Disquiet Junto Project 0575: On Ice

This post popped up at disquiet.com/0575 (thank you, powers of automation) shortly after 12:10am Pacific Time on Thursday, January 5. (I was asleep at the time, despite the intense wind and rain here in San Francisco.) The email containing those instructions went out via tinyletter.com/disquiet-junto later in the morning (after I wake up), and then I post them here, on the Junto Slack, and my Mastodon account (or I will, because my Mastodon instance is current down), and Instagram, etc. (I’m taking a Twitter break at the moment.) And if you’re on Mastodon, please use the #DisquietJunto tag. Much appreciated.

It’s also the Junto’s 11th anniversary today, and I wrote a bit about it on my website.

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, January 9, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, January 5, 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 0575: On Ice
The Assignment: Record the sound of ice in a glass and make something with it.

Welcome to a new year of Disquiet Junto communal music projects. This week’s project is as follows. It’s the same project we’ve begun each year with since the very first Junto project, way back in January 2012. The project is, per tradition, just this one step:

Step 1: Please record the sound of an ice cube rattling in a glass, and make something of it.

Background: Longtime participants in, and observers of, the Disquiet Junto series will recognize this single-sentence assignment — “Please record the sound of an ice cube rattling in a glass, and make something of it” — as the very first Disquiet Junto project, the same one that launched the series back on the first Thursday of January 2012. Revisiting it at the start of each January ever since has provided a fitting way to begin the new year. By now, it qualifies as a tradition. A weekly project series can come to overemphasize novelty, and it’s helpful to revisit old projects as much as it is to engage with new ones. Also, by its very nature, the Disquiet Junto suggests itself as a fast pace: a four-day production window, a regular if not weekly habit. It can be beneficial to step back and see things from a longer perspective.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0575” (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 “disquiet0575” (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-0575-on-ice/

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. How long until the ice melts?

Deadline: Deadline: This project’s deadline is the end of the day Monday, January 9, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, January 5, 2022.

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 575th weekly Disquiet Junto project – On Ice (The Assignment: Record the sound of ice in a glass and make something with it) – at: https://disquiet.com/0575/

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-0575-on-ice/


I always look forward to the beginning of the year when this project comes around. This year I used this piece as a study for a much larger work - specifically using it as a way to experiment with a complex scripting language I have built on top of the RTcmix (www.rtcmix.org) scripting language, MinC.
My scripts allow me to create algorithmic musical patterns in a large number of dimensions: volume, pitch, sample selection, tempo, placement in a simulated room-space etc. Each dimension can be moved about in via an algorithmic plug-in, for example, random choice, sequential access, fixed value, etc.
The Psychedelic Ice Machine uses three sets of ice sound samples I have recorded over the years. The score loops, creating an ever-changing set of patterns. The relationship between these is sometimes clear and sometimes obscured.
P.S. I may have started working on this before the prompt came out. :slight_smile:


I always do the “ice” junto, This is my 12th.

Cold Facts was made from ice recordings loaded into the iOS program Samplr with various pitch and loop options selected, and then run through my boxes.

This year’s boxes are the Electro-Harmonix Pitch Fork+ (set on 1 to 2), an Empress Echosystem (green Tape with various knob settings), and an Empress Reverb (green Ghost with various knob settings). That’s my rig. Everything fits perfectly in a laptop bag.

Find out more about me at www.markrushton.com

I’m a 100% independent recording artist who has been publishing original music in the ambient, electronic, and avant-garde genres, as well as environmental field recordings.

I have over 2800 recordings distributed worldwide under more than 20 band names and pseudonyms, including my own name. Member of ASCAP since 2002. I’ve produced and hosted the Ambient Rushton Podcast since 2004. Songtrust is my worldwide administrator for mechanical and publishing royalty collection. Airtable manages my catalog. I use DISCO.AC for sync library and licensing submissions.

Making music should be fun. That’s why I keep doing it.


And the playlist is now rolling:

Happy new year all!

For this year’s ice challenge, I put about ten ice cubes in a large wine glass and filled it with water. I placed an Aquarian hydrophone into it and routed it into my little modular skiff, using an ohcd LFO, DLD(stereo delay) and Morphagene module.

Recently I’d been playing around with Karpus-Strong delay effects on the DLD, which is in essence ‘resonance feedback’, which is useful for generating ‘plucked string’ sort of sounds from an incoming signal.

One of the things I like about experimenting with resonance feedback is how very transient and discrete sounds can become powerful (and unpredictable) impulses when used in conjunction with the effect.

With an ultra-short delay and high feedback threshold set on the stereo delay module, I rattled the ice in the glass and recorded the very end of the tail of the rattle to the Morphagene and used a couple of LFOs to control the CV of the sample’s grain and morphology.

Because the sample captures the tail-end of the rattle, there’s only a little movement interspersed with very discrete crackles, squeaks and pops.

For recording this track, the dry/wet of the Morphagene was set to 50/50 so that the ongoing ‘quiet’ action within the glass is heard in conjunction with the granulated sample. At a couple of points, this develops dramatically, with some incidental ice movement, followed by a large crack. The final part involved me turning the Morphagene mix to 100% wet and attempting to break the sample apart, so that only vague traces of the original sample recording can be heard.


This submission doubles as my creation for the 5th day of Jamuary (which I may stop soon – trying to come up with something every day has been stressing me out…). It’s quite short.

I recorded the ice cube using my recently purchased Zoom H1n recorder. In Ableton Live, I turned the recording into a drum kit using the Slice to New MIDI Track function (splitting up the recording into equal segments instead of splitting at the transients).

Meanwhile, I took a MIDI file I had made earlier(a recording of a folk song I had written 11 years ago that was fed into the WIDI Audio to MIDI plugin), doubled its tempo and used the Canonize function in XX to create a second track that duplicates the original but with a delayed start and a higher MIDI pitch.

Finally, I placed the two MIDI tracks in Ableton Live, one panned left and one panned right, both playing the ice cube drum kit. I duplicated each of these tracks and to the new tracks I applied Dieter Zobels Resovative IV Reaktor ensemble, a resonator effect that creates the two different strumming sounds. Ableton’s reverb was applied to everything.



I always wanted to do the ice project, but year for year I missed it because of … reasons. Last year I even build a diy hydrophone (see here) for this project (and missed it again). Now I tried to melt the (one year old) ice with the frozen contact mic inside, and record it ‘from inside’.

The results were … unspectacular. By whatsoever reason the ice didn’t click or make interesting noises and because I had to amplify the signal from the contact mic of the hydrophone, there was a lot of noise and hum in the Zoom H5 recording.

I made some videos: In the “red part” of the video I hoped to create (and record) a crack in the ice, in the “ice inside a glass” part you may even see the bubbles of noises you will hear in my track (not in the video).

I used a 1 minute sample from the recordings, reduced the noises and the hum and tried to isolate the sound of the slowly melting ice, which was a sound between cooking water, eating popcorn, burning wood. It didn’t work well, because the noise frequencies were mostly on the same range. But you can hear them in the background noise floor, which I doubled time-displaced for having stereo. I added some Supermassive FX, because it worked.

I could have lived with that alone, but decided to add some bass. Fortunately there was the f…ing 50Hz AC humming in the recording, which I had filtered for the melting ice noise tracks – and which I amplified for the bass track. Maybe not the most interesting bass lick, but I liked it for its endurance.

I used another, unfiltered version of the sample to add rhythmic elements with the help of Audiomoderns Stepfilter and Gatelab plugins, which are always nice for something like that, and here I used two instances with different speeds (1/4, 1/8T) for creating some unexpectedness.

I think I clearly failed recording “ice in a glass”. Next try next new years eve … but I really like the resulting track, because all is made with a single noisy humming 1 minute recording sample. If someone wants to add some solo or remix it – be my guest :wink:


Happy New Year.
This junto gave my the Foreigner song as an ear worm so I am sure it has influenced the result.
I recorded an ice cube dropping into a glass. This became the base for a couple of samples which I used for the rest.
Made some keys with the logic sampler. Made some grains in Pure Data. Added the sample to the Tidal Cycles library and live coded some slices into something like beats. Everything back into Logic.
I leaned into the what appeared.


Happy new year, everyone! And it’s time for the ice junto, great. This time I re-recorded ice cubes, tried to tune them (to a B, kind of, so the rest could fit in B harmonic minor), added a lot of layers, atmospheric as well as rhythmic. Added the foghorn from Spitfire Labs and some cracking lake ice.


Saturday morning in La Pampa, Argentina. It is going to be a very hot day. Family is doing their thing, me in the dormitory putting together the disquiet track. “Please record the sound of an ice cube rattling in a glass, and make something of it”. Well, this was some coffee, three and a half ice cubes, three chords on my Spanish guitar that lives ins this house, and the heat, off course. Blasting heatwave, one of these days where nothing can be done. Now the kid is playing something on the plastic keyboard, going to record that with my mobile phone for the next thing. hasta pronto.


Hey All, I did the recording of ice in a glass. Pitched down, putting different tracks in different areas of the stereo field. I added distortion and fxs. I used the transpose knob to create some drama. Hope all ae well.



Well it’s been a while (10 months), but I felt compelled to join in for the (in)famous ice prompt. In this case I used a single sample of ice and did all my processing in Bitwig. The majority of the audio was made with the sample but I made one last minute synth addition.

Two granular pads in the bass and mid, a wavetable pad in the treble, three layers of one shot samples making, one maintaining the original “rattle” and two being driven via MIDI. The final synth element was a single take performance of a patch I made on the Hydrasynth Explorer, filtered down and added to the reverb send.

Listening back, I like the textures and rhythm but it all feels a little lacking in direction and intent. I definitely wanted to keep it short, but I think perhaps I should have pushed the motion a bit further, instead of letting it meander its way along. The synth added a little flourish but wasn’t really part of the plan, I just made the patch then thought it might work. In any case, a fun return to the Junto for me: thanks.


Love that this has become a yearly ritual for me now

Fresh bunch of samples recorded on my Tascam, longer sample frozen (heh) in Beads, with burst triggers and an envelope scrubbing through it, and two shorter samples clocked through Marbles.


Hello again!
It’s been a while since I last participated. But to round off a crowded Christmas holiday with something completely different, I decided to give this one a try… So this is the track I made for the Disquiet Junto Challenge themed ‘On Ice’ - the sound of ice in a glass and making something with it…

I started with stretching, pitching, auto tuning, reversing and reverb-ing (shimmer!) the hell out of the ‘icy’ recordings. Letting the famous PaulX-stretch plugin work its magic it gave me a surprisingly decent pad sound. I decided to improvise some parts over it, and that was pretty much it. In terms of mood, I tried not to think too much of Vangelis’ Antarctica, so I chose something more uptempo.

I started with Dminor7 and tried some chord combinations. I’m not exactly sure which mode of Dm I was actually playing, but I wanted it not to sound ‘too sweet’. Since the disquit is kind of a playground for ideas and techniques, I didn’t mind using some weird echo-y stuff as the basis for the percussive part, topped off with an 808 kick, snare and crash.

DAW: Samplitude X3
VST: Arturia Jupiter-8 + Mellotron, NI Kontakt instrument, PaulXstretch, stock plugins
HARDWARE: Arturia The Laboratory, Icon AIO6

I used a stockphoto that I edited for the cover image.


Happy New Year to everyone!

My last year’s (and first ever) ice-cube track is number 5 on my SoundCloud-“hitlist” of most listened to tracks. I don’t like this track too much and wonder why the track is so “successful”…
But last week I experienced an example of the strange SoundCloud-algorithms: My track (my starting track for the asynchronous trios) received 494 plays from Sweden on Tuesday. Thank’s to the insights I found out that the swedish financial company Placera had announced a new SoundCloud-podcast on their website: “Vi närmar oss en börsbotten” (DeepL translation: We are approaching a stock market bottom).
People listened to it on SoundCloud - and for several hours my track 2pi was proposed as similar track! So it received the plays by auto-play, making it my new top-hit…

For my new ice-track I recorded an ice-cube in a champagne glass and in a whiskey glass with flat bottom. I created the following sounds:

  • from a single ice-glass-hit of the champagne glass: The main xylophone-sound, the lower “vibraphone”-sound and the lead “string” sound all created with Cubase Padshop (granular synthesizer)
  • from a jangle of the cube in the champagne-glass: The bass-sound in Cubase sample player
  • from jangling the ice in the large glass the “shaker”-sound in Cubase sample player
  • from these recordings treated with PaulXStretch and effects the two noise/sound-layers.

With these sounds I built the track, trying to create something more pleasant than last year’s attempt.

blaaroed · [Disquiet0575] On Ice, Etude

This my first time posting am junto. I made a new years resolution to make more music this year and the junto project seemed like a great place to work from.

For this junto, I primarily worked with the texture of the ice cubes when rubbing against each other and how this could be the focal point of a short etude. Sound design wise I have mostly chopped up the samples and pitchshifted them along with a heavy use of Abletons Echo effect


Hello. Here’s my contribution. My second ice cube in a glass track. :slight_smile:

I tipped an ice cube between a small glass and a large vase (which didn’t actually sound very “glassy”) a few times to get some swirls and clunks and rattles, then I brought the sample into Abelton Live, looked for some interesting rhythms and sounds and went a-splicing and arranging to get the track. The “percussion” sounds are at the same pitch as the original recording and the “marimba” is an ice clunk played and repitched in Live’s Sampler. Effects were Live’s EQs, u-he’s Presswerk and Satin for compression, Aberrant DSP’s Digitalis for some slight glitchiness, Valhalla DSP’s Room for the reverb and Übermod for a bit of chorusing.

This one was fun, thanks! :slight_smile:


So I recorded one ice cube in a glass, then time-stretched the sample, added a shimmer reverb to it and thought it needed a little piano theme. The ran a lot through Augustus Loops, etc.


I’ve read the disquiet tasks for years and never got around to doing one. Here’s my first.
Recorded a few ice cubes in a glass
Took them into a Radio Music as three samples
Split the output into a reverb and a Rings input
Sample pitch was controlled with an lfo
Jammed on the sample selection, pitch and Rings on a dark winter night in Tooting