Disquiet Junto Project 0534: Transition Capsule

Instructions went live at disquiet.com/0534 (thank you, powers of automation) shortly after 12:10am Pacific Time on March 24, and then at twitter.com/disquiet a little further along. The email containing those instructions went out via tinyletter.com/disquiet-junto later in the morning (after I woke up).

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, March 28, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, March 24, 2022.

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

Disquiet Junto Project 0534: Transition Capsule
The Assignment: Record music to help people efficiently reorient between two zones.

Step 1: This project looks at the new normal of office life, in particular back-to-back virtual conference meetings. Even if such circumstances don’t define your own life, there is a captive audience looking to manage the loss of mental transitions that gaps between meetings used to provide. Keep that audience in mind.

Step 2: In the new normal, one is less likely to change rooms, to walk down a hallway, to use public transportation, or to otherwise travel between meetings. Consider the benefits that such transitions used to provide before virtual conferences took over the lives of many professionals. Think about the way that a break or change in scenery or other transition used helped the brain process what has just happened and prepare for what’s about to happen.

Step 3: Imagine you could provide an easily consumable mental aid to ease the transition between meetings. Think of it as a Transition Capsule, which artificially induces the sort of reorientation that used to be provided by breaks and travel between meetings.

Step 4: Now, compose a piece of music that serves as a sonic Transition Capsule.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0534” (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 “disquiet0534” (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:

Project discussion takes place on llllllll.co: llllllll.co: https://llllllll.co/t/disquiet-junto-project-0534-transition-capsule/

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.

Step 8: Also join in the discussion on the Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion.

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, March 28, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, March 24, 2022.

Length: The length is up to you. How long a transition do you want to assist with?

Title/Tag: When posting your tracks, please include “disquiet0534” 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 534th weekly Disquiet Junto project – Transition Capsule (The Assignment: Record music to help people efficiently reorient between two zones) – at: https://disquiet.com/0534/

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-0534-transition-capsule/


The project is now live.



I’ve been working from home the past two years with no plans to go back to an office anytime soon. Thankfully my job doesn’t involve too many Teams/Zoom meetings.
The times in between are probably the only thing I miss about going in to work. Bike rides across town, listening to podcasts on the bus, eating donuts in the break room… Today I filled that time with remixing this song I made a few weeks ago for an ongoing video project I’m working on with a friend. So that’s a win I think.
Many many years ago I briefly worked at a call centre that would automatically dial the next number after you hung up on your previous rejection. It was like riding a wave of hopelessness and I only lasted a week or two. The prompt reminded me of that more than my current situation - and I find a fair bit of optimism in the musical end result.
Made with some GarageBand instruments reworked in Audacity with vocals courtesy of Ecclesiastes.


Hi all, :slight_smile: these transition capsules are fast acting and transport the user to a world at the bottom of a pond. Here after a quick recharge the normal world returns as do normal thought processes.

Made with keystep, Kawai pop synth, bowed clouds vst and a hydrophone field recording. FX on the Kawai from UA’s Byome.



I started this track a couple of weeks ago while on a business trip to San Diego, where in my spare time I met a friend at El Prado to catch up after many years. It felt surreal, and influenced what I would create musically. So, I’d brought my travel modular rig & my blackbox, so I dug in to generative sequencing with PNW, Mimetic Digitalis, uO_C, etc. Tonight I pulled the blackbox session up & put some NYC elevator/street sounds as the intro -coming out of lockdown, I suppose. Then I laid down a generative bass line & Deckards Dream for the pad. Used newly acquired MFX for DDRM verb, blah blah blah.


great assignment!!!

used two things:
lyra 8
Baritone guitar played with e-bow

you understand when you listen


Verbal communication is bad sounding ensemble music. Virtual meetings are glitchy bad sounding cacophoniae where the ensemble can’t even play in time. And yet hearing is such a beautiful sense…

The active principle of Antilexoprene is a wave of floating unpitched wave tables scans. This should help pausing verbal thoughts in the patient. Untested aid.

Made with Synthstrom Deluge.


Not A. Not B. Just the in-between.



I recently migrated to a new Windows 11 laptop and have problems (some VST GUIs not displaying) so I had to work with limited means within a short time. I focused on the idea of movement and escalation and descent (we often take stairs or move up and down floors or change altitude when we transition between meetings). This can be implemented easily and nicely with the Molecular Music Box algorithm (see here for one nice app based on this: Molecular Music Generator - Algorithmic generation of musical compositions). So I generated some MIDI with that in a way that gave the sense of motion and going up and down the stairs.

Because of problems with the Win11 PC, I used my Manjaro KDE linux and worked with Bitwig (I only have the 8-track version) for the first time (I like it). I used the arpeggiator to create some faster movement from this MIDI. Bitwig’s instruments and effects sound nice but I wanted acoustic instruments. I ran the MIDI into some LABS instruments and a piano plugin called Creepy Piano Lite–I normally use NI Noire in Kontakt but I need to download it again and it’s 14 GB–funny note consistent with the theme of this assignment: there’s an online therapy session going on using the same internet connection right now so I don’t want to cause connection problems for those people which is why I didn’t want to download Noire).

Added some reverb on the master bus and basic mastering with Ozone Elements.


The playlist is now rolling:

This piece has 12 bars. The first 4 bars use the pitches C#, D#, E, G, G#, and B. The last 4 bars use a different set of pitches: C, D, F, F#, A, and A#. The middle 4 bars are the transition and use pitches from both the first and last 4 bars: C#, D#, E, C, D, and F.


I spoke with my son about the Junto project and he told me they already do this at his high school.

Apparently there’s music over the school intercom, so it crackles and mostly the selection is ordinary – although my partner said she heard Iron Maiden one time.

Anyway, I had an idea for a meditative sorta piece but added crackle.


It sounded like a construction with two textures to me and thats how I started it. The basis was build by 2 recognizable field recordings (crowd voices, pool noises) and 2 noise drones from my AEmodular (which it strangely made while idle / no clock in the current patch for something else). The field recordings where FXed to become hardly recognizable, the noises were placed more like environmental sounds and with a slight stereo pan. I didn’t like the result, it just felt too shallow. So I added the modular FM sequence, which has in itself (mainly) two different states with some generative, some manually made transitions.

This explanation seems somehow overly intellectual now, but I think the track would entertain inside a virtual elevator transit between two cyberfloors.


Wow, so there isn’t just a bell for the change of classes — they play music the whole time? I wonder if this is commonplace today. Thanks.


Please note: Full compliance with and usage of the Calikroom system is required as per section 64b of your employment contract. Failure to engage with the system at the specified times of your working day will affect your employment and housing status.


Sure, my memory has a bell but those Pavlovian overtones clearly have no place in 21st Century!

One of the local primary schools plays an inspirational pop song at the start of each day.

It’s kinda twee to hear Shannon Noll telling you to ‘Shine’ but, again, I think it’s a better result than the bell and by the time of the concert at the end of the year the kids seem to know all the words.

At Burning Seed they had a variation, as the Crew Kitchen would play a song on loop during meals.

It was kinda fascinating how you’d move through a range of reactions, from the novelty of hearing the song and knowing it means food, through to becoming bored of it and then finding interest again – three times a day.


Transition Capsule - from one meeting to another must (at least in my case) involve coffee. So in this piece, I tried to find a combination of darkness and lightness that brings the components of a Cortado together. Piano, some synths along with trumpet and bass clarinet, the latter 2 representing espresso (2 shots) and milk in equal measure.


Train Dosage by Contraction America

Recorded & mixed Mar 24 & 27 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2022 Jim Lemanowicz

Process notes -
I took inspiration from the decompression period of 1-2 hours I would have on public trains before pandemic isolation - often spent improvising sounds on my phone, ipad or small hardware. I decided to mix train samples and some recent minimal VCV Rack experiments I did while taking the course Learning Sound & Synthesis by Sarah Belle Reid, which is something I am able to do with the the time I got back from not commuting.

The result is a wall of memory-erasing noise, the sounds that go on around us and the ones in our headphones, mixed. An imaginary pill to transition from city work life and back to suburban home life 5 times a week.

I used -

  • Ableton Live 11, including the Echo, Channel EQ, Saturator & Limiter devices, as well as iZotope’s Ozone Elements for the master.
  • Four tracks of manipulated freesound railway samples by robinhood76 (Freesound - pack: RAILWAY AND TRAIN AMBIENCE mono and stereo by Robinhood76)
  • Four tracks of manipulated output from VCV Rack using bogaudio’s PGMR and VCV’s own stock VCO, VCF & LFO.