Disquiet Junto: The 300th Consecutive Weekly Project

Disquiet Junto Project 0300: The 300th Project
3 chords x 100 seconds

Step 1: For the 300th consecutive weekly Disquiet Junto project, choose a chord. Read the 6 steps of these instructions all the way through before making a decisions about instrumentation (Step 2) or recording (Steps 3 and 4). Understanding the intended end result will potentially influence those decisions.

Step 2: Choose three different instruments on which to play the chord selected in Step 1.

Step 3: Record yourself playing for 100 seconds that chord on the first of the instruments you chose in Step 2. You may want to record slightly longer than 100 seconds and edit back. Not every instrument has infinite sustain. You may need to use different techniques (strumming, sequencing, preparing, etc.) to achieve the 100 seconds. Consider those different techniques and the role they’ll have in the resulting sound.

Step 4: Repeat Step 3 for each of the other two instruments from Step 2. Consider how the three instruments, as well as the techniques you employ to play them, will correlate with each other.

Step 5: Layer the three tracks you have recorded. Perhaps fade in at the start and out at the end.

Step 6: Bonus round: Your piece is completed, but if you have the time and interest, consider subtly tweaking with filters and other means one or more of the three track you recorded.

Five More Important Steps When Your Track Is Done:

Step 1: If your hosting platform allows for tags, be sure to include the project tag “disquiet0300” (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In this following discussion thread at llllllll.co please consider posting your track.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project’s deadline is 11:59pm (that is, just before midnight) wherever you are on Monday, October 2, 2017. This project was posted in the afternoon, San Francisco time, on Thursday, September 28, 2017.

Length: The finished track should be roughly 100 seconds long.

Title/Tag: When posting your track, please include “disquiet0300” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and 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 preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track online, please be sure to include this information:

More on this 300th weekly Disquiet Junto project (3 chords x 100 seconds) at:


More on the Disquiet Junto at:


Subscribe to project announcements here:


Project discussion takes place on llllllll.co:


There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by Greg Williams is used thanks to a Creative Commons license allowing for non-commercial use and adaptation:







I had a bit of an advantage with this one, as I had very recently been listening to John Luther Adams’ “Among Red Mountains”.

The score is available at http://bit.ly/2hBa592


And the project is live.

1 Like


Chord - C#dim7

Instrument in order of appearance - Arp, Harmonica, Tuba

ok, so I missed the 100 second length… went over by just a wee bit


Hey All, Congrats Marc and fellow Juntoists on making it to 300. I am personally more excited about #333 but it still is quite a milestone. I chose my chord by choosing keys on the keyboard and found out later it is the C6#11 chord. I knew I wanted to just use real instruments from Kontact as I recently acquired it. I had to get a beat so I could play the notes as I knew they would not sustain that long and I used the conga beat. I first did the African mallets and played them live for 100 seconds. Then the horns and then the guitar. The guitar was cool cause Kontact lets you choose a strumming style, cool beans. I then arranged to suit. No fx except guitar rig on the guiter using an fx named for a guitarist whose name kinda rhymes with Feet Clownsfender.


Peace, Hugh


3 pads playing 3 chords (all Em), but I got overly excited for the FX post-hold; EQ variations and volume fluctuations. We actually see a variety of hump-movement (as I like to call it) within each EQ connected to each instrument.

To add more, initially had to make each of the 3 pads ‘live’ in different areas of the eq field (low/mid/high) with some overlap. So there is actually a base restrictive EQ filter and another mobile EQ filter for the variations.

Believe it or not this is ‘minimal effects’ for me.

Congrats on the milestone!!



303 will be fun, too!

1 Like


My chosen chord was Dm and the three instruments used were:

  1. Picked acoustic guitar - lots of rhythmic reversing.
  2. Electric guitar - heavy doses of very long reverb.
  3. Keyboards - background pads / drone.

By the way, Happy 300th Birthday! Looking forward to all the projects yet to come :grinning:


Here’s my entry. Felt the chord had to be “D Major” as it was for Disquiet’s 300th.
Instruments used: Roland D-50 (processed by Haible Tau Phaser); Roland Juno 106, Cristal Bachet.
Congratulations to Disquiet for reaching 300 weeks old and a huge thanks to Marc for starting this in the first place… Here’s to the next 300 Disquiet challenges!



Disquiet Junto Project 0300: 3 chords x 100 seconds.
Three 100 second long tracks blended together, So I’m offering to you here 300 seconds worth in just 100 seconds, more value for your time!
I played and hybrid triad, Esus2 (E-B-F#). I wanted to hold the notes for as long as it takes, not easy with most acoustic instruments.
My choice was Electric Guitar (Stratocaster) through a Line6 pedal board to benefit from the infinite decay of that “particle” reverb I’ve bee using a lot to produce reverb-drone.
Second instrument a bowed upright bass (00:06 mark, overdubbed thrice to get the three note chord sustaining for 100 sec)
Third performer: another infinite sustain acoustic instrument I own, my Indian harmonium (starts at 00:22 mark), again, overdubbed thrice to use its three different registers: lows, highs, and tremolo (an amazing mechanical, fully acoustic creepy tremolo harmoniums have, very upfront around 00:48). 100 seconds of that edited on the mix.
When the guitar chord almost vanished and all you hear is the remains of the particle reverb (00:58) I overdubbed an arpeggiated take of the 3 note chord as an additional method to get the chord sounding for 100 seconds.
I also play a bonus bowed upright simple melody (at 00:28) to provide some variation to the plain triad. Everything was performed and mixed today at home.
No synths, no samples.



I love my new Yamaha reface DX, I love my OP-1, and I love my canadian “Art & Lutherie” guitar, I decided to play an E Chord, I played with the midi looper on the DX programmed some chord notes, after I recorded the result to cubase overdub the OP-1 and the guitar…have fun!!


Funny, without hearing your track, I also played in E:)


Yeah, but I still couldn’t decide between minor and major. You’re a major dude! (as Walter Brecker would have said)
Excellent track you did BTW. Interstellar sound!


I chose Db Maj7 - which is a chord made by stacking a major 3rd, a minor 3rd, and a major 3rd. All the threes! :slight_smile:
I played this as broken chords on the Nord Piano, a sustained chord on the Streichfett, and as an arpeggio on the BassStation 2. Lots of reverb and echoes, to differently place each instrument in a soundstage and add more sonic seasoning.



In working on this I’m realizing how few instruments I own that actually let you play a specific proper note, let alone a chord. :slight_smile:

Try tuning a Sidrax Organ to a guitar… that’s a whole Junto right there.


0300 seems like a good week to start participating.


I picked the chord formation on guitar – it’s one that I quite enjoy the sound of, but don’t exactly know the best name for it. The shape is a normal C-major cord, but the fingering is transposed up two frets, and the open strings are left in tact:

Chord chart

The chord I actually picked for this track is that formation, but a half-step down (my guitar is tuned down 3 half steps, and I used a capo on the second fret), and with G doubled in the bass


  1. Electric guitar, arpeggiating through the chord to su(with the G doubled as the bass note)
  2. Block Party as a granular/drone voice, with loops/recordings of the guitar playing the chord in various ways
  3. Saw wave synthesizer

First of all: Marc, a HUGE thanks! Your mail containing the weekly challenge is a highlight of my life since 240 weeks. Helped me to a lot to understand what music’s really about. Your‘re a hero. :wink:

The instructions didn’t specify if you should play a chord with one note per track, so I took the freedom to play variations of F major on every of the three tracks. I wanted to lay a base with the modular, and as I’m currently experimenting with non-rhythmical loops, I started with that. So:

Track 1: comes from the Make Noise Morphagene. It’s a short sample shifted with overlapping grains. Bass sounds, rhythmically not in any grid, tweaked by hand.
Track 2: Reaktor „Piky“ Ensemble playing some automated, high-pitched, syncopated bleeps and blips.
Track 3: Piano chords with delays and extra-strong Valhalla sauce.




Here I celebrate growing up with the electric guitar–the Who, Live at Leeds; Hendrix at Monterey Pop; Sonic Youth, many live shows; Glenn Branca and Jerry Garcia and John Cipollina, the ringing and reverberating of an electric guitar turned up high. I chose as my chord the chord represented by the open strings of an electric guitar, all strings detuned by 1 half step except for the low E (detuned 3 half-steps). I played this on an odd Tokai guitar (shown here)–made out of aluminum and fitted with an internal Smoky amp. I ran this out to a splitter that ran to two other Smoky amps, close-miked. I smacked the chord hard and let it ring and feedback, hitting it again at odd intervals, and recorded the resulting three tracks.

I then picked out the notes to the same chord on the piano while listening to the tracks on headphones.

last, I put the recorded guitar track on my phone, put my phone at the bottom of a didjeridoo, and recorded the sound coming out the other end.

I copied the main guitar track and dropped that copy by an octave, then slightly panned the two amp tracks hard left and right, detuning them a bit. Lastly I delayed two of the three guitar tracks a bit to thicken things up.

just to make the track punch me in the face :slight_smile: I dropped on a heavy kick drum.

not much other processing besides some reverb and a bit of compression and eq here and there.

Looking forward to hearing y’alls compositions!

More on this 300th weekly Disquiet Junto project (3 chords x 100 seconds) at:


More on the Disquiet Junto at:


Subscribe to project announcements here:


Project discussion takes place on llllllll.co:


There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.


This is why I love the junto! Bonkers ideas like this are encouraged! :smiley: