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

Disquiet Junto Project 0217: Form Song
The Assignment: Take an existing assemblage of rhythm and tone and turn it into verse/chorus/verse.

Step 1: For this project you’ll be working with a pre-existing track of your choosing. First, select one track from the previous Junto project, in which a thin foundational bed was added to beats of pin-prick audio. Visit either of these two URLs:

http://disquiet.com/0216

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0216

Step 2: Confirm the track you selected in Step 1 is available for creative reuse. If you’re not sure, correspond with the musician. If you’re short on time, select a different track.

Step 3: Create a new track by taking the existing track from Step 1 and from it constructing something that follows the verse/chorus/verse format of a traditional song. You can include a bridge, too. No singing is required. You can alter the original audio, beyond just cutting and splicing, and certainly feel free to add a melody, but do maintain some sense of resemblance to the source material.

Step 4: Annotate your track with a brief explanation of your approach and process — identify the source track and include a link to its SoundCloud page.

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, February 25, 2016, with a deadline of 11:59pm wherever you are on Monday, February 29, 2016.

Length: The length of your track should be the same as that of the source track.

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.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please in the title to your track include the term “disquiet0217-formsong.” Also use “disquiet0217-formsong” as a tag for your track.

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, please be sure to include this information:

More on this 217th weekly Disquiet Junto project (“Take an existing assemblage of rhythm and tone and turn it into verse/chorus/verse”) at:

http://disquiet.com/0217/

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 at:

http://disquiet.com/forums/

The image associated with this project is from the Flickr account tanakawho, used thanks to a Creative Commons license:

https://flic.kr/p/4fh7Ly


Disquiet Junto Project 0217: Form Song

Disquiet Junto submissions

Quiet Relaxing

From the challenge at http://disquiet.com/2015/04/23/disquiet0173-overversion/

Associated photo from Gareth, at https://www.flickr.com/photos/trois-tetes/147640480/
part used as graphic with this soundcloud track, and rendered from photo to sound with Audacity.

The phrase "The Past is Breaking Through" synthesized using this service: http://imtranslator.net/translate-and-speak/

Since the source track is bass and rhythm-oriented I focused on higher-pitched or non-percussive sounds.  The Sears field recordings were made this weekend so they were on my mind when composing as a sound source. I can see seven tracks but hope the disparate "sounds" unify into one musical piece in the listeners' minds.

Manipulating A Machine

Buy on Bandcamp

The Past Is Breaking Through (disquiet0173-overversion)

After an 1 hour messing around with the modular trying to figure out a ridiculously complex way of doing this week's task; I gave up and did this Basinski -style thing in 10 minutes with my new lapsteel guitar and a forthcoming software looper whose name I'm not allowed to mention yet...
The track was done in real time. (Hence the fact it's more than 1 minute long) The guitar was processed through Native Instruments Guitar Rig 5 and I added some Tape delay, Eq and Limiting in Ableton Live.

More on this 189th Disquiet Junto project (“Create a dense stack of attack-free tonal material from one audio source”) at:

http://disquiet.com/2015/08/13/disquiet0189-tonelayer/

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/

Image associated with this project by Nicholas D., and used thanks to a Creative Commons license:

https://flic.kr/p/ca1iLd

Sediment Layers (disquiet0189-tonelayer)

a mashup or "a synthesis" of Marc Weidenbaum's piece for disquiet 0189 ("Six-String Buddha")and mine ("Sediment Layers")
Marc's piece is processed via my modular synth: Make Noise FxdF and RXMX into Mutable Instruments Clouds Parasite and looped once. Some reverb was added in Ableton Live.

A Disquieting Synthesis

For the assignment detailed here: http://disquiet.com/2015/10/22/disquiet0199-spacecrickets/

All sounds are from Soundtransit at http://archive.turbulence.org/soundtransit/index.html
except one track of a field recording of cicadas I made in North Carolina this summer; and a second of a slowed-down piledriver from the building work around China Basin in San Francisco. The SoundTransit sounds are all reused under their Creative Commons license.

All sounds arranged and mixed in Garageband. 

My intent was to make the basic foley sound of a spaceship in space at the moment a character plays a cassette featuring the crickets/rain earth sounds. From the movie I expect lots of engine rumble and pipe sounds during their long journey. Matt Damon was creepy in that movie.

Space Crickets [for disquiet0199-spacecrickets]

Marc (disquiet)referenced Micheal Mann's films in his track description, so I decided to "take that ball and run with it", overdubbing more synths, percussion, and electric lap steel on top of his original track.
Additions:
Synth perc: iMaschine2
Synth Bass and High Whine: Juno 106
Jazz synth guitar: D-50
Harley Benton Lapsteel thru Guitar Rig 

you can listen to Marc's original track here:
https://soundcloud.com/disquiet/white-noise-beat

Rupert Lally & Marc Weidenbaum: White Noise Industry

Submission for the Disquiet Junto assignment, here: http://disquiet.com/2015/11/12/disquiet0202-costoffreedom/

My plan was to maintain focus on the speaking, while rendering the text with a text-to-speech synthesizer and adding background sounds. 

Text-to-speech service used is here: http://www.fromtexttospeech.com/
----------------------------------------
More on this 202nd weekly Disquiet Junto project (“Create an audiobook chapter from the new essay collection The Cost of Freedom) at:

http://disquiet.com/2015/11/12/disquiet0202-costoffreedom/

The source of the text in this project is from the book The Cost of Freedom, which raises awareness about the ongoing detainment of Creative Commons coder/artist Bassel Khartabil Sadafi. More on it here:

http://costoffreedom.cc

Buy on Bandcamp!

Image, Identity, Attribution, Authorship - Disquiet0202 - Costoffreedom

Created as part of the Disquiet Junto project  no. 204, structured around the audio provided at https://soundcloud.com/toaster-1/beacon-for-marissa

For this project I abandoned the set BPM of the garageband file and just drummed along with the ambient track, and then added in a few other sound elements.

More on this 204th weekly Disquiet Junto project (“Add a foundational rhythm to an ambient foreground”) at:

http://disquiet.com/2015/11/26/disquiet0204-underbeat/


Beacon - Toaster - Remix (Disquiet0204 - Underbeat)

For this Disquiet assignment, looking at the graphic notation, the main keyboard plays the three full notes and pause. The drum tattoos were an attempt to play the second notation hidden behind the first but I lost track. The third track slides and panning represent the spiral, telescoping edge of the wooden object behind the two sheets.

I used this wikipedia guide to determine what the fourth piece of notation was on that top sheet (a quarter note rest) -- https://en.wikipedia.org/wiki/List_of_musical_symbols

Garageband instruments are: Titanic Waves synth; Event Horizon synth; "Heavy" drum kit.

More on this 205th weekly Disquiet Junto project (“Interpret boxed-up music-education materials as a graphic-notation score”) at:

http://disquiet.com/2015/12/03/disquiet0205-superposition/

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

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

Buy on BandCamp

Superposition (disquiet0205 - Superposition)

I am a very loopy person so I was excited by this week's assignment. I started by downloading many tracks. Here are the ones that I decided to cut and loop in no particular order.
1) r beny  https://soundcloud.com/rbeny/skull-vibration-disquiet0216-thinlayers?in=disquiet/sets/disquiet-junto-project-0216
2)Alice Wyan  https://soundcloud.com/finitud/disquiet0216-tinylayers?in=disquiet/sets/disquiet-junto-project-0216
3) FSK 1138 https://soundcloud.com/fsk1138/eps-sample-disk94side-b-disquiet0216-thin-layers?in=disquiet/sets/disquiet-junto-project-0216
4)colab  https://soundcloud.com/colab/thin-layers-disquiet0216-thinlayers?in=disquiet/sets/disquiet-junto-project-0216
5) analoc https://soundcloud.com/analoc/0216-disquiet-junto-216-bed-crackers-final?in=disquiet/sets/disquiet-junto-project-0216
6)Rupert Lally https://soundcloud.com/rupertlally/square-pins-in-thin-layers-disquiet0216-thinlayers?in=disquiet/sets/disquiet-junto-project-0216
I started by taking short loops of each and pairing. With the groove found I added drums and a little synth part. I moved on till I had 3 parts. I looked to the public domain for a song and ran across the title "Beautiful Dreamer". I like that and when I saw the lyrics I thought it would really mesh well. I really like the lines"Sounds of the rude world heard in the day, Lull'ed by the moonlight have all passed away." I think I may have heard this song before but I just made up the vocal melody. Thanks to all fellow junto members for making their tracks available.I hope I did them some justice.  More on this 217th weekly Disquiet Junto project (“Take an existing assemblage of rhythm and tone and turn it into verse/chorus/verse”) at:

http://disquiet.com/0217/

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 at:

http://disquiet.com/forums/

The image associated with this project is from the Flickr account tanakawho, used thanks to a Creative Commons license:

https://flic.kr/p/4fh7Ly



Beautiful Dreamer-Stephen Foster "The Father of American Music" 1864 (disquiet0217-formsong)

For this project I used Yellow Salamand'r's "Yellow Salamand'r/Audio Obscura/Forelight/WÜST - disquiet0216-thinlayers" (https://soundcloud.com/user-328682496/yellow-salamandr-audio-obscura) track. This piece was suitably chaotic and I wanted to use generative processes to create "melodic" sections to give the necessary distinctions between verse and chorus. I applied these concepts very loosely, wanting to keep an experimental nature to the piece. I used MidiMadness to generate two sequences (in two seperate keys), one of which I fed into Omnisphere (the "A" or verse section) and ran it through the GrainReverser M4L patch and then fed the other section ("B" or the chorus) through Synplant. Finally I ran left and right of the mix through two separate instances of UltraChannel, each with different EQ settings.

More on this 217th weekly Disquiet Junto project (“Take an existing assemblage of rhythm and tone and turn it into verse/chorus/verse”) at:

http://disquiet.com/0217/

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 at:

http://disquiet.com/forums/

The image associated with this project is from the Flickr account tanakawho, used thanks to a Creative Commons license:

https://flic.kr/p/4fh7Ly

v/c/v NON - Yellow Salamand'r - Audio Obscura - Forelight - WÜST [disquiet0217 - Formsong]

**Production Notes**

I started Thursday night. Robert Lally's „Square Pins in Thin Layers“ [https://soundcloud.com/rupertlally/square-pins-in-thin-layers-disquiet0216-thinlayers] immediately caught my attention. I extracted three four-bar-parts of his lovely piece which served as chords, pads and noises. 

Added a simple beat, a ABL3 TB-303 emulation, two different leads (Ableton’s „Bass“ and iZotope Iris) for the verse and the chorus. 

I was too tired to continue, so I did the finishing touches on Friday (arranging, tweaking, compression, sidechaining and mixing) - took me four hours all in all. 

As usual, it doesn’t breathe, as I tend to cram my stuff. Maybe I’ll do a longer version… what do you think? Is it worth the effort?

* * * 

** Disquiet Junto Project 0217: Form Song**

The Assignment: Take an existing assemblage of rhythm and tone and turn it into verse/chorus/verse.

Step 1: For this project you’ll be working with a pre-existing track of your choosing. First, select one track from the previous Junto project, in which a thin foundational bed was added to beats of pin-prick audio. Visit either of these two URLs:

http://disquiet.com/0216

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0216

Step 2: Confirm the track you selected in Step 1 is available for creative reuse. If you’re not sure, correspond with the musician. If you’re short on time, select a different track.

Step 3: Create a new track by taking the existing track from Step 1 and from it constructing something that follows the verse/chorus/verse format of a traditional song. You can include a bridge, too. No singing is required. You can alter the original audio, beyond just cutting and splicing, and certainly feel free to add a melody, but do maintain some sense of resemblance to the source material.

Step 4: Annotate your track with a brief explanation of your approach and process — identify the source track and include a link to its SoundCloud page.

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, February 25, 2016, with a deadline of 11:59pm wherever you are on Monday, February 29, 2016.

Length: The length of your track should be the same as that of the source track.

(…)

More on this 217th weekly Disquiet Junto project (“Take an existing assemblage of rhythm and tone and turn it into verse/chorus/verse”) at:

http://disquiet.com/0217/

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 at:

http://disquiet.com/forums/

The image associated with this project is from the Flickr account tanakawho, used thanks to a Creative Commons license:

https://flic.kr/p/4fh7Ly

Ten Ton Pin [disquiet0217-formsong]

Disquiet 217: " Create a new track by taking the existing track from Step 1 and from it constructing something that follows the verse/chorus/verse format of a traditional song. You can include a bridge, too. No singing is required. You can alter the original audio, beyond just cutting and splicing, and certainly feel free to add a melody, but do maintain some sense of resemblance to the source material."

Sourced from Rupert Tally's piece - “Square Pins in Thin Layers”, originally submitted to Disquiet 216: 
https://soundcloud.com/rupertlally/square-pins-in-thin-layers-disquiet0216-thinlayers
____________________________________
More on this 217th weekly Disquiet Junto project (“Take an existing assemblage of rhythm and tone and turn it into verse/chorus/verse”) at:
http://disquiet.com/0217/

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

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


The Observer-PindropRevisited [disquiet0217-formsong]

i chose this gorgeous track https://soundcloud.com/rbeny/skull-vibration-disquiet0216-thinlayers i was struggling a bit with the whole verse chorus nonsense

apparently (http://www.secretsofsongwriting.com/2014/07/25/5-main-differences-between-verse-and-chorus-melodies/) the five main differences between verse and chorus are:

1    Verse melodies have more of a wandering quality than chorus melodies. 
so i accentuated the clicks especially in the third section

2    Verse melodies tend to be lower in pitch than chorus melodies. 
so i did a sliding pitch effect on the first verse and pitched down constantly on the second verse, and i bassboosted them too

3    Chorus melodies use simpler rhythms. 
so i smoothed out the beat in the chorus and added echo

4    Verse melodies often work their way upward as they reach the chorus. 
that's why i did that wobbly sliding pitch

5    Chorus melodies are built around an important hook that often incorporates the song title. 
well that melody repeats and my skulls a bit vibratey now

.............,,,...........................................,,,...,,
Disquiet Junto Project 0217: Form Song
The Assignment: Take an existing assemblage of rhythm and tone and turn it into verse/chorus/verse.

Step 1: For this project you’ll be working with a pre-existing track of your choosing. First, select one track from the previous Junto project, in which a thin foundational bed was added to beats of pin-prick audio. Visit either of these two URLs:

http://disquiet.com/0216

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0216

Step 2: Confirm the track you selected in Step 1 is available for creative reuse. If you’re not sure, correspond with the musician. If you’re short on time, select a different track.

Step 3: Create a new track by taking the existing track from Step 1 and from it constructing something that follows the verse/chorus/verse format of a traditional song. You can include a bridge, too. No singing is required. You can alter the original audio, beyond just cutting and splicing, and certainly feel free to add a melody, but do maintain some sense of resemblance to the source material.


More on this 217th weekly Disquiet Junto project (“Take an existing assemblage of rhythm and tone and turn it into verse/chorus/verse”) at:

http://disquiet.com/0217/

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 at:

http://disquiet.com/forums/

r beny - skull vibrations (wobbly ol tape mix) (disquiet0217)

I've been too busy for the Disquiet projects lately and missing them a lot, so this project seemed like a perfect way to catch up because I could do three weeks' worth of projects at once!  

To make the rhythm track as described in disquiet project #125, I made five "tiny" sounds (basically thinking of sounds I could make in the early morning that wouldn't bother anybody): rustling tissue paper, scissors cutting paper, etc.)

I put the samples into Ableton and used follow actions to make the sounds generate spontaneous rhythms.  I picked the ones that were, abstractly speaking, funkiest, and placed them to follow each other (we are definitely not in 4/4 time!)

To make the thin tones as described in Disquiet Junto project #216, I reached for the thinnest sounds I know - the very highest notes on my accordion played incredibly quietly.  I muted the rhythm track and played long tones that followed the visual layout of the drum track.  I used half-steps to try to generate some beating, but I was playing so quietly that the second tone didn't necessarily sound as soon as I pressed its key.  Ok, happy accidents!

Then I structured it into intro-verse-chorus-verse-chorus-bridge-verse-outro.  In true pop fashion, I added a little extra ear candy for the second verse (used Ableton's "audio-to-MIDI" function on the accordion and then picked a VST instrument with a similarly thin timbre). I also added some very light processing to the rhythm track for the bridge. 

The picture is my cat, right after he knocked over my accordion case, which knocked over a metal folding chair, which fell onto the door and closed it just as he was trying to flee through the doorway, which caused him to jump in terror and land on the printer, which...anyway, this was where he was cowering as I finished this track. Not his best night. Maybe being internet-famous will cheer him up.

* * * * * 
More on this 217th weekly Disquiet Junto project (“Take an existing assemblage of rhythm and tone and turn it into verse/chorus/verse”) at:

http://disquiet.com/0217/

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 at:

http://disquiet.com/forums/

The image associated with this project is from the Flickr account tanakawho, used thanks to a Creative Commons license:

https://flic.kr/p/4fh7Ly

By Marc Weidenbaum


Tiny Layers, Meta Landscapes (#disquiet0217-formsong)

In one of those moments of inspiration, as soon as I read Marc's Disquiet challenge this week, I knew what I wanted to do: the audio equivalent of those lovely moments on a weekend when I get to lie in bed in the morning next my wife and children (who've come into our bed), everyone's still a bit sleepy, we've opened the shutters on the window and we can just see the sun rising over the tops of the houses and trees. Everything feels peaceful...for the two minutes that it lasts before the kids start getting fidgety, the dog downstairs wants her food etc...but for those two minutes it's really wonderful...
The title is the phrase I'm constantly repeating at these moments...
anyway enough rambling...
The track was done very quickly with the initial chords being played on a Roland D-50, the pads and bass on a Roland Juno 106 and the soft ticking percussion is a filtered arp sound with a very short amp envelope from the Roland Promars plugout on the AIRA system 1. Everything was played live (no sequencing whatsoever, other than the arp that was generated by the System 1's internal arpeggiator) with me adjusting the filter cutoff and envelopes as I was recording.
The photo is a shot of my daughter from the other day when she decided to lie on my chest whilst I was snoozing on the sofa, processed in Enlight.
This track is included on my 2016 release "Fictions", which can be downloaded via my Bandcamp page here: 
https://rupertlally.bandcamp.com/album/fictions

More on this 221st weekly Disquiet Junto project (“Compose something — quiet, peaceful, refreshing — you’d want to wake up to”) at:

http://disquiet.com/0221/

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 at:

http://disquiet.com/forums/

"Just lie here quietly for a little while longer" (disquiet0221-morningmusic)

Support our music on bandcamp! Out now: 
"Manipulating a Machine" - Late-night headphone music - August 2019:
https://cryptohelix.bandcamp.com/album/manipulating-a-machine?mysrc=sc

"Future Funerals", just released Nov. 2018 - 5 songs:
https://cryptohelix.bandcamp.com/album/future-funerals?mysrc=sc

3 more songs on a single, from 2015:
https://cryptohelix.bandcamp.com/album/3-song-45?mysrc=sc

"Traveling back/in time/from our best/future imaginations."

The Observer-PindropRevisited [disquiet0217-formsong]

Cryptohelix