Foreground Effect (Disquiet Junto Project 0241)

this is ¶radio hummingbird’s contribution to this week’s disquiet junto with the serial number 0241. in short, the requirement for this contribution was to record a piece of music in which the material processed is secondary to the processing.

this piece has been created using a looped singing wine glass “played” at three different tone levels which is then routed through various channels of ¶radio hummingbird’s modular synth travel kit. no other gear has been used and the only post-processing applied was LANDR for mastering the recording.

enhance your listening experience by using headphones and enjoy what you hear. thank you.


Worked perfectly. It’s looking good here on, and it popped up on SoundCloud with the tag.

:+1: Great! It was simple. Hope this forum works.
STBB have their own site an SPBB ( have their (but I have sold my SP-404…).

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great prompt. here’s my jam. every track is routed through a lowpass filter on the master bus, with the filter frequency sidechained to a (silent) gate pattern.

some awesome tracks already here…great work everyone!


Sadly my track doesnt seem to have been added to the Soundcloud playlist.

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Strange, I can see it in the preview, but not when posted, just greyed out… anyone else have this problem with the SC player in Firefox?

That’s been fixed. I’d added the track to the incorrect playlist initially.

The effect - Altiverb reverb (St Alain de Lavaur - modified).
Sounds - various violin sounds - plucked strings, bow scrapes, taps, recorded in Logic.
Sounds arranged on several tracks, each with the same reverb inline. Tracks bounced, and then the actual sounds edited out, leaving only the reverb tails. Then a bit of rearranging.
Very quiet piece - you might need headphones.

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It’s showing fine in Firefox on my MacBook Air:

Here’s what I wrote in the Slack group. Thought I’d add it here as I’m not sure just how much crossover there is at the moment…
Pretty much all of my pieces are placed in one of a few Altiverb patches, so it’s interesting to foreground the effect for a change. Also, the very first time stretching piece i made (using SoundMagic _many _many years ago) was based on a very stretched and filtered reverb tail. It made a good sound source for me due to all the tiny irregularities in reverb, which produced a wonderful slight random “wobbling” in the sound (which itself was in part in reaction to the extreme steadiness in the synth sounds that I was otherwise using at the time).

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I did three pieces, here on this playlist:

The first piece I finished, “Beatings per Minute”, was a spillover from last week.

I was had been thinking about how a drone would morph into a more melodic piece, and while drifting off to sleep one night I realized that almost anything played fast enough sounds like a drone.

I use Renoise as my DAW. The BPM can be set as high as 999, so I planned on having a track start at 999 BPM, and then bring the beat down. At some point, as the BPM got closer to my target (134) I was going to fade in the other tracks.

As often happens I got wrapped up in how to make that work. I was able to map a MIDI rotary controller to the BPM parameter (and some other rotaries to track gain devices) but I wasn’t getting the transition curve I wanted. The deadline for that Junto came and went, but I did finally get some scripting in place that allowed for an exponential curve on the rotary mapping such that higher rotary values transitioned faster than lower values.

Along comes the next Junto, and I figure since I already have an effect (rapidly dropping BPM) I would use that. I generated some samples of a few notes and repeating motifs shifting in BPM, then used those to create “Beatings per Minute.”

(One of my causal “rules” about the Junto is to not get too hung up on things, try to work fast, follow some impulses, be kind of lazy and see where it leads. Then, if something looks interesting, I might develop it more some time in the future.)

Later, though, I felt that there was still too much emphasis on a deliberately musical (i.e. melodic) aspect. The effect was there but not front and center. I felt I had side-stepped the intent of the Junto.

Time for a second piece. This time I picked a simple effect: delay. I grabbed a voice sample and looped it over a simple beat. As the piece progressed I added more delay. There are four delay devices on the vocal track, and their send and feedback values increase over time. Thus “Echo Chamber - Dogs of War”

There’s a sort of Lucier “I am sitting in a room” vibe to it.

Of course, the presence of that beat, simple as it is (kick drum, and a high-hat with some phasing) again pushes the “foreground effect” more to a “mid-ground effect”. So I rendered that same track but without the percussion.

It’s a really simple piece, and it has me thinking about how to write a tool for Renoise that would automate the creation of such pieces. Provide a sample, select a single effects device, and have the tool generate the automation to increase effects as the song progresses. It’s not quite that simple in practice; I started adding compression devices to the effects chain in m piece because the cumulative delay was pushing the volume too high. A script-driven tool might need to do something similar.

Or not, and just let it get loud.

For this Junto, I employed delays on every individual track within the composition.

This is my first attempt at publishing to YouTube for the Junto.

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Thank Marc - must be some arcane setting on my creaky old pc. Cheers :slight_smile:

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Just put a track up My track comment explores differences between headphone and laptop speaker after using Valhalla Uber 1.1 effect.

strange - a component toward the bass frequencies is missing on headphones (mac/pc soundcloud, and native). ‘normalized’ coming out of ableton live.

finally shifted the ‘pumper’ under pattern several db higher, to examine.
My expectation was that this under track would pump and boost the effect, in this Case, Valhalla Uber. The ‘dispersion’ of audio should demonstrate a persistent over cast of noise from the energy of the content underneath. My adjustment of pumper level exposed the underlying element which was obscured in the original upload, although the changes of dispersion noise were still apparent.

one element of this track is formed with monophonic audio from a Moog Sub-37 using “trill pickles preset” 7-10. The second element uses the midi from the Sub-37 to drive Izotope Iris using the preset “Glass Flippers”. the levels of the two tracks were matched to mask their seperate sources.

melody line was improvised in one pass.

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couldnt make a tag disquiet0241 in the current sound cloud.

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Thanks. The tag in the track title is sufficient. Something is odd on SoundCloud right now. I don’t see tags on tracks aside from the primary tag.

I recorded this on my iPad while on a flight to Houston this past
Thursday to retrieve my older son from his summer internship. I used
iDensity and Sliver with an ambient recording taken inside the plane as
my primary source material. After a 24 hour drive back from Houston, I
took a nap and finished the track in Ableton.

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This has layers of performed effects. The only performed instrument is clarinet.

Clarinet -> small interview mic -> isms system -> guitar pedals -> Ableton

The clarinet was played while monitoring the effects. The modular system had various syncopated low pass gates driving the beat (no input) and giving rhythm to the clarinet’s long held notes with some reverb tank action. this was routed into two separate guitar pedal chains.

  1. Thunderbolt drive -> El Capistan -> Big Sky (magneto)
  2. Deco -> Big Sky (magneto)

Lots of tape emulation! no tape lolz…

After recording to tracks, I used the Ableton Push to play effects. I split tracks out with a ton of vintage compression to tease out the electronics noises and put that through Resonator. I played the resonator by fading the different resonant frequencies and recorded that. Then I added a some panning LFO’s. Lastly I took a master track and used Frequency Shifter with lots of LFO’s controlling things slowly along with an EP-34 emulation (more!). I played the shifter and the tape echo in one more pass. Then I mixed all tracks together with EQ, compression and what not.

It’s pretty fun to play effects.

Thank you @disquiet for the great ideas :smile_cat:


Camaldoli Bell
Disquiet Junto Project 0241: Foreground Effect
The Assignment: Compose a piece of music in which the material processed is secondary to the processing.

Sound source is the church bell at New Camaldoli Hermitage in Big Sur, California. The bell is rung 4 times a day (sometimes more) calling the monks to prayer.

For the effect I used a module in Cecilia called “Particle”. I set the audio file duration quite long, stretching the sound, slowing the bell sounds and giving it a bit of drone effect.

I ran the source file through several times keeping the settings unchanged except for the source duration and transposition. I tried a lot of transpositions but eventually chose ones that were roughly harmonic.

The bell plays for one minute then the effect continues alone for another minute.

Bell recorded with a Zoom H5 on July 11, 2016 at New Camaldoli Hermitage in Big Sur California. Processed with Cecilia 5 and edited with Audacity.


This track is a submission in the Disquiet Junto Project 0241. I chose a recognizable track (Diana Ross’s “Upside Down”) as the foreground upon which to put the background. Which in this case is a drum track made on a BeatStep Pro with the song’s audio feed going through the inputs of an old Electribe ER-1.

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