Disquiet Junto Project 0510: Cold Turkey

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, October 11, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, October 7, 2021.

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

Disquiet Junto Project 0510: Cold Turkey

The Assignment: Record one last track with a piece of music equipment before passing it on.

Thanks to Adam Boyd for having come up with the idea for this project.

Step 1: Choose a piece of music equipment you’ve been intending to dispose of, to sell or perhaps even throw out.

Step 2: Record one last piece of music with that piece of equipment.

Step 3: Get rid of the piece of equipment. (Clearly you don’t have to. Recording with a piece of equipment you are simply thinking of getting rid of is also totally kosher.)

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0510” (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 “disquiet0510” (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 for this 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, October 11, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, October 7, 2021.

Length: The length of your finished track is up to you. Make it as long as it take to achieve a sense of closure,

Title/Tag: When posting your tracks, please include “disquiet0510” 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 510th weekly Disquiet Junto project – Cold Turkey (The Assignment: Record one last track with a piece of music equipment before passing it on) – at: https://disquiet.com/0510/

Thanks to @atomboyd for having come up with the idea for this project.

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-0510-cold-turkey/49338

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 Richard Hemmer, 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.


Disquiet Junto Project 0510: Cold Turkey

The only piece of gear I’ve recently considered getting rid of is… an old fridge. I think I can claim this old fridge as a bit of kit as I’ve utilised the noises it makes multiple times as a sound source to make music. The fridges compressor/motor made a series of nice drones as it gradually failed.

I used the sound it was making last year as the starting point for disquiet 0438 (Stream APOB - Surface [disquiet0438] by APOB | Listen online for free on SoundCloud).

It got steadily worse over the last 12 months, I recorded the sound it was making last week, before the new fridge arrived and old faithful was finally sent off for recycling. The recording was manipulated using EQ’s and a “melody” was played using an Eventide Harmoniser. This was layered with a synth part for emphasis. I made rhythm and bass parts, and layered some other pitch manipulated samples to flesh things out. The fridge sound is used for the lead bit in the chorus.

The track is structured 2 bars verse, 2 bars chours - 3 bars verse, 3 bars chours - 4 bars verse, 4 bars chours. The 2nd, 3rd and 4th harmonics were quite strong in the orignal sound, so I used that as an arbitrary basis for the structure of the track. I’m planing on working this a little more and I’ve tried to leave room for a vocal part.


The makenoise Phonogene has to go. It’s a rack module I use very seldom, and when I started this track, it even had the sample from a former disquiet on it. Because I instantly fell in love with the loop (again), I based this track on it. Most other tunes are from different patches with the same Phonogene recording, just split and LFOed. With the exception of one track of a small battery-driven Theremin (which I since years want to sell, but it’s just too handy …) (… and the phonogene … I don’t know, it has something … )


I will now be keeping the wonderful Hyve Synth after I got my build working today thanks to Skot Wiedmann.
As it happens my hot air gun soldering session blew some solder paste where it should not have been. Stuck to the playing surface and causing a continuous tone. I looked at the surface with a good torch and spotted the tiny smudge. Wiped it away as advised and now my Hyve synth is fully working. :slight_smile: (Except I haven’t tuned it yet)
Track was made with DIY Hyve synth and Korg NTS-1. With unfiltered audios Silo and Dent 2




The playlist is now rolling:

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First Junto I have done in a long time, moved house at the end of 2020 and most weekends are now spent fixing up the new house but I got a lot done this morning so had some time to spend on this.

I’ve been toying with getting rid of my Maximal Drone for a while - can never seem to work out where it fits. Opened one of my many old half finished Ableton projects which had a track using it and reworked it a little adding some OP-1 and other bits to get to this.


This project went through two stages of planned/unplanned obsolescence for me. First I tried using the two instruments pictured below.

I finished the piece last night, but it sounded horrible. I was playing out of time and trying to improvise, which I’m not good at. At least not on those instruments. The idea was that those instruments were given to me by a former girlfriend and I never use them anymore. So they satisfied the project rules.

I then decided to try something more thought out. I decided to use this exercise from my piano teacher, Andrew Quartermain, of the Piano Sanctuary.

“Dream Song.” This one will end up sounding a bit like Benjamin Britten (!) and is all about creating a weird and wonderful sound word and also dynamic control together with intricate sonorities.
Hold a low C in the pedal with LH before playing a split white key octave anywhere centrally on the keyboard with 1 and 5 with RH. While doing so, and within complete relaxation, bring your LH over the centrally positioned RH to strike – with 4th finger – any black key at top of the piano (and changing each time.) Pedal with sustaining pedal each cycle of above in one, and then re-take pedal for new phrase. Keep repeating building up long crescendos and diminuendos.

So I composed/arranged something using this idea.

I used a harpsichord instrument in Ableton Live because harpsichords are (mostly) obsolete. I finished that. I spent a lot of time on it—all morning, basically. Over that time, the sound of the harpsichord became more grating and annoying and really got on my nerves. I think there’s a good reason why the harpsichord was replaced by the piano. (I know that the harpsichord is still used in historically informed practice, but still. (Admittedly, it was used well on a couple of Beatles tracks.))

I ended up replacing the harpsichord with an Ableton Live bright marimba, which is not obsolete. So, in the end, I didn’t follow the main rule. But, I tried, and I think I ended up with something better than if I had stayed with the harpsichord (although I suppose I could have had a third go at something completely different). And I will probably use the bright marimba instrument again. (I think it sounds really good with a clean delay effect.). So, anyway, that’s that.


I’m not planning on getting rid of it because it’s not mine to give away but for the Junto I dug out my daughter’s Casio full sized digital piano from the spare room.
It was dusty and the keys still had the note names biroed on in her wobbly handwriting.
First mistake was hauling the thing downstairs, it had the weight and manoeuvrability of a concrete coffin.
I banged around on the keys, it sounded nice enough but my piano skills are limited to banging out major and minor chords. I liked the velocity / pressure response of the keys and recorded three loops without using midi or quantisation and then messed with the playback speeds before adding reverb to blur some of my timing fluiffs.
It’s not polished at all, but made a stimulating change from modular spaghettification.


Hey All,
I am starting to clear out a lot of treasured junk from my house. Musically I have decided to get rid of all my hardware synths and effects and go into the box and not come out. I just never use them. I hunted them all down on craigslist or lusted over them on Sweetwater’s website but at the end of the day I just wanted to start up my mac and use a midi controller and get to work. In fact all my shit could be thrown out, lost in a fire or blown away in a tornado and I wouldn’t be too bothered.
I was going to use my 3 korgs-Poly 800. ms2000 and DW8000 and make something but it would have been too much bother so I just used a soft synth and pretended it was them. I came up with a little doodad.
I then looked up “Letting Go” on the Poetry Foundation website and came across this poem which really struck a nerve for me. The full text is in the soundcloud description.
The one thing I could not part with would be my kids and like she says in the poem we are expected to let them go. My son is a junior and will be looking at colleges this spring.He will be gone soon and my daughter a few years after will be going also. They will not be gone forever I know but it will not be the same. I look forward to bouncing grandbabies on my knee if I am lucky to last that long.
I am thinking about the balance between passion and letting go. I feel like letting go of a lot of things but what do I keep? I do gotta put food on the table so there is that but what else? If you have any suggestions I would love to hear them but it probably is up to each individual to find their own way. I hope all are well.

Peace, Hugh


I agree that firing up a DAW and getting stuck into music making can be easier than using hardware. What if though, you had a dedicated small space with a minimal mixer and a small portable recorder elsewhere from the computer ? You could try out out different configs of hardware there and then perhaps let go of or decide to keep some of them. Sometimes nothing can stifle creativity more than a DAW and for me hardware is a great alternative.
I know how you feel about the kids one of mine has gone off to Uni and the place feels empty now :frowning:


I’ve had a Korg Monotron Delay for a while but more recently bought the Monotron Duo but was a bit underwhelmed by it. This was a good reason to see if it deserved to stay. I think it does. The Duo was passed through the Delay and then recorded into Ableton. Then the track was subjected to Unfiltered Audio’s Silo and Lo-Fi-AF as well as Wavesfactory’s Quantum.


We made this one quite early this morning entirely with the Behringer Neutron and Monsoon. The Neutron has been a faithful servant for some time now but it is time to let her go.


Playlist is up to date. If your track is missing, lemme know:

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Bit of a lively one - revived my Dreadbox Lil’ Erebus - most sounds and effects in this jam from this module with some percussion added - it was one of the first DIY modules I built (and it shows). As a result it’s been living in the Bardo Drawer with other modules that are on their way out.

Great prompt - thanks Adam Boyd / @disquiet!


The equipment is an M-Audio Venom Synthesizer. I bought it several years ago, to make ear training and lern how to play some chords. I never did it, it’s in the cellar since then.
Of course I won’t throw it out. I need it for ear training.


Long time ago I bought a Tenori-On, which - after initial enthusiastic use - I have not touched for a considerable period. Every now and then I consider selling it, but never do. I thought I’d combine it with a virtual version of an instrument I’ll probably never own, a CS80. And if I would, I’d probably not sell it either.


I’ve been meaning to get rid of this old ball and chain laptop, trade it in for one of these.