Disquiet Junto Project 0507: In DD's Key of C

This project uses a great set of samples by @DeDe. 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 20, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, September 16, 2021.

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

Disquiet Junto Project 0507: In DD’s Key of C

The Assignment: Make music with 10 acoustic instrument samples all in a shared key.

Step 1: This week’s project is based on a great “construction kit” of WAV files in the key of C recorded for us by Disquiet Junto member Daniel Díaz. Access the files, of which there are 10, at this Dropbox link:


Step 2: Listen through the tracks, which include piano, two electric guitars, melodica, bowed upright bass, and other instruments.

Step 3: Record your own track employing the source audio.

Background: Consider what the tracks have in common. They are in the same key of C and on a single chord, Cmaj13(#11). Daniel played the instruments in different registers from deep low C to a very high accordina note. Daniel says, “I didn’t listen to the other tracks while playing and didn’t pay attention to the length, so if all the tracks are pasted at the ‘one’ of a project the results will be random. I just used a metronome of 100bpm, so the rhythmic little bits would match, approximately.”

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0507” (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 “disquiet0507” (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 20, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, September 16, 2021.

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

Title/Tag: When posting your tracks, please include “disquiet0507” 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 507th weekly Disquiet Junto project – In DD’s Key of C (The Assignment: Make music with 10 acoustic instrument samples all in a shared key) – at: https://disquiet.com/0507/

Tracks made with samples created generously by Daniel Díaz.

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-0507-in-dds-key-of-c/

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 Thorsten Sideb0ard, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:




And the project is now live.

1 Like

I seem to either finish these in a white heat or never get anywhere. Tonight was a white-heat night.


Thanks @DeDe for the samples, they were beautiful!

Listening to this sample pack immediately made me think of Rhys Chatham’s minimalist wall-of-sound compositions featuring a multitude of instruments - particularly guitar.


Hey, so glad to be the source of this week’s junto. I decided to use my original “example track" as a submission for this one, where, after recording separately each sample, I just unmuted all the 10 tracks , turn the volume 6dB down and just listened to see if this was sounding ok: as expected, everything worked (sort of) alright together, providing a 6 octave massive Cmaj13(#11) chord. The I just moved each track more or less to the right of the timeline to provide some musical move to the whole set, but otherwise, the FX, reverb mostly, are the ones included in the sample’s take.
I played around the volumes in the end and that’s it, all the samples sounding here.
Looking forward to enjoy what others do with this.
Thanks @disquiet Marc and everybody, love

The instruments I used:

  1. Piano
  2. Electric guitar chords (Stratocaster)
  3. Electric guitar arpeggio (Telecaster)
  4. Electric Bass (Drake Custom)
  5. Acoustic Piano (Yamaha)
  6. Melodica (Hohner)
  7. Accordina (Marcel Dreux)
  8. Ukulele (Concert Kala)
  9. Bowed upright bass
  10. Hang (in C deep sky tuning)

Image by thorsten sideb0ard


I treated this as being similar to Terry Riley’s In C. The parts are all consonant, so players can come and go as they wish. I didn’t add anything to the original samples. The only audio effects I used were a little reverb and delay.


wow, thanks for describing your process. Fascinating result, your process brought a haunting bed/glue to the originals, like an organ or choir. Lovely work.

Tanks for pointing me to Rhys Chatham, I’m not aware of his work, correcting that today.
Love your track, the slow paced intro is beautiful and the way each new instruments gets gradually in…love it, you did a great work structuring the electric guitar an taking it elsewhere with the delays, it gets rhythmically very interesting and complex yet the slow pace feel remains.
Very nice one, thanks for this.

Nice one, you played with the tempo on some tracks (bass, guitar), right? The samples taking turn is a good thing, like they are taking “solos” instead of just slamming a huge chord as I imagined, it’s a very good use, thanks for this.


Actually the tempo changes were a side-effect of Ableton Live’s Warp mechanism. I know it could be changing the timing when I import a clip, but I often let serendipity run its course.


The playlist is now rolling:


I really enjoyed this one - great sounds @DeDe ! :slight_smile:
Messing around with the samples, I ended up with two ideas, so I created a track in two parts, an initial ambient part which then takes on the folky guitar, and then a second groovier piece using the bassline that sounds a bit like ‘Love Don’t Come Easy’ - to which I added a little bit of my own piano.
I also added a couple of field recordings of the local area, just to tie in the ambient part and bring together our two worlds.


Thanks to @DeDe for compiling such a rich set of motifs. I took all of them and layered them like autumn leaves, forward and backward, using faders and repetition to generate longer stretches. Compression and some reverb to tie things together. The result felt like the sun through leaves on a tree at the end of summer - thereby came the title.



The two-part structure works great and your piano and harmonic change in the 2nd part is wonderful. Bravo.


Love the way the reversed files (or is it reverse reverb over the normal files?) completely changes the character, it’s quite far from the source in terms of sound and texture , still I can hear the instruments popping in and out. Spectacular, I ‘m glad my snippets served for this.


At first listen, I knew I had to turn these samples into a hazy ambient thing since that’s what I do to most everything. Features judicious usage of Valhalla SuperMassive.


@DeDe Thanks for your nice comments and brilliant snippets!


For this project, I slowed it all down to 80 bpm. I only used DD’s samples and added two drums samples. Lastly, I reversed the piano in some parts of the track. While creating it I was thinking of a soundtrack type of beat. It was a lot of fun.


I cannot recommend the long-window Paulstretch technique enough. Essentially removing time completely from a sample does some really wild things to it.


Daniel’s parts were in the same key as a piece I remembered recently for the Naviar Virtual event.

That piece was from March 2016, when I’d walked the streets for music from the wi-fi networks.

The app Sniff_Jazzbox interprets wi-fi data as piano notes, which I’d put into the key of C and played through a string orchestra.

Diaz’s recordings were in the key of C, so I stretched them to see how they could drone alongside my wi-fi symphony.


The embed doesn’t seem to have worked. Is the track still up?

I had the great pleasure of meeting @DeDe in Tokyo on Saturday 2nd November, 2019. After introducing ourselves, we were walking around Ginza, talking about music, when we happened upon a traditional wedding ceremony. We were allowed to enter the marriage hall and, after a few minutes, music started to ring out. Daniel and I sat there for about half an hour, making audio recordings.

For this week’s contribution, I blended the wedding recordings with some of Daniel’s bass playing (pitch-shifted, and slowed down). The gnarly ending is Daniel’s bass played backwards, slowly fading into Neural DSP: Archetype Plini and Soundtoys Little Plate.


Hi folks, it’s been a while since I last took part in a Junto challenge, but couldn’t resist the chance to do something with Daniel’s sounds as I love his music so much…

Wasn’t sure if we were supposed to add our own sounds as well - but have done anyway…
Loaded 2 of Daniel’s samples, the Hang drum and the bass guitar, into Ableton’s drum rack and used the Max4Live Turing Machine to trigger them randomly. Using ‘slice to new midi track’ I cut up the piano sample to another instance of Drum rack and also used Turing Machine to trigger that , slowly adjusting the amount of randomness so that certain loops would repeat as I was rendering it out to audio. Finally, adding a high pad sound from Arturia SQ80V
The result is a nice piece of glitchy ambience.
Apologies to Daniel for the terrible pun in the title :wink: