Tag: junto

Disquiet Junto Project 0595: Filter Progression

The Assignment: Make music by processing a static sound.

/ By Marc Weidenbaum

Each Thursday in the Disquiet Junto music community, 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 and interest.

Deadline: This project’s deadline is the end of the day Monday, May 29, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, May 25, 2023.

Tracks are added to the SoundCloud playlist for the duration of the project. Additional (non-SoundCloud) tracks appear in the lllllll.co discussion thread.

These following instructions went out to the group’s email list (at tinyletter.com/disquiet-junto).

Disquiet Junto Project 0595: Filter Progression
The Assignment: Make music by processing a static sound.

This project is the second of three that are being done in collaboration with the 2023 Musikfestival Bern, which will be held in Switzerland from September 6 through 10. The topic this year is « √ » — as the organization explains: “the radical, or square root symbol and the power of its symbolism are central to the festival and these will be translated into music in multifarious ways.” All three projects will engage with the work of Éliane Radigue, who is the Composer-in-Residence for the 2023 festival.

We are working at the invitation of Tobias Reber, an early Junto participant, who is in charge of the educational activities of the festival. This is the fifth year in a row that the Junto has collaborated with Musikfestival Bern.

Select recordings resulting from these three Disquiet Junto projects may be played and displayed throughout the festival.

Step 1: Choose a static sound, such as a field recording of a specific place, or a held tone, or a recording of noise.

Step 2: Experiment with animating the static sound selected from Step 1 by slowly, subtly, manually modulating it, using only filter frequency and resonance.

Step 3: Record a track resulting from the techniques you developed in Step 2.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0595” (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 “disquiet0595” (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:

https://llllllll.co/t/disquiet-junto-project-0595-filter-progression/

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 [email protected] 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. Sometimes longer is better.

Deadline: This project’s deadline is the end of the day Monday, May 29, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, May 25, 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 595th weekly Disquiet Junto project, Filter Progression (The Assignment: Make music by processing a static sound), at: https://disquiet.com/0595/

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-0595-filter-progression/

Junto Profile: Darren Bourne (aka halF unusuaL)

From Nottingham, England: ignoring dead ends, composing for dance and theater

/ By Marc Weidenbaum

This Junto Profile is part of an ongoing series of short Q&As that provide some background on various individuals who participate regularly in the online Disquiet Junto music community.

What’s your name? Darren Bourne, halF unusuaL

Where are you located? I’m based in Nottingham, UK, where I was born but moved away soon after, and my formative years were spent on a farm in the Cotswolds until around the age of 5, when the family returned to Nottingham. I’m told I used to sing all the time on the farm, which led to singing in choirs as I grew up. I took up piano and then tuba, which was actually my main instrument until my early 20s, playing in a number of concert bands and small ensembles. 

I spent a number of years in Guildford, Surrey, where I studied on the BMus Hons (Tonmeister) course, after which I landed the job of house engineer at The Lodge Studios in Suffolk — a residential recording facility owned, and often used by, The Enid, who I once played keyboards with at the Hammersmith Odeon — a great experience! I ended up moving to London, working in various studios in the UK and abroad, engineering and programming (using Cubase when it still did only MIDI) on mainly album and singles projects for bands, some of which you may have heard of and some you probably haven’t. 

Eventually I was drawn back to my hometown to take up a more stable role at Nottingham Trent University as a technician in sound, which then led into teaching. I haven’t played tuba for years, but now play bass guitar to satisfy my love of the lower end of the spectrum! I even made my own bass guitar, which you see the head of in the accompanying image.

What is your musical activity? My musical activity goes back as far as I can remember and in many ways revolves around a search for sounds I’ve not heard before — kind of a “lost chord” thing. I remember hearing Rick Wakeman’s Rhapsodies album, which blew me away in terms of pointing to what might be possible with synthesizers and studio wizardry. My own “studio set up” consisted of an old Elgam organ and a little later an Octave Cat monosynth (well, kind of duo-synth), and I teamed up with a guitarist friend to experiment with sound. Later still things “took off” with a Tascam 244 Portastudio, when I could start to create things a little more like the Tangerine Dream, Kraftwerk, Gary Numan, and Japan, etc. I was listening to, by that time — alongside Stockhausen, Varèse, Cage, and Eno, all of whom helped feed my inner philosophico-musical geek!

Still later, my gear list incorporated a Boss DR-110 drum machine and Casio CZ-101 phase distortion multitimbral synth … the sky was (obviously) the limit!

Many years later, I’m still obsessed with creating new sonic spaces, and technology is now available — hardware and software — that makes it a very exciting time to be involved in sound and music making. I like to engage with the Disquiet Junto weekly challenges as often as I can; similarly for the weekly haiku challenge from Naviar Records. I played a set as part of a live gig for Naviar a few years back in London and I tend to work a lot in collaboration, creating sound for other projects. To give a flavour, I’ve most recently been involved in creating the sonic backing for a text-based speech piece and also for a guided meditation for sleep. So, as well as more traditional music creation — and you’ll find various bits out there — some of my work is reasonably hidden.  For example, I’ve created soundscapes for the (very) contemporary Bodies in Flight theatre company and also Sakoba Dance Company as well as various short art film and even commercial video soundtrack work over the years. I tend to get involved with projects that sound like they will be interesting … 

What is one good musical habit? I think my early battles with a very technologically limited setup taught me to see what things were capable of if you push them beyond what they’re supposed to do. For example, I butchered the little spring reverb from the Elgam organ to open up more FX possibilities, much to my parents’ dismay at the time; I think they thought I was going to electrocute myself … and thankfully I managed not to! So, I guess my “good musical habit” is to follow things through: Keep going, even if it feels like a dead end. Blind alleys often seem to open up into cool and unexpected sonic spaces … eventually!

What are your online locations? I spend most of my time on SoundCloud and Bandcamp, but more recently I’ve been playing with visuals and taking a little more interest in YouTube. Please subscribe! ;-) Also Instagram, Facebook, and Twitter.

What was a particularly meaningful Junto project? It’s so difficult to choose only one of the Disquiet tracks! Many have something a little special for me; I counted around 150 halF unusuaL Junto tracks to date, but that’s based on a SoundCloud search, so there may well be more … 

One that sticks in my mind is actually a terrible piece of “music” from around four years ago, but it captured a unique moment. It was the 340th brief, which was to “record a piece of music entirely on the go.” I happened to be at the coast that weekend, so I decided to record some sea sounds and just left my recorder going as I walked along the beach … At one point I needed to take a leak (!), so I found a secluded sand dune to do so. Suddenly, a little furry animal appeared out of nowhere, presumably to see what all the running water noise was about! I think we were as surprised as each other … It was a perfect “haiku moment” — and what’s more, captured in sound on the recorder, so that became the contribution to that week’s brief as it was. At the time, I really liked that it took so little “effort” but a whole tonne of coincidence to manifest. At around 30 seconds you can just hear my surprised, “Woah, what are you?!” above the noise of the sea, etc. It’s always stuck with me as a special moment — I guess you had to be there! 

In working at a school, have you discovered interesting generational differences? There’s a lot to say about this, but very briefly, one key difference is the cognitive “scaffolding” available to different generations. It’s less usual, for example, for colleges to resource explorations in tape editing — I remember having great fun with chinagraph pencils, razor blades, and recordings on tape, and there was something really fascinating and rewarding about engaging with sound (as audio) as a physical medium. That bodily experience enabled a particular way of understanding how sound “works” as well as leading to distinctive creative results. On a similar note, my time working in studios called for knowledge and skill in lining up analogue tape machines as well as often having to work within the limitations of 24 tracks. The need to line up a tape machine is now rare and modern digital systems allow practically limitless tracks, depending on available processing power.

This isn’t necessarily good or bad, it’s just different. It basically means that different generations are thinking sound differently, which leads in different directions.

Do you feel that the music you record for theater and dance is “listenable to” on its own, or does it work almost solely in the context of the intended performance? This is a huge question and, again, I’ll give a couple of headline thoughts. My view is that soundtrack work can stand apart from its intended context but it changes in the process of divorcing it. In my view, all music is “listenable to,” but people can choose not to listen, for very many reasons. The missing piece in any music or sound work is the listener, and it’s pretty much impossible to know how a piece will land when creating it. A theatre or dance piece in some sense reduces that abstraction and lends meaning to the soundtrack — so, whilst the soundtrack often plays a supporting or more subservient role, it’s enabled by the context to play a particular role in the whole. Out of that context, interpretations, opinions and tastes can proliferate again. Hope that makes sense!

Disquiet Junto Project 0594: Threemix

The Assignment: Remix an asynchronously produced trio.

/ By Marc Weidenbaum

Each Thursday in the Disquiet Junto music community, 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 and interest.

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.

Tracks are added to the SoundCloud playlist for the duration of the project. Additional (non-SoundCloud) tracks appear in the lllllll.co discussion thread.

These following instructions went out to the group’s email list (at tinyletter.com/disquiet-junto).

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:

https://llllllll.co/t/disquiet-junto-project-0593-the-charm/

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0593

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:

https://llllllll.co/t/disquiet-junto-project-0591-the-loneliest-number/

https://llllllll.co/t/disquiet-junto-project-0592-better-than-one/

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:

https://llllllll.co/t/disquiet-junto-project-0594-threemix/

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 [email protected] 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/

Junto Profile: Kel Smith (aka Suss Müsik)

From Pennsylvania: handmade electroacoustic instrumentation; reducing complexity

/ By Marc Weidenbaum

This Junto Profile is part of an ongoing series of short Q&As that provide some background on various individuals who participate regularly in the online Disquiet Junto music community.

What’s your name? My name is Kel Smith, although I’m better known among Disquiet Junto participants as Suss Müsik. The project started in 2016 as a vehicle to create what I then called “post-classical ambient minimalism for crepuscular airports.” I also record in a music project called Egret Zero, collaborating with the very talented guitarist Wm. Wolfgang Allen. As midlife crises go, making strange music is deeply satisfying and relatively benign.

Where are you located? I currently live with Mrs. Suss Müsik in Pennsylvania (USA), located between Philadelphia and New York City. I once lived in Baltimore, went to art school in Italy, got married in Greece, and from 2007 through 2018 traveled extensively for work. (This is how I gained my expertise in crepuscular airports).

What is your musical activity? In a recent piece on CKRL, roughly translated from French, I was described as a sound artist “with a mind haunted by the numbers.” That’s about as good a description of Suss Müsik as I’ve ever heard or read.

I’ve always been fascinated by the relationship between machines and human capability. In a way, Suss Müsik is the distant product of research I conducted for a book I wrote in 2013 called Digital Outcasts. My work at that time detailed the historical significance of disability on today’s design innovation. During the period of writing this book, I interviewed subjects with disabilities who achieved a high level of acclimation using tools they personally designed or retrofitted.

Looking back, I now recognize the inevitability that these influences would have in formulating my creative practice — especially a sonic discipline that blends science and art. Much of Suss Müsik’s output is generated by handmade electroacoustic instrumentation. Some devices are built from archaic consumer technologies (like 1990’s hard drive enclosures), while others are custom-designed and manufactured via 3D-printing or other methods.

Conceptually, I enjoy the ironic duality that results when limits are extended and redefined: the reclamation of outdated machines being repurposed for a new use, for example, or the digital replication of sonic behaviors native to acoustic instruments (such as when we hear breath through a flute or the abrasive scrape of a violin bow). A large component of Suss Müsik’s aesthetic lies in the existent tension between these formative states.

As my mechanical skills have grown, the devices have gradually become more consistently reliable in performance. Similarly, I’d like to think that my compositional techniques have grown sharper. The current version of Suss Müsik is less ambient and more minimal in parts, yet still crepuscular.

What is one good musical habit? Astrophysicist Neil deGrasse Tyson once said: “I am driven by two main philosophies: know more today about the world than I knew yesterday, and lessen the suffering of others. You’d be surprised how far that gets you.”

I think it’s important to consciously expose ourselves to new ideas, new philosophies, new ways of working, and new forms of sonic expression. At the height of Suss Müsik’s ambient phase, I started taking djembe lessons. One wouldn’t necessarily imagine African drumming as being in the same family as ambient soundscapes, but both musical disciplines address the corporeal body as a conduit; a vehicle through which our understanding of time and space can be temporarily suspended. There’s always a richness to be uncovered whenever we explore new things, even if the benefit is revealed in the form of a happy surprise.

Participating in the Disquiet Junto has been a genuinely rewarding experience. I’m thankful to be a part of this network of talented individuals, many of whom have provided sincere encouragement that has elevated my practice. Somewhere along the path of my 160+ Junto projects, I feel I’ve learned a bit about making creative choices within a timestamp of four minutes.

More important, though, is the opportunity to return the favor with Junto participants via weekly projects or the Disquiet Slack channel. It takes zero effort to offer a bit of positive feedback, yet the impact can be transformative. It’s as if we have this safe, secret little snow-globe of creative energy that crosses geographic and demographic boundaries—a bit of stability, perhaps, in times of turbulence. As I’ve grown old(er), I’ve learned to appreciate that dynamic and avoid taking it for granted.

One technical item (and I’m sure everyone already knows this): it took me way too long to discover the importance of a good set of headphones. For too long, I could never figure out why my mixes sounded so tinny compared to everything else I heard. I recommend the Audio Technica brand.

What are your online locations? To date, the Suss Müsik discography features eight proper “albums” and a handful of EP-length releases. Some of it makes me wince today, especially the way they were recorded, but I accept that as part of my learning journey. More than a few Junto projects have been reworked for release; in fact, one album titled Ex Post Facto is nearly all former Junto offerings. All Suss Müsik releases are available in the usual places: Bandcamp, Spotify, etc. The latest (and arguably best) is New Hopes, released in 2022.

There is a Suss Müsik website that I don’t update nearly as often as I should. People do find me via the contact form, so I suppose it must be doing its job. A number of Junto participants have indicated that they enjoy the written texts that accompany Suss Müsik contributions, so it’s nice to have them all in one place as a sort of archive.

Egret Zero releases are also available on Bandcamp. My favorite is Exploring Shackleton, mostly because it has a photo of my grandfather on the cover and got a nice review.

Soundcloud is sort of the Suss Müsik sandbox: Junto projects, failed experiments, etc. I’ve been considering some form of exit, but for now it’s still in the portfolio.

For those who enjoy seeing digital instruments pushed beyond the precipice of functionality, Suss Müsik offers a YouTube channel and an Instagram presence.

I’ve long since given up on Facebook and Twitter as vehicles for omphaloskepsis.

What was a particularly meaningful Junto Project? I love all my sonic children, but not equally. I have a soft spot for Junto 0247, because it was my first. I still fondly remember how surprised and delighted I was upon receiving a positive response. I also really like my contribution for Junto 0334, mostly because the text I wrote for it actually happened (more or less), and I recall Junto 0320 being a particularly fun assignment. But if I had to pick just one, it would be a sentimental favorite: Junto 0454, a numerically encoded tribute to my then-five-year-old niece.

Your mention of a good pair of headphones suggests a question, which is what advice do you have for people looking to listen back to their own music more critically? Listening back to some old Suss Müsik recordings, I’m often dismayed at how busy a lot of them sound. There were good ideas in there, but they were buried in excessive instrumentation (you know your mixes are too thick when you have a track for “tambourine #3”) and effects (reverb-erb-erb-erb). Sometimes we have to examine our work critically in order to fairly assess it, and for that it means removing the clutter. I’ve subsequently imposed limits on myself when reworking old material, allowing more dry space to let things breathe a bit. I believe this intention to reduce complexity has been a benefit to my overall creative practice. Whenever something doesn’t seem to be working, I always ask myself: “What doesn’t need to be here? What can be removed?”

People don’t act on the invitation to provide feedback as often as they might. Do you have any advice for people who are hesitant to do so? It’s a tricky dynamic I’ve observed in my non-Suss Müsik world as well: there are always one or two contributors who have no hesitation in providing feedback, and others who choose to be more passive. I believe these tendencies are the result of the confidence heuristic, a psychology term to describe how people are more willing to provide feedback when they feel their contributions are assertive or persuasive. I think the most important thing to remember is that it’s okay to be selective in how or when we offer feedback; sometimes people simply don’t feel up to it, and that’s fine. For those who have a tentative yearning to be part of the discussion, I’d say: use your reticence as a strength. Be sincere, be constructive, be open to dialogue. And for those who receive feedback, always remember this: even if you don’t agree, there may be a finer point in there worth investigating. It’s all subjective anyway, so be nice. As Pere Ubu’s David Thomas once wrote: “Artists can produce anything they want. And people can like whatever they want. That’s why there’s always disappointment on both sides.”

Disquiet Junto Project 0593: The Charm

The Assignment: Complete an asynchronous trio begun by two other musicians.

/ By Marc Weidenbaum

Project-Specific Note: You may contribute more than one track this week. Usually Junto projects have a one-track-per-participant limit. This week you can do a second one. Please see additional details in Step 5 below.

Answer to Frequent Question: You don’t need to have uploaded a duet in last week’s project to participate in this week’s third phase of the trio sequence.

Each Thursday in the Disquiet Junto music community, 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 and interest.

Deadline: This project’s deadline is the end of the day Monday, May 15, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, May 11, 2023.

Tracks are added to the SoundCloud playlist for the duration of the project. Additional (non-SoundCloud) tracks appear in the lllllll.co discussion thread.

These following instructions went out to the group’s email list (at tinyletter.com/disquiet-junto).

Disquiet Junto Project 0593: The Charm
The Assignment: Record the second third of an asynchronous trio.

Please note: While this is the third part of a three-part project sequence, you can participate in one, two, or all three of the parts, which have occurred over the course of three consecutive weeks. 

Step 1: This week’s Disquiet Junto project is the third in a sequence that encourages and rewards asynchronous collaboration. This week you will be adding music to a pre-existing track, which you will source from the previous week’s Junto project (disquiet.com/0592). Note that you are finishing a trio: you’re creating the third part of what two previous musicians began. Please keep this in mind.

Step 2: The plan is for you to record an original piece of music, on any instrumentation of your choice, as a complement to a pre-existing track. First, however, you must select the piece of music to which you will be adding your own music. There are tracks by numerous musicians to choose from. The majority are in this playlist:

And additional tracks may appear in the discussion:

https://llllllll.co/t/disquiet-junto-project-0592-better-than-one/

(Note that it’s possible another track or two will pop up in or disappear from that playlist and discussion. Things are fluid on the internet.)

To select a track, you can listen through all those and choose one, or simply look around and select, or you can come up with a random approach to sifting through them.

Note: It’s fine if more than one person uses the same original duet track as the basis for their trio.

It is strongly encouraged that you look through the above discussion on the Lines forum, because many tracks include additional contextual information there.

Step 3: Record a piece of music, roughly the length of the piece of music you selected in Step 2. Your track should complement the piece from Step 2, and it should be placed dead center between the left and right stereo channels. When composing and recording your part, do not alter the original piece of music at all. To be clear: the track you upload won’t be your piece of music alone; it will be a combination of the track from Step 2 and yours.

Step 4: Also be sure, when done, to make the finished track downloadable, because it may be used by someone else in a subsequent Junto project.

Step 5: As with last week, you can contribute more than one track this week. You can do up to two total. If you choose to do a second, you should preferably try to use a duet track that no one else has used yet. The goal is for many as people as possible to benefit from the experience of being part of an asynchronous collaboration. After a lot of detailed instruction, that is the spirit of this project.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0593” (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 “disquiet0593” (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:

https://llllllll.co/t/disquiet-junto-project-0593-the-charm/

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 [email protected] 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. Stick to close the length of the track yours adds to.

Deadline: This project’s deadline is the end of the day Monday, May 15, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, May 11, 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 593rd weekly Disquiet Junto project, The Charm (The Assignment: Complete an asynchronous trio begun by two other musicians), at: https://disquiet.com/0593/

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-0593-the-charm/