New Disquietude podcast episode: music by Lesley Flanigan, Dave Seidel, KMRU, Celia Hollander, and John Hooper; interview with Flanigan; commentary; short essay on reading waveforms. • F.A.Q.Key Tags: #saw2for33third, #field-recording, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

Listening to art. Playing with audio. Sounding out technology. Composing in code. Rewinding the soundscape.

Monthly Archives: May 2020

Disquiet Junto Project 0439: Hybrid Self

The Assignment: Compose music combining the styles of two musicians you admire.

Each Thursday in the Disquiet Junto group, 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 Monday, June 1, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, May 28, 2020.

Tracks will be added to the playlist for the duration of the project.

These are the instructions that went out to the group’s email list (at

Disquiet Junto Project 0439: Self Less
The Assignment: Compose music combining the styles of two musicians you admire.

Step 1: Think of two musicians, preferably ones with different styles, whose music you admire.

Step 2: Consider ways elements from both musicians might be combined. Elements doesn’t mean copyrighted material. It is intended to mean stylistic. (Yes, recent legal decisions have, shall we say, blurred these lines. Try to put that thought aside.)

Step 3: Compose a piece of music exploring the combination (the grafting, the hybridization) of styles you considered in Step 2.

Step 4: You may when posting your track elect to identify the musicians that served as inspiration, or you may choose to keep it to yourself.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0439” (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 “disquiet0439” (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 tracks in the following discussion thread at

Step 5: Annotate your tracks 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.

Additional Details:

Deadline: This project’s deadline is Monday, June 1, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, May 28, 2020.

Length: The length is up to you. This may be the rare circumstance when longer is better.

Title/Tag: When posting your tracks, please include “disquiet0439” in the title of the tracks, and where applicable (on SoundCloud, for example) as a tag.

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: Given the nature of this particular project sequence, it is 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 439th weekly Disquiet Junto project, Disquiet Junto Project 0439: Hybrid Self — The Assignment: Compose music combining the styles of two musicians you admire — at:

More on the Disquiet Junto at:

Subscribe to project announcements here:

Project discussion takes place on

There’s also a Disquiet Junto Slack. Send your email address to for Slack inclusion.

Image associated with this track is from Vega A, used thanks to a Creative Commons license and Flickr. The image has been cropped, colors shifted, and text added.

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Face Lift

Face plate, that is

This isn’t an ornamental choice. The black face plate will allow me to put the silver-faced module horizontal (rather than vertical) into a new, small modular synthesizer case (the one seen in the video I posted two days ago).

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The Generative Tuba

The glorious web video series of id m theft able

There’s a running series on the YouTube channel of user “id m theft able” that is one of my current favorite things on the internet. (I put quotes around that name simply so it’s clear where the name begins and where it ends, and also so it’s clear that the sentence constructed around the name isn’t disintegrating as you read it.) Each of the user’s videos in this series places a tuba somewhere, “with a microphone in it,” as the description always points out.

We then hear both the sound of where the tuba has been placed — along a river bank, adjacent to a waterfall, in the wind and rain, in the snow — and that sound echoing inside of (tracing the contours of, limning the deep recesses of) the tuba itself.

The footage generally runs, uncut, for about an hour. Which is to say, it doesn’t blink. YouTube is filled with nature footage. And if you spend time in the realm of ambient electronic music, there’s a lot that’s shot of battery-powered setups out in the wild. But the generative tuba is the rare drone music video that is, truly (an oft misused term), of nature.

There are 11 videos thus far:

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Time with the Mux

Up and away

This is the rear of another module I’ve enjoyed but am putting back into the pool. It’s the Befaco Muxlicer, and in many ways it did exactly what I wanted, sorting through variations, treating disparate elements as equals. But I’m going to try some other approaches to the same end, and see what comes of it. I may end up with one of these again down the road, but for the time being I’m keeping my setup fairly compact. Before sending it off, I wanted to capture its beautiful printed circuit board.

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Disquiet Junto Silent Film Project (2020)

A non-weekly offshoot of the communcal music prompt series

I’m writing about an upcoming project, a special one that will be apart from our regular weekly undertakings.

It’s been on my mind to do a non-weekly Disquiet Junto community project for a long time — not for all 438 weeks of the Junto’s existence, but several years. I’ve had some such projects in the planning stages, but time is always tight, and there are a lot of factors to balance.

A Junto member, Robert Precht, got in touch recently with the proposal that Junto participants each score a part of a silent film. It was an excellent idea, and one that naturally suggested itself to being applicable in a longer time span than our normal four-day window.

Details are still being fine-tuned, including which film it will be (we’ll do something from the public domain). If you’re interested in participating, please fill out the following form. Expressing interest at this stage isn’t a commitment. Once the project begins, you’ll have a roughly month to complete your part of the project.

It’s a Google form. If for some reason you don’t want to use the form, just email me at [email protected] expressing your interest. Thanks.

Three creative constraints are noted in the sign-up form:

  1. No copyrighted sound (that is, copyrighted by anyone other than the individual participant) can be used in this project

  2. No intelligible vocals can be used in this project (keeping true to the film’s silent origin).

  3. Each individual (or act, collective, band, etc.) can only contribute one track to this project.

Once the number of participants has been set, the film will be divided into sections for the individuals to score. The length of these segments will, of course, vary to some degree. Source audio may be provided for continuity. That’s still being discussed, as are other details.

Thanks very much for your interest, and, as always, for your generosity with your time and creativity.

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