Disquiet Junto Project 0594: Threemix

This post popped up at disquiet.com/0594 (thanks, powers of automation) shortly after 12:10am Pacific Time on Thursday, May 18. (I’ll be asleep at the time, or so I hope.) The email containing those instructions went out via tinyletter.com/disquiet-junto later in the morning (after I woke up), and then I posted them here, on the Junto Slack, and my Mastodon account, and Instagram, etc. (I’m taking a Twitter break at the moment.)

Disquiet Junto Project 0594: Threemix
The Assignment: Remix an asynchronously produced trio.

Please note: While this is an immediate, follow-on sequel to the recent three-part project “trios” sequence, you can participate even if you haven’t previously.

Also: Please post just 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.

Step 1: You’re going to make a remix of a track from the most recent Disquiet Junto project, which was a collection of trios constructed over the course of three weeks. Listen through the playlist, and check out any additional tracks in the discussion forum:



Step 2: You might elect to use some of the constituent parts of the series, so do seek out the solo and duet that led to your chosen trio and feel free to employ those, too. Check out the respective llllllll.co threads:



Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0594” (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 “disquiet0594” (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:


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.

Deadline: This project’s deadline is the end of the day Monday, May 22, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, May 18, 2023.

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 594th weekly Disquiet Junto project, Threemix (The Assignment: Remix an asynchronously produced trio), at: https://disquiet.com/0594/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0594-threemix/


The project is now live.


I remixed Buzzing Beyond Abstraction Cactus Flower by Persisting Hexagonal Cloud Pattern by adding vocals, a beat and drowning everything in reverb (think pancakes with lots of sirup). Martin is the guy on the left in the cover drawing, by the way.


i very much enjoyed the lush and gentle tones of Equinox Deschanel (Joe McMahon)'s “Lonely Pelican No More” and thought instantly about how it would sound stretched out, more shoegazey.

i used paulstretch to create a extended noise bed from the source material, imported it into ableton, a short edit to trim the beginning and then stretched the original track to match the timing of the noise part (again removing the originals intro)

then i used the warping section to fix the pitch of the stretched track to original pitch

applied lots of fx - reverb for the noise parts and echo to the original, then on the master channel some granular fx by puremagnetic to add a bit of motion and chaos
panned the noise channel hard left and the original wav hard right
and finally tape emulation applied at the end for added texture


I used the track: HalF frugaL (Stream halF frugaL [disquiet0593] featuring Marc Eisenschink and encym by halF unusuaL | Listen online for free on SoundCloud). Having downloaded the solo (twice), the duet & the trio, after carefully adjusting the dynamics, I arranged them in a canon-like sequence & then added a degree of reverb.


Ray_cobley – Musical-chores-disquiet0593

i took a few samples of the track and threw them into koala sampler, then aum on ipad with a 4 audio channel project. in addition to koala sampler, Ruismaker Noir, Hainbach’s Noises and Phosphor 2 were also involved.
Recorded in TE’s TX-6, mastered in Ableton Live
I hope ray and the other two artists forgive me for this goofy village music remix :wink:


I didn’t have a lot of time the past two weeks, so while I started a couple of things, I didn’t finish anything.

Going through these half developed sketches, to see if anything might be a good starting idea for this week’s remix challenge, I was drawn in by a loop I made using @melondruie and @fakeg3nius piece Quietude Disturbed from week 2.

I thought the piece had a bit of a Burial feel to it, so as a sound design challenge, I tried to make a Burial-kind-of-beat to go with it, using sounds I made tapping and scraping an old Zither I bought second hand (and that I tend to mainly use as a place to put my headphones, apparently).

Going through the playlist for week 3, I noticed that pieces based on @encym’s week 2 contribution Tête-à-tête (built on the week 1 piece of @Kitzmann) fit harmonically with Quietude Disturbed. Also, these pieces, and especially @RabMusicLab’s La tête éblouissante fit rather well stylistically. So, I wondered if I could mash these pieces up together in some way. At first, I intended not to use the Burial-esque beat, because… well… because it’s such a blatant ripoff. But by that time, I’d been hearing the loop for a while, and the sound had nested in my head: other rhythmic ideas didn’t cut it. Neither did doing away with a rhythmic element altogether.

So, there you have it.


The playlist is now rolling:

1 Like

I really admire the direction that @encym took the @noodletwister and @sinnysounds collaboration. I took the three iterations and panned them on Audacity, then used effects and fade. Here’s what transpired.


This week I chose to work on @AlvaroDeCampos , @halF_unusuaL and @Glitcher tracks.
Thanks a lot for sharing their works.

Listen to their previous Disquiet Junto submissions

Stream A Loneliest Number(disquiet0591) by Campos | Listen online for free on SoundCloud
Stream halF loneliesT [disquiet0592] (collaboration with Campos) by halF unusuaL | Listen online for free on SoundCloud
Stream HalF Feedback (disquiet0593) With Campos And Half Unusual by Noodle Twister | Listen online for free on SoundCloud

Initially I was thinking about processing it with modular, but when I imported the tracks I started working in Ableton and forgot my initial plans. Everything was already there so I just worked on textures and levels. @AlvaroDeCampos laid the drums, @halF_unusuaL became a watery/glitchy ambient and @Glitcher the crunch.

Tech notes
  • @halF_unusuaL track was panned and split in order to use right channel only. I imported it in Ableton and duplicated the track. The two tracks have different warp settings (Textures and Tones), Auto Filter with bandpass, pitch hack (12 & 24 semitones up), phaser and Valhalla Shimmer. Tracks panned extreme L and R
  • @Glitcher audio effect rack with 2 lines, one heavily processed with GrainSpace, a m4L Formant and GongAmp. The other is effected just with Formant. The rack is then processed with Color Limiter and Slink Pan
  • @AlvaroDeCampos is effected with Drum Buss, Saturator, Glue Compressor, Auto Filter high pass and Beat Repeat, panned 20L 20R.

I was inspired to remix the @Joule composition “Never Alone”, that combined “Nobody’s Home” by @glitcher and “Somebody’s Home” by @SinnySounds. I liked the mood and the way all the sounds and instruments came together.

After bringing the main track into Ableton Live, I added compression and re-equalized some parts, to make it even more dynamic. This especially helped after I added my own tracks. I also duplicated sections of the main sample a couple times and added effects using Bleass Granulizer, ShaperBox 3 and Strymon Big Sky reverb. The additional tracks that were added used Moog Model 15, AudioThing Noises and Sugar Bytes Aparillo plugins. Hopefully I wasn’t too over-the-top or heavy-handed in creating this remix. I enjoyed taking part in this project and also listening to all the great compositions from everyone these past few weeks.


When listening to the playlist I loved the trio created by @undermulden (Disquiet0591), @ray_cobley (Disquiet0592) and accomplished by @leonclowes (another-possibility).

I placed the following tracks into a Cubase-project for the remix:

  • the track by Undermulden with an automated reverb
  • the same track reversed and pitched down by one octave
  • the same track re-recorded with slight feedback from small speaker to mike (first use of my new Koma Fieldkit)
  • the track by Ray Cobley treated with EQ and panning to isolate the metallic sounds
  • this metal track re-recorded with the Koma Fieldkit.
  • the track by Leon Clowes, treated with EQ, Gate and Reverb in an attempt to accentuate the harp.

Different effects were added, partially automated. Most prominent: A trance gate on the re-recorded chords and a delay on the re-recorded metal-sounds.

The remix then was created by mixing between these different tracks and automating some additional effects. At some points sections of 4 beats are repeated to give room to evolutions or to isolate sounds.

I hope you like my version, it was an attempt to create more variations and to emphasize the great elements within the track.


I used the excellent trio of @halF_unusuaL @noodle Twister and @campos.

The remixing idea is one I do quite often. I do like to play with samples. I often use junto tracks that are available for download to play with. I chop up things and try to get a loop going.
The vocal is Echo and the Bunnymen. It is one of my all time favorite vocals so I liked the idea of isolating it.
Hope all are well.

Peace, Hugh


To me the track from @orbit_f (based on @ntrier’s adaptation of @Kitzmann’s original) just “begged” me to add some drums to it. I also played around with the overall timbres of the remixed track by adding some phaser and stereo manipulation. Then, I added the original back in, with some gated sound manipulation on top.


YEAH! Thanks a lot! :sunglasses: :palm_tree:


Borax and the Squid

Remix of:

“Power Trio Drums” by @thgirwnhoj

“Mbryo” by @ntrier

“Abstraction Cactus Flower” by @Alyce_Santoro

Curated (quite well) by random.randint() and approved by me.


Remix of The Zeigarnik Effect, featuring Feat. AA Miles, x i i i x x i, and Fectoper.

I played with the theme of interruptions to see how the zeigarnik factor of the original track held up under duress. All tracks feature Softpop II, usually as an effect processor and sometimes as a source.


Ternary Mingle

• Key: G major?     BPM: 115     Time signature: 4/4     DAW: Reaper
• Instruments: 
• Plug-ins:
• IDEA: remix the audio file of disquiet 0593
• PROCESS: randomly chose track #44 https://soundcloud.com/oh-well-360226041/trio-w-michele-isoni-martinseadisquiet0593?in=disquiet/sets/disquiet-junto-project-0593&si=52f6c3839619453e9d378850b6a4fedc&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing 
• Split the original audio track into 5 sections then processed each section in different ways and put the audio track back together in a completely different order. Numbered each section and then randomly chose the numbers and this became the arrangement. Made some eq adjustments.
• RESULT: A longer track with more variations in the sounds and a sound more toward the bass end.

Trinkets + Tatters” [encym | Andreas Kitzmann | W:I:L-o´the-wisp | Michael Ash Sharbaugh]

I was completely enthralled by Andreas’, Roland’s, and Wilfried’s musical ‘answer’ to the last Junto assignment (0593 – a trio recorded at ‘asynchronous’ times and places). I lovingly dissected their sonic opus, and concocted My own answer to this week’s Junto challenge – 0594, the ‘Threemix.’

I first diced the intro of Andreas’ initial, guitar loop, kept only its first two ‘notes,’ expanded and looped them to 64.35 BPM – and repeated them throughout the piece.

encym’s guitar meanderings were sliced into brief phrases. I ended up with thirty of them, yet used only two of them to offset Andreas’ forceful drones. Also featured are two improv sections of His at very low volumes, in order to suggest an subtle ‘undulation’ in the piece.

encym’s tonality was originally pitched one semitone higher (‘Western-scale’); thus, I lowered (pitch-shifted) it a single semitone. The result is consonance.

(One of My fave ‘happy accidents’ occured while isolating a brief, percussive ‘dink’ during encym’s guitar part [a fingering error?]; that dink – when saturated, and run through a slap-back and ping-pong delay series – provided a ‘drum’ beat that backed the piece.)

As the work nears its cadence, enter Wilfried, with His wond’rous ‘theremin’ riff, of which I isolated one recorded flourish, and repeated it four times. The motif He played introduces itself at a low volume level, fed through two delays and a reverb, which deepened in intensities as the motifs progressed.

What makes this piece special for Me is the highly complex – and joyfully painstaking – effects automations I crafted throughout it. It took hours of mathematical computations and painstaking programming in order to make the piece – itself seemingly ‘simple’ and ‘droney’ – ‘sound’ so complex.

~ Michael


With @mikey_a Mikey_a – Tete-a-deux-disquiet0593, @encym Encym – Tete-a-tete-disquiet0592 and @Kitzmann Andreas-kitzmann-27370936 – Disquiet0591.

All three source tracks loaded onto Radio Music, stepping between the first second and third iterations randomly. Processing in two parts, one steady pulsing gates, one slower envelopes into a granular processor. Some editing and ambience added in Live.