Disquiet Junto Project 0541: 10BPM Techno

Hey all,
Hope everyone is great.
Your misreading Marc has given us another cool Junto. Thank you.
I created a track at 140 BPM with 4 to the floor bass drums etc. using a DFAM, Grandmother and a Deluge. All the cliches and bells and whistles were tacked on but in doing so I realised its really quite an art to make a techno track that doesn’t suck. I didn’t let that deter me though and proceeded to slow it down 14 times.
Then the fun started. I cut elements out that weren’t working, which turned out to be quiet a few ( all my whistles ) and looped a couple of others being mindful not to change the pace in any way.
Added some Raum here and there and gave it some air.


did this with yggdrasil playing the drum samples and synth line, thru microgranny for the vibes — it also is granularly playing back a bit of the synth line (also, slavoj comes with the microgranny lol, but i like to imagine he was someone at the club having a loud conversation while people around him are enraptured by the thumping 10 beats per minute). recorded to tape and then digitized back to norns and then some compression and verb in the box.

@Jet i love the crowd noises, the cheer at 0:37 right after the stab makes it sound like they’re really into the 10bpm vibes :joy:


When I saw the mail for Disquiet Junto Project 0541, I also saw a mail from Samplescience, announcing free 303 Loops. As I am no techno musician, I thought of being lazy and just used some of these 303 loops to play around. Strechted from 120 to 10 bpm within reaper they became very melodious and ambientic. I added some percussion and a kickdrum to fullfill what I think are minimum genre conventions (there was a “riser” sound which I left out).

This may not be techno at all, but I like the bleeping 303s and the resulting track very much. A nice project!


Hi, folks. The playlist is now rolling:



(Techno by numbers)

For several reasons techno passed me by, so for this project my first step was to read about what techno is. Reading rather than listening to retain an alien feel. Then, as it were, I followed the instructions.

Techno… emphasises the role of rhythm over other musical parameters

The beat
four related patterns following the wikipedia description :
four to the floor kicks, a clap on 2 & 4 and open hi-hat on every second eight note.
I made the beats at 100BPM and then slowed them down, which stretched the individual hits for an uneasy beauty

Overdub successive layers of material while continuously looping a single measure

The loop : an impromptu un-quantized midi

the loop went thru one tingle synth, which was continuously looped, but as this was half a beat long it repeated too fast, so this synth was pushed back some.
a one beat version of the loop was sent to an oboe-like synth

for the successive overdub layers of materials
the first loop was then stretched to one tenth of its original speed , to give more of a slow-moving sound, and sent to two synths, one a steampipe synth, the other a wailer
the loop was stretched again to one fiftieth of the original speed for the second synth, this went to the razorbass synth

Technodoes not always adhere to the practice of Western music and such strictures are often ignored in favor of timbral manipulation alone.
No way that I can get “Western musical harmonies” out of my head, I grew up with Three Blind Mice etc. but the long stretches gave me a chance to try some timbral manipulation.
adding and removing layers of material at appropriate points in time,
the summing of the overdubbed parts will unfold in time

which meant for me :
doubling a track and giving the 2 identical tracks different FX, then weaving them together,
using LFO modulation, panning and equalising, reverb, delay and gating.

10BPM is glacially slow…


As others have noticed ableton does not go below 20 bpm, but still having 6 seconds between each beat should satisfy the challenge :slight_smile:

Adding to the discussion on how slow a beat we can perceive as a beat: Adam Neely has a great video on the subject.

I thought about how to beak this limit to the perceptual present and came up with the idea to use slow evolving sounds. I wanted something that felt like 10 BPM. Not something that felt like sounds 6 seconds apart and not something that could be felt/counted at a quicker pace.
I’ve used Wavetable in Ableton with all envelopes and lfo mapped to make a sound that is roughly 6 seconds long. I’ve then added some randomness to the parameters such that each beat is slightly different. Layed out some midi notes and added some additional elements whilst respecting the constraints above.


10bpm techno is a tricky concept, how do you get that mechanical pulse when hits are so sparsely placed? Slowing loops down to 10bpm resulted in sludgey bitcrushed clangs which didn’t click with me.
I ended up using Logic to send a 10bpm clock to the trigger in for a Dfam and a Softpop2. I had them crossmodulate Beads in wavetable mode and then fedback the outputs through themselves, reverbs and delays to fill the space between triggers. The result isn’t really techno, more a noisy pulse, best experienced strapped to a gurney in the bottom of an empty grain silo.



Levels got out of hand on this one for me and I decided to just leave it like that. It kinda fits the vibe anyway. There’s no crowd noise because there’s no way you’re gonna hear anybody over that racket



Great selection of sounds and lots of movement.


The guitar gives the a Pink Floyd-intro sorta vibe.


The club sounds are excellent, as well as the club synth.


I imagine this club is having a post-apocalypse-themed night.


Love the title, it really suits the instrumentation.


“KPG Math Extinction” by Blemishes

Having accepted the challenge, our hero walked into YouTube Woods to learn how to bake cookie-cutter cookies at a temperature not recommended for human consumption and burned the whole batch.

Working title - “Fletcherargonmathcuminatmophilefarm Soup Or KPG Math Extinction FAMCAF.”

I didn’t see the options at first but I guess I chose 1. I went through some back and forth about finishing this but I wanted to show up and do the work

Recorded, mixed & mastered May 13/14 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2022 Jim Lemanowicz

Process Notes -
Certain decisions were made at the start

  • Length of 2:30-3:00 min
  • Key of F Phrygian with a bass line using E
  • Build it at a tempo of 80 and then slow down most of the parts to 10BPM. I elected to leave the one-note bass line at the original speed, to at least somewhat have a connection to techno, which is really something I know little about anyway.
  • do a bit of a buildup and breakdown, thinking this might be less important or impactful at this tempo

Basic instrumentation

  • Roland SH2 softsynth bass
  • Ableton’s Drum Essentials kick, and later in the track also a clap and snare
  • Ableton’s 16 hihats drum rack with some random midi selection built in

Added instrumentation that I didn’t quite feel was “techno” but it worked at the slower speed for me, and made it overall more of an ambient piece

  • Two tracks of Native Instruments Absynth
  • One track of arpeggiated Native Instruments Massive

Effects and stuff

  • Ableton Live native devices
  • iZotope plugins - Neutron Elements and Ozone Elements


hi hi, long time, no junto!

i made some approximation of a footwork track with a handful of max4live plugins, distorted the shit out of it, and then slowed it wayyyyy down.

then re-imported it, chopped it up, lowpassed it, and added another generative melodic line.

then re-imported it, and slowed it wayyyy down again.

i think it’s 10 bpm, but at this point who knows what bpm even means anymore.


This was quite meditative!

I made this track using some Ableton packs at 20bpm, then slowed it by 50% in Adobe Audition.


For this challenge, I spent the first day thinking about questions like “Where would 10 BPM techno naturally occur?” and “How would I dance to this?” I imagined a thriving music scene among small creatures, like snails, who heard human techno, perceived it to be at a slower tempo, and decided to make their own.

I picked out two features of techno as my baseline: a kick on every beat, and a ‘rumble’ between beats. To get a feel for the tempo, I made a simple techno loop at 130 BPM and slowed it down to 10 BPM. Then I started over.

I used Ableton Live with mostly stock effects, and two reverb plugins (Valhalla Room and Valhalla SuperMassive). Since Live doesn’t go any lower than 20 BPM, I set the tempo to 40 BPM so I could treat one bar as one beat. I spent some time getting a nice kick sound with DS Kick from Max for Live, then rendered the sample and stretched it out.

I spent a long time working on the rumble effect. After struggling with uninspiring sixteenth-note patterns, I watched a video called Techno Rumble Mastery and worked through the techniques. I used little rumble in the end (whenever it worked, it sounded like 40 BPM), but I learned a lot about making good techno through that process.


I thought about the air movement between beats at 10 BPM. What I ended up with is questionable, but I had fun messing with it. I created two initial techno loop patterns at 140 BPM (it was easier that way) and then changed the session speed to 10 BPM where I did all the processing.


10 bpm techno
• Key: C Major BPM: 10 Time signature: 4/4 DAW: Reaper
• Instruments: Kick, Hats, Snare, Clap, Percussion
• Plug-ins: Waves CR 8 Sampler
• Created a 4 minute techno track at 128 bpm
• Changed the bpm to 10


Ogni 6 Secondi

Tough assignment… This could have being called horror vacui since I couldn’t avoid filling with delay effects and adding some free form pianoforte arpeggios to escape that emptiness of 10bpm. I need to talk about this to my psychotherapist :slight_smile:

Tried playing it at 12x speed after recording it and doesn’t sound techno at all, so I guess it doesn’t fit the assignment very well. I am posting it anyway since at least it is at 10BPM.

Made with NI Maschine+.


The track made me imagine a scenario where the performing artist had the means and equipment to make techno, but in that reality, techno hadn’t been conceived yet. Then further imagined the crowd’s reaction when the artist decides to improvise, thinking: slow crowd, I wonder what would happen if I cranked the tempo 14x? And “techno” just started blasting from the speakers. The room looking dumbfounded at each other, bopping their heads uncontrollably, silently agreeing: “I don’t know what this is, but I like it”. A true innovative leap.

@SussMusik Nice piece and write up :slight_smile:



Very slow music brings to my mind Bohren & Der Club of Gore whose album Dolores is a favorite of mine. At first I didn’t make the connection, and simply created some 120BPM house drum and bass lines and added the synth lead to them. But when I slowed down the tempo to 10BPM and set up reverbs, my mind started building a different kind of tune. I added strings, guitar, and jazzy cymbals.

In the end I can hear Bohren there, I can hear the soundtrack to Shadow of the Beast (a cult moody platformer for Amiga computers), maybe some post rock anthem in the style of Sigur Rós’ (). So yeah, not much techno left I guess. In my defence, I wasn’t really consciously creating this piece. I was uncovering music that was there already.

I do find 10BPM unbearably slow for the task, with 20BPM this would be much easier to do. As with regular 120BPM music, there are plenty of notes here that are eights and sixteenths, and a small number of 32ths. Those are there to help the mind orient itself in the glacial pace of the piece.


Bass: Circuit Mono Station, one of the most underrated paraphonic analogs.
Drums: Ableton Live Techno Kit with some additional Ableton Live 32 Pad Jazz Kit cymbals.
Strings: Ableton Live String Ensemble.
Synth Lead: 2x Moog Mother-32.
Guitar: Yamaha Revstar through Yamaha THR-II 30. Yes, it’s there, it’s very quiet on purpose.

Recorded with RME Fireface UFX II on an M1 Max Macbook Pro.


Last time we did something at 10 bpm (Waltz at 10 bpm, disquiet0299), I definitely did not want to make something on the computer in normal speed and slow it down afterwards, so I played it live. This time, however, we have techno and that’s a different story. First I searched WikiPedia to find out what techno exactly is. Then I made 8 bars of what I thought was techno in VCV Rack. Then I slowed down the clock (you may see it says “40”, but it is counting 16th notes) and slowed down the LFO’s and Envelope Generators accordingly. And that’s it!


This project was way outside my comfort zone given my abysmal knowledge of EDM. I worked from the bottom up, finding sounds that I thought were appropriate to something moving this slowly but also familiar to (some) listeners of techno. I assembled this in Logic Pro.

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