Disquiet Junto Project 0573: Float Mode

This week’s project is the second part of a two-parter, following up last week’s, but you don’t need to have participated last week in order to do this one.

Also: I made an error in the first email announcement, and followed up with a correction. The below instructions reflect the correct (the Lines URL was wrong).

Each Thursday in the Disquiet Junto music community, 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, December 26, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, December 22, 2022.

Tracks are added to the SoundCloud playlist for the duration of the project. Additional (non-SoundCloud) tracks appear in the llllllll.co discussion thread.

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

Disquiet Junto Project 0573: Float Mode
The Assignment: Add material atop a pre-existing beat to form a complete track.

Note: This week’s project is the second part of a two-parter, following up last week’s, but you don’t need to have participated last week in order to do this one.

Step 1: You will be adding musical elements atop beats created last week by other members of the Disquiet Junto. Select a beat. There are beats from 30 or so musicians in the SoundCloud playlist:


If you search for the project tag, you’ll find a few extras, I believe, from folks who did more than one:


And there are two Bandcamp and one YouTube tracks in the discussion thread, along with details on many of the other entries:


Step 2: Add material to the beat you selected in Step 1. You can rework the beat if you like, even combine beats, but assuming you have limited time, the focus of your effort should be what you add, not what you do with the pre-existing material.

Step 3: When posting your track, be sure to credit which track(s) you employed as the foundation for your work.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0573” (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 “disquiet0573” (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 https://llllllll.co/t/disquiet-junto-project-0573-float-mode/

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:

Length: The length is up to you. You don’t need to stick with the length of the original beat.

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 573rd weekly Disquiet Junto project – Float Mode (The Assignment: Add material atop a pre-existing beat to form a complete track) – at: https://disquiet.com/0573/

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-0573-float-mode/


I liked disquiet0572-rythm-kit by @tendigits and because it seemed to be made completely “by machine” I wanted to add only things without machines/automation.

So I improvised around five additional tracks of sounds (and tried to leave room for some variation on the original drum track by Tendigits while doing it). In this week I also had field recorded the sound of icicles that I had knocked off the corrugated roof above the bicycle stand in the inner courtyard of my flat (my wife recorded, I knocked of the icicles – they can be seen on the track cover) and somehow felt they would fit as a mysterious element (hence the title) and because there was something like ice rain I heard in the original track (maybe its just me…). Finally I felt something was missing and added a live sung/spoken session of some kind of acoustic nagging to the track, which I edited with a lot of fx and manually painted parameter curves.

It now feels like a hit.

Just for fun I also made this video:


It felt like there was space to do free playing and scary sounds with the really full and luscious beat loop (Stream Because Seven Point Five V2 (loopable) - Nate Trier by Nate Trier | Listen online for free on SoundCloud) provided by @triermusic. I added a couple of basses and a string sound aiming for as dissonant as possible. Enjoyed doing this.


The project is now live. Thanks, folks. And @rbxbx for noting the error I’d made. Whew.

1 Like

Love this. So haunting. Great idea to contrast the mechanical beat.


I simply couldn’t resist jamming along with @Creatures_Once

Then I added a little Valhalla Shimmer and other reverbs


A great glitchy beat produced in last weeks Junto by @Calmnesia I have added some binaural feedback and guitar. Headphones recommended for the binaural sounds.
Feedback produced with Shakti and other modules. Guitar is from Atom vst played with keystep. :slight_smile:


To be honest - I started working on this as soon as I got hold of the rhythm track - very excited to see what would come of it ….

I too, like SinnySounds, have also been thinking about My Life in the Bush of Ghosts recently, probably because I’ve been working on some vocal ideas with polymetric, polyrhythmic looping using Euclidean rhythms. When I heard SS’s track I could hear the influence of that great album.

I didn’t want to do a ‘pastiche’ piece so I speeded the track up a little ( the influence of house is greater in my music than that of rock/funk). I had a track I was playing around with using a couple of cut-up vocal sequences that I created using the Euclidean Rhythmicon, and I’d already created some transformations of those ideas into a couple of synth lines and bass part. I thought this rhythm track would be ideal to form a backdrop against which they could thrive.

I cut up the rhythm track, mainly to shift the patterns around to fit into the structure I wanted, but to also get rid of any overtly tonal elements as these clashed with the vocals. I then layered the tracks over the top of the new rhythm track fading them in and out rather than cutting abruptly as I wanted something that moved effortlessly from one theme to another rather than a verse-chorus type frame.

It is supposed be a journey - exploring the rhythms of all the parts - growing organically and just a little ‘out-there’ … the ghost of a song that doesn’t quite appear as a solid entity.

The usual suspects created the sequences - modded Euclidean rhythm generators fed into step-sequencers; synths used: Serum, EKS Pro, Logic ES P and Logic Sampler. Various effects; Replica XT, TAIP, Logic Amp Designer, Fix Doubler, Wasted Space, Vienna Hybrid Reverb Pro, Atlantis Dual Chambers, Portal, Looperator, Vienna Power Pan Pro and Vienna Equaliser Pro, Vienna Multiband Pro and Vienna Limiter Pro.

For completeness - created in-the-box with Logic Pro 10.7.6 on a 2015 MacBook Pro with an Apogee Quartet driving Focal Twin6 Be monitors and/or Shure SRH1840s

Vocal Sample - Odarka - Why’d You Lie [ 120 bpm Ambient Female Acapella Vocal Voice Free download WHYD YOU LIE by Odarka #20970 ]
Rhythm Track - SinnySounds - Two Over Three [ Stream Two Over Three (disquiet0572) by SinnySounds | Listen online for free on SoundCloud ]

Merry Christmas One and All



I took the rhythm by halfUnsual (Stream halF kiT [disquiet0572] - 70 BPM by halF unusuaL | Listen online for free on SoundCloud) as it instantly had me jamming on the keys. This track owes a bit of a debt to Jarre’s Last Rhumba which I have been playing a lot lately, but just in terms of a few of the bass and rhythm patterns, which I have gone to town with a bit.


I have to admit that - since Marc had already revealed the current project task - I started the project on Monday. The collaborations are my favourite projects!

I commented on Daniel’s (@DeDe) track 2022wcgroove-disquiet0572 on SoundCloud “I think this is a great track on its own!”, and he answered " thanks, but it needs something else really, hope you or somebody can complete it.". And after listening to my and other contributions my wife told me “I like the beautiful track by Daniel very much”.
So the choice was made - although I found it a difficult task to add something.

I started with a Pad. Cubase perfectly recognized the harmonies, and I added a modulated pad to play them, sometimes automating volume or changing some notes.
Then I added the deep and gritty bass synth that only plays single notes in the refrain-parts.
Finally I dared to add two melodies, both improvised on the midi-keyboard and slightly midi-edited later: A Cubase LoFi-piano, and a Harmonium (free from pianobook), later adding distorted effects by the plugin Krush to it.

It was a great opportunity to add to a track by Daniel!

I created another track as non-submission:

With this special track by @tristan_louth_robins disquiet_junto_0572-yr-squelchy-lyfe I created more of a remix - I didn’t add any musical components on my own design…
First I created two additional audio-tracks, one high-passed and one low-passed version to separate the bass-sounds from the melody. Both derived track had effects added: The bass was tamed with a gate, but then “released” again with reverb and delay, and the melody has a complex MultiTap Delay added.
Now the original, the two derived or the original and the derived melody are audible in different sections.

Then I used VarAudio to extract Midi-notes from all three Audio-versions. For the different added sounds different parts of the midi-score were deactivated to select which instruments are audible in which sections. No pitch-adaption was performed, the midi-notes were unchanged apart from the following exceptions:
The strings play the midi from the complete audio, the notes are partially made longer
The melodica, a synth and the stone-xylophone play the low midi, the velocities for the melodica are reduced.
The CS-80 plugin plays the great ARP sound with unchanged overall midi.
The choir plays the midi of the high audio, here notes with the same pitch were combined to single long notes.

It was great fun building a track this way, without deliberately adding any melody or harmony.

Merry Christmas


when I listened to the rhythm tracks I was electrified when I listened to Jonathan Zorn´s Unsteady Pulsar Beat, I felt it would fit perfectly to a piece I have finished only recently


Hey @RabMusicLab , thanks for working with my track! I love what you’ve done here. The tonal percussive elements work so nicely with everything.


The playlist is now rolling:


Last week, @DeDe 's lovely jazz-oriented track stuck for me as something I’d like to rework.

Without a really clear idea of where I wanted to take the track, I started by adding some sombre synth sounds over the top of Daniel’s rhythm track and listening back to where things were going. I then listened to the harmonic aspects of the chord progression and reached out for my Telecaster, coaxing a kind of Bill Frissel meets Brokeback (via Tortoise) vibe…I think. Lastly, I added a little phasing to the rhythm track during the guitar solo and outro.

Thanks for the track, Daniel!


@bassling Hehe - As soon as I heard this beat I thought you’d pick it up! :slight_smile:
Great bit of bass playing.

1:55 - you start channelling War of The Worlds

@xiiixxi Love this one - right up my street. I’d buy an album of stuff like this for sure.

@RabMusicLab So glad you took on the challenge of @DeDe 's track - I was also scared away by it being so good already! You really did add to it, the tentative piano gives a perfect contrast, and the title nails the feeling of it. I can imagine sitting outside, watching the world pass by, waiting for something maybe, but not knowing what, and letting the cool breeze play over me.


Thank you ikjoyce … I’ll bear that in mind in the new year :grinning:


I used @DeDe 's excellent rhythm track from 0572, added a synth from LABS (it’s an excellent casette tape sound), Dexed bells and guitar.


I listened to a few of the beats from last week’s challenge, focusing on those that included an explicit BPM and a Creative Commons license compatible with further sharing. I stopped when I got to Some Twatt On Drums (95 Bpm)disquiet0572 by @Hugh_G_Twatt, which seemed to lend itself to bombastic collaboration. I added a comb filter effect to this track with u-he MFM2.

For a earlier unfinished Disquiet Junto challenge I had created a number of midi files by feeding the Reaktor ensemble Skrewell through the WIDI Audio to Midi plugin. I used three of these these to sequence three instruments, which I arranged in the timeline in Numerology Pro:

  1. The “noisy organ with filthy grains” Reaktor ensemble Ham on Rye which runs throughout.
  2. A horn preset from the Transmutation sound pack for Chromaphone which I received as this year’s holiday gift from AAS. In Numerology’s Polynote sequencer module, I created three presets starting at different points in the midi file for playing short snippets.
  3. A vocal FX sfz from the Dream Voices sound library for Alchemy, with delay from MFM2 and compression from ShapeShifter. The middle section needed something non-melodic and wild.

Lots of excellent rhythms were created last week. I selected @atw Aaron_Talor-Waldman ’s 120 bpm track since it seemed to fit what I had in mind. Since I wanted to create a moody ambient soundscape, I ended up reducing the original beat down to 68 BPM and adding various effects in Ableton Live. Hopefully, I didn’t mangle the original too much. I added two other tracks using Slate+Ash Choreographs plug-in. I was a little unsure at first on how to proceed, but got settled in and enjoyed the process once I got into the groove :).