Each Thursday in the Disquiet Junto group on SoundCloud.com and at disquiet.com/junto, 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. 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.
This project was posted around noon, California time, on Thursday, August 11, 2016, with a deadline of 11:59pm wherever you are on Monday, August 15, 2016.
Disquiet Junto Project 0241: Foreground Effect
The Assignment: Compose a piece of music in which the material processed is secondary to the processing.
Please pay particular attention to all the instructions below, in light of SoundCloud closing down its Groups functionality.
Big picture: One thing arising from the end of the Groups functionality is a broad goal, in which an account on SoundCloud is not necessary for Disquiet Junto project participation. We’ll continue to use SoundCloud, but it isn’t required to use SoundCloud. The aspiration is for the Junto to become “platform-agnostic,” which is why using a message forum, such as llllllll.co, as a central place for each project may work well.
And now, on to this week’s project.
Step 1: Consider the following. New music can often involve flipping a perceived hierarchy: between rhythm and melody, between harmonic and melodic development, and between background and foreground, for example. This project involves flipping another perceived hierarchy: between the effect employed and the source audio on which it is employed (for example, between a flanger and a rhythm guitar line, or a gate and a drum kit, or between a filter and a complex waveform).
Step 2: Create an original piece of music in which the effect is the prominent thing heard throughout, while the source audio changes frequently between varied materials. The compositional goal is that the piece still hangs together as a considered whole unto itself.
Five More Important Steps When Your Track Is Done:
Step 1: Per the instructions below, be sure to include the project tag “disquiet0241” 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: This is a new task, if you’ve done a Junto project previously. In this discussion thread at llllllll.co post 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 was posted around noon, California time, on Thursday, August 11, 2016, with a deadline of 11:59pm wherever you are on Monday, August 15, 2016.
Length: The length is up to you. Between two and four minutes seems about right.
Title/Tag: When posting your track, please include “disquiet0241” 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 241st weekly Disquiet Junto project — “Compose a piece of music in which the material processed is secondary to the processing” — at:
used acidrack and pressed the same key over and over again, pressing the random button every so often
i had a heap of fx in ableton - ddly>podfarm2>feed me back>six string ambience>loop slippery
lots of echo, distortion … 6 string ambience mulches things up a bit… loop slippery added that beat
perfect project for me - i’m always adding way too much fx
Here’s my track. I took ‘Amplitude Modulation’ as the effect, and created a patch that cycles through modulating 8 waveforms with 4 different waveforms, and gradually increasing the index at each cycle.
I love effects that sync to a beat in this case I was using multi band gone crazy in guitar rig. I altered the sequencers to taste. I also used camelphat and space and tweaked some fx on those that had the same rhythmic slice to them. I mixed live to one track ,crossfading the two parts that change while mixing. Like to take the opportunity to say i really like breaking away from sound cloud and give props to the guys running the show. I am sure once I get used to format I will like it even more. Sometimes i find myself lost on the threads but I find myself lost quite frequently so no big deal.
The base chord progression here doesn’t really change, and the lead changes just a bit. The arp just goes along with the chords in general. But in this project that’s all supposed to be unimportant, so it just starts off with this base. Then, in jumps one of my fave FX, the time/volume manipulation gate. We begin cycling the gate effect presets (almost as its own instrument) to create some really interesting sub-themes within the song throughout; the conjunction of the lead coming together with these ‘random’ gates allows for a whole range of new exciting lead sounds. The lead itself doesn’t deviate from it’s theme, and most of its notes are actually a measure or over that. Gating creates a lot of interesting combinations, especially when shuttered along the chord progression, which makes it seem quite fresh for most of the song.
Eventually I get bored with the arp and gate it as well, though a bit less. Here I decided to use the equalizer as well and change the sounds at will. I move the peaks around most of the spectrum I can get to.
Not really my type of music but the junto is about experimenting, right? Enjoy!!
The assignment made me think a lot about effects. I don’t usually consider a difference between sources and effects, maybe ‘cause I listened to a lot of dub in my youth: the mixing desk / echo machine as instrument. Also an interesting reference could be this book https://www.amazon.co.uk/Sonic-Experience-Guide-Everyday-Sounds/dp/077352942X which talks about sound effects in everyday acoustic situations and how they affect our lives.
Anyway… this piece is an outtake from an improvisation with a complex patch of effects, too complex to be called a chain. The rhythmic percussion-like sound is a delay line randomly changing its length on a clock. This goes to an impulse-response reverb loaded with metal samples instead of room I.R.’s
That’s why it sounds a bit like a 1980’s metal percussion band - bow gamelan or something. There’s a delay which plays back at half speed and some filters and feedback loops. The input is a tie-clip mic which I put in some seashells, also crumpling paper. this just sets the process off and controls the pitch of the feedback (= the resonance of the shells). Mostly i’m steering the patch by moving the microphone and tweaking the filters. Not so happy about the recording but no time to mess around with it now.
this track is a 'remix of 'likeababy from the upcoming k-blamo ep
the effects used came from this lines thread:
'dfxtransverb, taldub3, and klanghelm mjucjr
a couple mlrv samples - vox and bongos, got mixed in after…
More on this 241st weekly Disquiet Junto project — “Compose a piece of music in which the material processed is secondary to the processing”
Made a short ska/dub piece and copied into six other lanes. Added up to 3 effects in each including reverb, delay, chorus, tape, flanger etc., but also eq’d each one to bring out a different sound. Finally got a nice mix that was recognizable but sounded completely encapsulated by variations of itself. Still looking for just a bit more I ran it through a different chorus while tweaking wet/dry mix and distortion mix live. Then I took this before and after pair and set each in a new channel and automated pan controls to sweep sides for the length of the tracks. Tools including but not limited to Cubasis, Audioshare, Aum, Frobulator, Muckraker, Nebulizer, Swoopster, AUFX:Space, Dedalus, Novation, Duplicate and Zero Chorus…yikes!! It sounds only slightly overworked
I started off with the assumption that maybe if I made an effect that drowned and mangled the sounds with convolution reverb delay and spectral filtering -that I might be able to put any combination of sounds in to such a system and they would all come out sounding almost the same or atleast as if they fitted with each other…So I quickly recorded thirty seconds or so each of the following- a wooden xylophone, a toy piano accordion , a melodica , dropping bits of paper and shuffling around picking things up, and acoustic guitar… it turned out what little ‘musical’ content was in the original recordings still survived to some degree and the wooden xylophone had to be left out but all the other elements apparently fitted into the general wash along with some pitch shifting for good measure too.
I used a simple idea with just two effects for this week’s @disquiet
I began with same simple phrases and then added a basic delay. Next I reversed each of the tracks.
For the mix each track play both forward and backward throughout but I fade between the versions - so tracks A, C and F start at -inf db while B, D and E start at 0db.
At the midway pint the volumes have revered so we are still hearing everything but forward tracks are now backward etc. Then the whole process repeats until we end up where we started.
I hope I got it all right… Anyway here is my submission to “Disquiet Junto Project 0241: Foreground Effect”.
First time I use llllllll.co… Don’t know if I manage to embed a sc-link…?!
Made an patch on my little modular. In the modular I also have a simple sampler… I turned on the radio and sampled some seconds. It’s Swedish, a lady taking with skånsk dialect.
Effects: In my rack I have a reverb Ladik R-330 and I just (how suitably) got an external stomp box, a Zoom MS-70CDR. Almost max reverb on the Ladik reverb and on the Zoom I used “ParticleR” effect. During the recording I wiggled the modular and stomp box. I recorded on a cassette deck first, on an old TDK AD cassette (type 1). Used Dolby C. Then I recorded from cassette deck to computer. All I did in the computer was to apply normalize and fade in and out.
Observe: I used the picture – with lens covers? – and applied some effects to it.
As usual I don’t listen to the other submissions before I have uploaded my own. Makes it much more fun.
Interesting the Zoom reverb also acts as some sort of compressor and limiter. Takes away the dynamics of the modular. Hmmm.
I normalized the track lengths to 3 minutest and then added various fade-ins and fade-outs to the tracks.
The resulting “sonic debris” was then fed into the Rotor effect processor (think Leslie speakers) that comes with Studio One 3 Pro. The exercise was then to gradually suck everything down the vortex and to learn how to automate multiple parameters of the plugin.