’s coded in Sonic Pi and changes very slightly, every 16 bars.
I ended up layering an old apache breakbeat later on, just for the hell of it.
Checking some of the other tracks as I type…!

– Couldn’t make a new reply? So… Here’s some feeback:

I like the minimalistic approach in this one, along with the subtle rhythmic elements. A nice clean mix.

The way this evolves is really refreshing and the little melodies towards the end make me feel all warm. Can’t think of any negatives!

Great rhythms! I reckon you could add a sitar solo over the top and that would do it :slight_smile:


Thanks @binarysweets , Ahh, if I could play Sitar ! …

1 Like

Nah, I thought, this assignment is not for me. I have nothing in progress right now. But wait I uploaded a track a week ago. The style is “I give up - this is me”.

I’m stuck. This sounds like some thing I could have done 30 years ago. But worse.

As pad I use Fury 800 (the Poly 800 simulator). I have sampled modular for 2 sounds. Drums are computer.

This is a lazy “I give up - this is me” track.
During the verse you can here the synth I used for last weeks junto! :grin:

Okay. Pretend this is a serious track. Give me some constructive feedback.


A minuet. Not sure what else to say.


hey y’all! I’ve been fiddling with this one-note symphony for a while. Well, one chord anyway. Should there be more chords? Fewer? Other instruments? Faster? Slower? I have no idea what to do next with it. What do you think?

here’s the code:


Lovely piece.
My grain of salt:

more chords? No
Fewer? No
Other instruments? Yes, some low end, infabass-drrone style
Faster? Slower? No


Picture : Bee Lumen
Music : Hypoglycémie (Grégory David & Raphaël Jarry)
Explanation of the process: during the three confinements in France, we created 130 pieces of music corresponding to 130 days of strict confinement. Lockdown 2, is a project entirely created during the 46 days of the second confinement, due to the Covid health crisis in France. The original idea of ​​Bee Lumen and Raphaël Jarry was to produce a piece of music that corresponded to an image every day. The Victory title corresponds to the eighth day of the second confinement (Lockdown 2). That day, the information on the media in France (TV, radio, etc.) was constantly talking about the American elections. This is why we opted for an extremely politicized voice and for us completely strange. Usually I did each piece alone (confinement requires) but for this specific day, we were two to improvise. The musical duo is called Hypoglycémie.