Disquiet Junto Project 0530: Minimally Viable Music

I love the Fracture effect

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Yes, it’s an amazing plugin! Fracture XT is a great “inspiration tool”…


I enjoyed this one - I like the counter-rhythms created by the effect.


Hey all,
Cool concept Saga.
I thought I would do something with wind chimes.
Put them up in a windy spot with a recorder for an hour. Cut up the best bits and voila. Easy.
But no wind.

So I put them up and gave them a helping hand.
I took a short sample of this into Forester and wandered around for a bit. Quite a while actually. Loaded the results into Logic but made a rule that I could only use the first four bars from the six sequences I had recorded. Four were rubbish and ditched leaving the two I used. I looped the four bars for three minutes and then animated some filtering and voila.
Not what I expected or set out to do but I guess that is the point and the fun.


I popped some popcorn, then used the recording of that to build this piece.


That was a pretty interesting interpretation. I was thinking of doing something with the length of my piece like that but decided that I had been minimal in other ways and mine was already “How much less is just shy of too little” enough for me.

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This is the first time that I’ve participated in a disjunto in a long time. I really liked this prompt, although I did take some liberties with my interpretation. I made “the minimum viable music that’s intentionally composed”- it’s stripped down to its core elements, while retaining structure and melodicism.

This track was composed entirely with my M8 tracker using samples of kalimba processed through a Mood pedal, electric guitar processed through a Zoom cdr 70 pedal, and a few patches of the M8’s internal fm synth.


I took a one-second sine tone, made it a stereo track, extended it it to 65 seconds using both stretching (which causes the fluttering) and tempo adjustment (which causes the breakup at the ends).

Then duplicated it a tone lower with about a 20 second overlap.

**Probably could have been much shorter…


For this project I first went to a one electronic drum/one keyboard/one voice strategy. But that developed into a 2 keyboards/minimal voice approach instead, as bass drum was replaced with bass synth sounds, and then bassy synth organ.

This uses only three tracks in garageband, a minimal DAW (in that people complain it does so much less than what they’re currrently using); a small keyboard and its cord; and finally four words articulating two core concerns in pop music - romantic interest, and the future. When recalling listening to this track you may add on a question mark after “the future” to give it a little more feeling. Is this the minimum needed for a song?


KORG Monologue playing a D with two triangle-waves, one octave apart, with a LFO modulating the filter cutoff. Passed through Newfangled Audio’s EQuivocate, TAL Chorus LX and Eventide’s Blackhole.
This was inspired by Éliane Radigue, some of whose recordings were influenced by the sound of aircraft flying out of Nice. Her works evolve over a much longer timeframe, however.


I think it is still quite far away sonically from Minimally Viable Music, but gearwise (especially HP space) it was quite sparse :smiley: I used disting ex as a sound source processed through beads and additionally with clouds in the background.


This great project at first prompted the question: What is music ? For this approach I defined it as a a melody composed of notes - and not as sound.

Thinking of basic melodies humming came into mind as minimum music created spontanuously. I hummed three short, simple musical forms and recorded them directly into Cubase with the laptop microphone.
Then I used Varaudio to extract the MIDI. Since my intonations were bad, with pitch-shifts were I intended
a steady note, the results were much more complex in melody and in harmony then intended.
I left the three forms absolutely unchanged apart from choosing the main octave since I was thrilled by what was created by chance. I have to admit I hummed a fourth small form later for some high sprinkles…

Underlying (and in my definition not counting as music) is a field-recording (freesounds) from an airport lounge that I reversed and then paulstretched with Audacity (thanks to the Junto-members that mentioned paulstretch some time ago, it is always great to learn !).

The track is constructed by using these four forms. They (and the fieldrecording) are treated with different,
automated effects. Also the reversed audios of two of the melodies are used.

In the end I have to pledge guilty for stretching the definition of this project way to far, but it was a great
experience to create melodies in this unintentionally way and then to build on them while refraining from
changing a single note.


This one felt difficult this week for some reason. Whilst I found myself generating a few pieces I liked, they felt over cooked for what I wanted to do under this brief.

I created a feedback loop on an lfo, sent it to multi sample and hold/probability module and created some rhythms and modulations. I used quite a few gates/VCAs plus some delay and reverb. All within VCV Rack, I should add.

Slight editting and EQ in Ableton.


This is my first submission in a while - glad to be back. I compose a fair amount of minimally viable music, but not intentionally! To aim for the “line” is somewhat more difficult. I chose a simple marimba sound from a Kontakt percussion VST and ran it through a tape loop function to give it a slow beat and slow decay. My intention was to make it sound like water dripping from a leaky faucet - surface tension playing an important role in the percussive sound generation - thus the name.


Stream MTH 02 - Disquiet0530 by Ostacoli Sonori | Listen online for free on SoundCloud

A minimum viable product (MVP) is a version of a product with just enough features to be usable by early customers who can then provide feedback for future product development (Wikipedia).

So, in my opinion, create a procedure/methodology that allows you to create/test something that will naturally be developed further with future steps.

And, therefore, what is the simplest/most comfortable and most relevant starting point to create this path?

In my case:

  1. start working with samples and various granular samplers (Frame 2 and Frame 3, by Peter Dines, in Reaktor eg.)
  2. always working in a heterodox way, use stochastic/random midi generators to obtain a score, which can be used as it is, or distributed among various instruments / sounds. Of course the choice of instruments in this case is crucial, since we are not within a precise and codified musical form.

This is the method I used for this track.



NIMB uh, mixing


Not as minimal as I set out, but it needs it!
Back after a few years off doing other music.

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