i let supercollider shuffle the cards again and again and when i like it, it gets stashed in memory. then i hit record and pull things out of memory, kicking and screaming, one by one.

http://sccode.org/1-4Rs 
________

Bird: http://www.freesound.org/people/keweldog/sounds/184870 
Kitten: http://www.freesound.org/people/Kyster/sounds/82274 
Pig: http://www.freesound.org/people/confusion_music/sounds/103421 

Thanks to keweldog, Kyster and confusion_music & freesound.org! 
(read that out loud a couple times: keweldog, Kyster and confusion_music.)
__________

<i>This project begins October 17, 2013, and ends October 21, 2013:  </i>

<b>Disquiet Junto Project 0094: Naturalist Trio  </b>

Combine the [..] three field recordings of animals into an unlikely vocal trio

You can manipulate the sounds as you see fit, but at some point in the finished piece each sound should be recognizable by its source material. You may not add external sound sources.  

More on this 94th Disquiet Junto project, in which the sound of three animals is combined into an unlikely vocal trio, at: http://disquiet.com/2013/10/17/disquiet0094-naturalisttrio

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info



canine in time [disquiet0094-naturalisttrio]

PROCESS
A loose adventure in nested loops. There are a few drones (each 1 note) underneath respective two, three, four, five and six note loops. the main section consists of the two note and six note loop played together with some variation, looped six times. Everything else fades in and out.

Like memories.

I own a matryoshka as a result of a trip to Russia I took in 1985. In the course of that journey, I acted as a teenage cold war secret agent, carrying cultural and religious documents and artifacts behind the then-iron curtain. This track has nothing and everything to do with looking back on that adventure. As a bonus read, here's how my trip as a "Spring Break Spy" began:
http://westyreflector.net/2013/01/customs-playboy/

So xclnt to be contributing to the junto again.

:^D

RIG
Fabien (a Peekamoose Custom M2 by http://peekamoose.com), EHX SuperEgo, Diamond Tremolo, EQD Grand Orbiter, EQD Afterneath, Strymon blueSky, Pigtronix Infinity Looper, Fender Blackface emulator (Line6 POD-XT), Sony Acid Pro 7, Windows 8

----------------------------------------------
More on this 180th Disquiet Junto project — “Use the Russian nesting dolls as a model for a musical composition” — at:
http://disquiet.com/2015/06/11/disquiet0180-matryoshkamusic/

More on the Disquiet Junto at:
http://disquiet.com/junto/

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/

Upon A Child's Doll Reflection  [disquiet0180-matryoshkamusic]

there was a huge double rainbow yesterday (one of the layers in the image) and i wanted to represent the blurred colours/layers in this track with lots of echo delay reverb.
i rolled a 4 for 4 minutes length. i rolled a 6, 1  so 7 sections. and a 3 for 3 layers.

one layer was guitar. i played the guitar with one hand while rolling the dice with another, playing the notes that i just rolled. if i rolled the same number then i'd switch to plucking both strings simultaneously. 
layer 2: i turned layer 1 into midi with amazingmidi and pulled that into live using a concert strings instrument and more fx
layer 3: pulled layer 1 into the mangle and let that run for 4 minutes then blurred that into itself.

in the last minute it kind of resolved itself - i kept rolling ones, sixes and fours. this was meant to be a demo practice to see if it worked (i was gonna change the tuning) but i liked how it turned out. kind of ignored the sections, but just had it in mind to change the playing a bit every 30-40 seconds so there'd be about 7 sections

⚀⚁⚂⚃⚄⚅⚀⚁⚂⚃⚄⚅⚀⚁⚂⚃⚄⚅⚀⚁⚂⚃⚄⚅⚀⚁⚂⚃⚄⚅⚀⚁⚂⚃⚄⚅⚀⚁⚂⚃⚄
Create a piece of music based on a structure determined by the roll of a single die.

This week’s project requires one die (that is, singular of dice).

These are the steps:

Step 1: Roll one die to determine the length of your piece in minutes.

Step 2: Roll two dice to determine the number of sections to your piece. Their length should be equal.

Step 3: For each section roll one die to determine the number of layers.

Step 4: For each layer roll one die to determine the number of different notes played. A note is only played once per layer, but it can be held for as long as desired within that section.

Step 5: Bonus: Create additional dice-based rules and mention them in the notes associated with your finished track.

Step 6: Create an original piece of music based on the result of Step 1 through Step 5.

Step 7: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 8: Annotate your track with a brief explanation of your approach and process.

Step 9: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in the early evening, California time, on Thursday, June 30, 2016, with a deadline of 11:59pm wherever you are on Monday, July 4, 2016.

Upload: Please when posting your track on SoundCloud, only upload one track for this project, 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.

More on this 235th weekly Disquiet Junto project — “Create a piece of music based on a structure determined by the roll of a single die” — at:

http://disquiet.com/0235/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Disquiet Junto general discussion takes place on a Slack (send your email address to twitter.com/disquiet for inclusion) and at this URL:

http://disquiet.com/forums/

double rainbow (disquiet0235)

As per instructions I rolled a die 6 times, added the results up, and subtracted 5 = 19.  The tweet I received "Warped picture of restaurant taken through a wine glass".  I thought that was a pretty intriguing title.. and it definitely gave me plenty to work with.  Then I rolled the die two more times for a total of 7, and subtracted 1 = 6.  The filter being "Toaster" which darkens the corners and brightens the center, I'm guessing like a piece of toast..?  

I took a somewhat literal route by starting out with a field recording of a restaurant.  I vocoded that source down to a few notes (later adding in some bass tones which were pitched down), and then created a hazy bed also out of the source material.  Then, reminded of the blackened corners of the filter I occasionally tweaked the dry/wet dial of the vocoded source to let a bit of the original blast through to the reverbed effects sends.  And that's the whole of it.

Sample thanks to freesound user Joshun: http://www.freesound.org/people/Joshun/sounds/171821/

Gear: Ableton Live 8

More on this 61st Disquiet Junto project at:

http://disquiet.com/2013/02/28/disquiet0061-textinstagrambient

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Warped picture of restaurant taken through a wine glass [disquiet0061-textinstagrambient]

Current Assignment:
Disquiet Junto Project 0062: Life of Sine

This week’s project involves making music from the basic building block of sound: the sine wave.

You will compose and record a piece of music using just three different sine waves, and nothing else — well, nothing else in terms of source material, but the waves can, after the piece has gotten underway, be transformed by any means you choose.

These are the steps:

Step 1: Devise which three sine waves you will employ. They should be different from each other in some evident way.

Step 2: The track should open with just one of the sine waves.

Step 3: Add the second sine wave at 5 seconds.

Step 4: Add the third sine wave at 10 seconds.

Step 4: Only at 15 seconds should you begin to in any way manipulate any of the source waves.

Frequencies Used: 125Hz, 237Hz, 1012Hz

My Process:
Coding up something quickly in Supercollider on lunch break and did final adjustments at home.  I decided to see how much I could get out of the sound of just the three sines without any effects.  The click is created by purposely cutting the waveform at non-zero crossings.  Every other sound is made from adding or multiplying the three sines.

Source Code:
/*NOTE: I have not bothered to clean this code up after writing it.  Don't take it as a good example ;) */

(
fork{
	var pat = ();

	SynthDef(\addOfSine, {
		|
		out = 0, gate = 1, amp = 1, doneHandlerLength = 10,
		freq0 = 125, phase0 = 0, amp0 = 1, attack0 = 0.1, decay0 = 0.1, sustain0 = 0.5, release0 = 0.3, pan0 = 0,
		freq1 = 237, phase1 = 0, amp1 = 1, attack1 = 0.1, decay1 = 0.1, sustain1 = 0.5, release1 = 0.3, pan1 = 0,
		freq2 = 1012, phase2 = 0, amp2 = 1, attack2 = 0.1, decay2 = 0.1, sustain2 = 0.5, release2 = 0.3, pan2 = 0
		|
		var doneHandler = Linen.kr(gate, 0, 1, doneHandlerLength, doneAction:5); //This guy is just here to handle the doneAction
		var sine = [//Div by 3 to avoid clipping
			Pan2.ar(SinOsc.ar(freq0, phase0 * 2pi, amp0) * EnvGen.ar(Env.adsr(attack0, decay0, sustain0, release0), gate), pan0) / 3,
			Pan2.ar(SinOsc.ar(freq1, phase0 * 2pi, amp1) * EnvGen.ar(Env.adsr(attack1, decay1, sustain1, release1), gate), pan1) / 3,
			Pan2.ar(SinOsc.ar(freq2, phase0 * 2pi, amp2) * EnvGen.ar(Env.adsr(attack2, decay2, sustain2, release2), gate), pan2) / 3,
		];
		var output = (sine[0] + sine[1] + sine[2]) * amp;
		Out.ar(out, output);
	}).add;

	SynthDef(\mulOfSine, {
		|
		out = 0, gate = 1, amp = 1, doneHandlerLength = 10,
		freq0 = 125, phase0 = 0, amp0 = 1, attack0 = 0.1, decay0 = 0.1, sustain0 = 0.5, release0 = 0.3, pan0 = 0,
		freq1 = 237, phase1 = 0, amp1 = 1, attack1 = 0.1, decay1 = 0.1, sustain1 = 0.5, release1 = 0.3, pan1 = 0,
		freq2 = 1012, phase2 = 0, amp2 = 1, attack2 = 0.1, decay2 = 0.1, sustain2 = 0.5, release2 = 0.3, pan2 = 0
		|
		var doneHandler = Linen.kr(gate, 0, 1, doneHandlerLength, doneAction:5); //This guy is just here to handle the doneAction
		var sine = [
			Pan2.ar(SinOsc.ar(freq0, phase0 * 2pi, amp0) * EnvGen.ar(Env.adsr(attack0, decay0, sustain0, release0), gate), pan0),
			Pan2.ar(SinOsc.ar(freq1, phase0 * 2pi, amp1) * EnvGen.ar(Env.adsr(attack1, decay1, sustain1, release1), gate), pan1),
			Pan2.ar(SinOsc.ar(freq2, phase0 * 2pi, amp2) * EnvGen.ar(Env.adsr(attack2, decay2, sustain2, release2), gate), pan2),
		];
		var output = sine[0] * sine[1] * sine[2] * amp;
		Out.ar(out, output);
	}).add;

	s.sync;

	pat.intro =
	Pseq([
		Pbind(*[
			instrument: \addOfSine,
			amp: 1,
			dur: Pn(5, 1),
			sustain: 4,
			amp0: 1, attack0: 4, decay0: 0, sustain0: 1, release0: 1,
			amp1: 0,
			amp2: 0
		]),
		Pbind(*[
			instrument: \addOfSine,
			amp: 1,
			dur: Pn(5, 1),
			sustain: 4,
			amp0: 1, attack0: 4, decay0: 0, sustain0: 1, release0: 1,
			amp1: 1, attack1: 4, decay1: 0, sustain1: 1, release1: 1,
			amp2: 0
		]),
		Pbind(*[
			instrument: \addOfSine,
			amp: 1,
			dur: Pn(5, 1),
			sustain: 4,
			amp0: 1, attack0: 4, decay0: 0, sustain0: 1, release0: 1,
			amp1: 1, attack1: 4, decay1: 0, sustain1: 1, release1: 1,
			amp2: 1, attack2: 4, decay2: 0, sustain2: 1, release2: 1,
		]),
	]);

	pat.intro2 =
	Pseq([
		Pbind(*[
			instrument: \addOfSine,
			amp: 1,
			dur: Pn(12.8 / 3, 1),
			sustain: 4,
			amp0: 1, attack0: 4, decay0: 0, sustain0: 1, release0: 1,
			amp1: 0,
			amp2: 0
		]),
		Pbind(*[
			instrument: \addOfSine,
			amp: 1,
			dur: Pn(12.8 / 3, 1),
			sustain: 4,
			amp0: 0,
			amp1: 1, attack1: 4, decay1: 0, sustain1: 1, release1: 1,
			amp2: 0
		]),
		Pbind(*[
			instrument: \addOfSine,
			amp: 1,
			dur: Pn(12.8 / 3, 1),
			sustain: 4,
			amp0: 0,
			amp1: 0,
			amp2: 1, attack2: 4, decay2: 0, sustain2: 1, release2: 1,
		]),
	]);

	pat.p0 = Pbind(*[
		instrument: \addOfSine,
		amp: 1,
		dur: Pseq([0.1], 16),
		sustain: Pkey(\dur),
		doneHandlerLength: 1,
		phase0: Pseq([0.2, 0, 0, 0], inf), amp0: 1, attack0: 0.001, decay0: 0.001, pan0: Pseq([-0.5, 0.5], inf),
		phase1: 0, amp1: 0, attack1: 0.1, release1: 0,
		phase2: 0, amp2: 0, attack2: 0,
	]);

	pat.p1 = Pbind(*[
		instrument: \addOfSine,
		amp: 1,
		dur: Pseq([0.1], 16),
		sustain: Pkey(\dur),
		doneHandlerLength: 3,
		phase0: Pseq([0.2, 0, 0, 0], inf), amp0: 1, attack0: 0.001, decay0: 0.001, pan0: Pseq([-1, 1], inf),
		phase1: Pseq([0.2, 0.2, 0, 0], inf), amp1: Pseq([1,0,0], inf), attack1: 0.01, release1: 0.001, pan1: Pseq([1, 1, -1, -1, 0, 0, 0, 0], inf),
		amp2: 0, phase2: 0, attack2: 0,
	]);

	pat.p2 = Pbind(*[
		instrument: \addOfSine,
		amp: 1,
		dur: Pseq([0.1], 16),
		sustain: Pkey(\dur),
		doneHandlerLength: 3,
		phase0: Pseq([0.2, 0, 0, 0], inf), amp0: 1, attack0: 0.001, decay0: 0.001, pan0: Pseq([-0.5, 0.5], inf),
		phase1: 0, amp1: 0, attack1: 0.01, release1: 0.001, pan1: Pseq([1, 1, -1, -1, 0, 0, 0, 0], inf),
		phase2: Pwhite(), amp2: 0.7, attack2: 0.001, release2: 0.001, decay2: Pseq([0.3, 0.1, 0.01, 0.01, 0.01], inf), sustain2: 0, pan2: Pseq([-1, 0, 1], inf)
	]);

	pat.p3 = Pbind(*[
		instrument: \addOfSine,
		amp: 1,
		dur: Pseq([0.1], 16),
		sustain: Pkey(\dur),
		doneHandlerLength: 3,
		phase0: Pseq([0.2, 0, 0, 0], inf), amp0: 1, attack0: 0.001, decay0: 0.001, pan0: Pseq([-1, 1], inf),
		phase1: Pseq([0.2, 0.2, 0, 0], inf), amp1: Pseq([1,0,0], inf), attack1: 0.01, release1: 0.001, pan1: Pseq([1, 1, -1, -1, 0, 0, 0, 0], inf),
		phase2: Pwhite(), amp2: 0.7, attack2: 0.01, release2: 0.01, decay2: Pseq([0.3, 0.1, 0.01, 0.01, 0.01], inf), sustain2: 0, pan2: Pseq([-1, 0, 1], inf)
	]);

	pat.p4 = Pbind(*[
		instrument: \addOfSine,
		amp: 1,
		dur: Pseq([0.17], 16),
		sustain: Pkey(\dur),
		doneHandlerLength: 0.4,
		phase0: Pseq([0.2, 0, 0, 0], inf), amp0: 1, attack0: 0, decay0: 0, pan0: Pseq([-1, 1], inf),
		phase1: Pseq([0.2, 0.2, 0, 0], inf), amp1: Pseq([1,0,0], inf), attack1: 0, release1: 0, pan1: Pseq([1, 1, -1, -1, 0, 0, 0, 0], inf),
		phase2: Pwhite(), amp2: 0.7, attack2: 0.17, release2: 0, decay2: Pseq([0.3, 0.1, 0.01, 0.01, 0.01], inf), sustain2: 0, pan2: Pseq([-1, 0, 1], inf)
	]);

	pat.p5 = Pbind(*[
		instrument: \addOfSine,
		amp: Pseq([Pn(1,64), Pn(0, 64)], 4),
		dur: 0.05,
		sustain: Pkey(\dur),
		doneHandlerLength: 0.4,
		phase0: 0, amp0: 0.25, attack0: 0.05, decay0: 0.001, sustain0: 0, release0: 0.001, pan0: Pseq([-1, 1], inf),
		phase1: 0, amp1: 0.25, attack1: 0.05, decay0: 0.001, sustain0: 0, release0: 0.001, pan1: Pseq([1, 1, -1, -1, 0, 0, 0, 0], inf),
		phase2: 0, amp2: 0.25, attack2: 0.05, decay0: 0.001, sustain0: 0, release0: 0.001, pan2: Pseq([-1, 0, 1], inf)
	]);

	pat.p6 = Pbind(*[
		instrument: \addOfSine,
		amp: Pseq([Pn(1,64), Pn(0, 64)], 8),
		dur: 0.025,
		sustain: Pkey(\dur),
		doneHandlerLength: 1,
		phase0: 0.5, amp0: 0.2, attack0: 0.001, decay0: 0.001, sustain0: 0, release0: 0.001, pan0: Pseq([-1, 1], inf),
		phase1: 0.5, amp1: 0.2, attack1: 0.001, decay0: 0.001, sustain0: 0, release0: 0.001, pan1: Pseq([1, 1, -1, -1, 0, 0, 0, 0], inf),
		phase2: 0.5, amp2: 0.2, attack2: 0.001, decay0: 0.001, sustain0: 0, release0: 0.001, pan2: Pseq([-1, 0, 1], inf)
	]);

	pat.hold = Pbind(*[
		instrument: \mulOfSine,
		amp: 3,
		dur: Pn(0.2, 64),
		sustain: Pseq([Pkey(\dur), Pkey(\dur) / 2, Pkey(\dur), Pkey(\dur) / 4]),
		amp0: Pseq([1,0.5,0.3,0.5], inf), attack0: 0.001, decay0: 0.001, pan0: 0, release0: 0.001,
		amp1: Pseq([1,0.5,0.7], inf), attack1: 0.001, decay1: 0.001, pan1: 0, release1: 0.001,
		amp2: Pseq([1,0.5,0.7,1,0.7], inf), attack2: 0.001, decay2: 0.001, pan2: 0, release2: 0.001
	]);



	//Sequence
	Pseq([
		pat.intro,
		Pseq([Pn(pat.p0, 4), Pn(pat.p1, 4)], 2),
		Pseq([Pn(pat.p2, 4), Pn(pat.p3, 4)], 2),
		Pn(pat.hold, 1),
		Ppar([Pn(pat.hold, 2), Pseq([Pn(pat.p0, 4), Pn(pat.p1, 4)], 2)]),
		Ppar([pat.p5, Pn(pat.hold, 2), Pseq([Pn(pat.p2, 4), Pn(pat.p3, 4)], 2)]),
		Ppar([pat.p5, pat.p6, Pn(pat.hold, 2), Pseq([Pn(pat.p0, 4), Pn(pat.p1, 4)], 2)]),
		Ppar([pat.p5, pat.p6, pat.intro, Pn(pat.hold, 1)]),
	]).play
}
)



A Map To Everything [disquiet0062-lifeofsine]

Three sine waves on a Macbeth M5N, recorded live.

More on this 60th Disquiet Junto project at:

http://disquiet.com/2013/03/07/disquiet0062-lifeofsine

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Unsubstantiated [disquiet0062-lifeofsine]

My contribution to the 62nd disquiet-junto on Soundcloud.

1-800-dial-a-sine is composed of a 350 Hz, 440 Hz and 480 Hz tone. Why? Well, as it turns out, a dial tone is 350 Hz and 440 Hz (held steady) and an audible ring tone is 440 Hz and 480 Hz (for 2 seconds on and 4 seconds off). 

I used these as the base for making this piece. Most of it was done in Bidule and then i also ran a tone through a pitchshift and widi plugin to make the pulse.  I was planning on making some complex rhythms but ended up happier with the simple pulse.

--I've had a bit of an addiction over the years to telephones and the sounds they make and have a shrinking collection of phones from the 50s, 60's and 70's.

For more on this 62nd Disquiet Junto project visit:

http://disquiet.com/2013/03/07/disquiet0062-lifeofsine

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

-----

Original call:


Disquiet Junto Project 0062: Life of Sine

This week's project involves making music from the basic building block of sound: the sine wave. 

You will compose and record a piece of music using just three different sine waves, and nothing else — well, nothing else in terms of source material, but the waves can, after the piece has gotten underway, be transformed by any means you choose. 

These are the steps:

Step 1: Devise which three sine waves you will employ. They should be different from each other in some evident way.

Step 2: The track should open with just one of the sine waves. 

Step 3: Add the second sine wave at 5 seconds. 

Step 4: Add the third sine wave at 10 seconds.

Step 4: Only at 15 seconds should you begin to in any way manipulate any of the source waves.

Deadline: Monday, March 11, 2013, at 11:59pm wherever you are.

Length: Your finished work should be between 1 and 4 minutes in length.


1-800-dial-a-sine [disquiet0062-lifeofsine]

ENJOY The Music  &  Downloading (FREE)

Comments are welcome.  (-;

   --work in progress--

Mini-Jool - The Sharp Knife (unmastered) --  16-03-13

PROCESS:
@nofi was one of my first followers on SoundCloud from the Junto (I started with #0004). Over the last year, I admired and absorbed a lot of his work and we shared laughs a few times on Twitter. I feel lucky to have had even the most cursory electronic interaction with him.

All sound waves propagate forever, so when you play or perform the music of someone who's passed, you help them ride their own waves into the great beyond. I love this week's project for doing this.

This section of Jeffery's performance flashed me back to "Mercy Street," and I had thought to create some kind-of looking-glass instrumental version of that track out of his, but I only got through one line. Still, the title here is a reference to the last line of that song.

As I vamped, Jeffrey's piece ended up pulling me into some quiet changes and arriving me at an inside-out minor-key'd quotation of "Over The Rainbow" (even swtiching out my plectrum for an eBow between phrases). In the end, for better or worse, in a track where @nofi eventually quotes Michael Jackson, I answered with Peter Gabriel and Harold Arlen. Nothing/Everything/Something made sense.

wave of sadness
wave of sound
wave of joy
wave good bye

RIG:
Jolie (Peekamoose-customized cherry-red Gibson ES-335 Dot reissue), Ibanez Tube Screamer TS808, tc electronic flashback delay/looper, eBow, Line6 POD-XT (Marshall JCM 800 amp emulator with vintage plate reverb, Fender '65 Twin Reverb tremolo and ping-pong delay), MOTU 828mk2, Sony Acid 

PROJECT:
This week’s project is a tribute to the late Jeffrey Melton, the talented musician, best known on SoundCloud and Twitter as @nofi. Melton passed away a few days ago, on March 30, in Fort Wayne, Indiana, where he lived with his wife and seven-year-old son. He was 42. Melton had been involved with the Disquiet Junto since the very first Junto project, back in January 2012, and he early on volunteered to create a Twitter list of the handles of participating Junto members.

The theme of this project, the 66th in the weekly Disquiet Junto series, is “posthumous collaboration”: communing through music.

These are the steps:

Step 1: Download the following live session of Jeffrey Melton performing. It was recorded in June of last year. (Warning: it’s fairly sizable, at over 350 MBs):
nofi.org/media/2012-06-15-Unwind-live-session.mp3

Step 2: Select a segment of between 2 and 5 minutes.

Step 3: Set the opening of your track to fade in.

Step 4: Set the ending of your track to cut out suddenly.

Step 5: Listen to it several times, to get to know it.

Step 6: Record yourself performing live along with the segment you have selected. Any instrumentation is fine. Just no voice. Be sure to play alone for approximately 10 seconds after Melton’s perfor---

---------------------------------------------------------------------------

More on this 66th Disquiet Junto project at:
disquiet.com/2013/04/04/disquiet0066-nonofi

More of Melton/Nofi’s music at:
www.nofi.org/

Read Melton’s obituary here:
http://www.legacy.com/obituaries/dailyherald/obituary.aspx?pid=160472168

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/

riding waves [disquiet0066-nonofi]

@all-n4tural contributions to the @disquiet <a href=http://soundcloud.com/groups/disquiet-junto/info>Junto</a>

canine in time [disquiet0094-naturalisttrio]

all junto

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