Disquiet Junto Project 0216: Thin Layers
The Assignment: Add a thin foundational bed to beats of pin-prick audio.

Step 1: For this project you’ll be adding sounds to a pre-existing track of your choosing. Select one track from the previous Junto project, in which beats were made with five tiny, pin-prick sounds:

http://disquiet.com/0215

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 adding a thin layer, or several thin layers, of an ambient foundational bed to the pre-existing track. Don’t alter the pre-existing track significantly. Maintain its original length.

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 at noon, California time, on Thursday, February 18, 2016, with a deadline of 11:59pm wherever you are on Monday, February 22, 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 “disquiet0216-thinlayers.” Also use “disquiet0216-thinlayers” 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 216th weekly Disquiet Junto project (“The Assignment: Add a thin foundational bed to beats of pin-prick audio”) at:

http://disquiet.com/0216

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 by Evelyn Flint, used thanks to a Creative Commons license:

https://flic.kr/p/rKoG1i

Disquiet Junto Project 0216: Thin Layers

around and around the beside

2025-06-11

calypso

#4200 92.59% 336 left): Jun. 14, 2025: A woven silence or but came to cast  (again, William Butler Yeats from May 22, 2025) 

So gently does the mind risk forgetting to embrace the rosy peace of dawn.

In “and softly make a rosy peace,” Chair House blends into the morning’s pale light, painting tranquility in soft sonic hues. A dewy, lingering touch evokes the scent of petals, kindling a quiet celebration within. On the drizzly dawn of 250518, this improvisation strikes the perfect balance of calm and tender nostalgia.



*** NEW SELECTION ALBUM 30th JUST RELEASESD ***

Today's pure primal piano music here. Happy if this music makes you feel peaceful.. : )

Looking for absolute natural beauty every day for Piano Ten Thousand Leaves. Target number is 4536:
This piece may might have good 1/f fluctuation characteristic although I stopped investigating it each piece.

######## Latest Album: 30th SELECTION ALBUM JUST RELEASED ########

"wind of mysteriousness" - the 30th selection album of piano ten thousand leaves

youtube: FULL VIDEO with 20 full songs in very high quality sounds
https://youtu.be/tkqms1ZjAEg?si=RlWgQZBbe9z523f_

spotify:
https://open.spotify.com/intl-ja/album/7CiAmnJmm5Wnm3CVfmC234?si=tImTyWj5TT6dUBRhMRXVYg

apple Music:
https://music.apple.com/jp/album/wind-of-mysteriousness/1817351475

amazon music:
https://www.amazon.co.jp/s?k=chair+house+%E4%B8%8D%E6%80%9D%E8%AD%B0%E3%81%AE%E9%A2%A8&i=digital-music&ref=nb_sb_noss_2

all music streaming services:
https://linkco.re/PQ45u0dG?lang=en


a woven silence or but came to cast - #4200 (92R59 percent 336 left) by chair house 250614

2025-06-17

meeting in the fjord

My good friend https://soundcloud.com/delirium-funk gave me his Bastl Kastle to play with ... and this rainy, ricey ritual little number slowly emerged from that crazy little box! Enjoy! 😁😜

rain rituals -
if the gods are here now
to see the paddies

Takarai Kikaku was one of the most accomplished disciples of Matsuo Bashō, famous also for writing a manuscript describing his master’s final days, and the immediate aftermath of his death.

Haiku by Takarai Kikaku: https://en.wikipedia.org/wiki/Takarai_Kikaku

To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

more halF unusuaL

halF rituaL [naviarhaiku599]

VERY exciting to be contributing to the 600th Naviar Haiku Challenge!! 🎉❤️

thinking of us
the sound of wind
among the pines

Andrea Cecon is a hearing aids technician, a traveler, and a haijin published all over the world. His first ebook won 3rd place in the Sharp Writ Book Awards contest in 2011 (category: poetry). Residing in Cividale, Italy, with his wife, Russian haijin Valeria Simonova-Cecon. He finds his inspiration in memories, travels, and everyday life…

Haiku by Andrea Cecon: https://www.amazon.com/stores/Andrea-Cecon/author/B00955O0CA?ref=ap_rdr&isDramIntegrated=true&shoppingPortalEnabled=true

To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

more halF unususaL

halF uS [naviarhaiku600]

ongequce

More on the 707th weekly Disquiet Junto project, Chain of Practice — The Assignment: Make music from how you make music — at https://disquiet.com/0707/

Ich ergründe einen Klang in meinen Gedanken ^^ und breche ihn auf ^^ um seine alltäglichen und bekannten Elemente zu schichten ^^ und in serieller Weise sein Timbre aus alten und neuen Teilen nachzuformen.
Ich erforsche was wirklich einen Klang ausmacht und wie ich mit dessen langweiligen und meist überflüssigen Teilen etwas originelles schaffen kann das bekannte Sounds in einen hoffentlich neuen und inspirierenden Kontext setzt.

I explore a sound in my mind and break it down to layer its everyday and familiar elements and serially recreate its timbre from old and new parts.
I explore what really makes a sound and how I can take its boring and mostly superfluous parts and create something original that hopefully puts familiar sounds into a new and inspiring context.

the assignment was to come up with a sentence that describes our approach, my practice of creating a new track. took ages to find some words that really match in that context and accompany a true to it concept for this project. i usually wont work with vocals and/or spoken word so this was quite tricky and until mixing and mastering stage it took such a long time giving me real headache (again) but i like with what i came up reflecting what really reflects my work agenda. you should decide if in my track a certain vibe of "chain" or chained parts is to be heard or not, i personally thing i somehow missed that part of this compositional concept. anyway this might well be one of my best tracks this year so far.

produced  on Fostex TH7 headphones, mixed and checked on Fostex pm0.5D and a cheap 2.1 system, arranged in Bitwig Studio
tools used: beyerdynamic FOX, Flechtwerk, Curve2, Kontakt

be save, vegan love (˶ᵔ ᵕ ᵔ˶)

Coma -- Practice -- Disquiet707

Calypso

Last week I had a quick visit to Wheal Lovelace, which is one of the many mine shafts on the edges of the "Wheal Maid valley" also known locally as "Cornish Mars" due to the colour of the arsenic tainted earth. This mine is just around the corner from Wheal Fortune and seems to partly share the same lodes according to the old charts. I found a mass of boxy crystallised pyrite, dragged up from the depths a few hundred years ago and expertly separated from the copper ore by the balmaidens who worked here.

It may be the case that the larger the crystallisation is the harder it is to find good semiconducting junctions though, at least in pyrite - as this seems less active than samples from elsewhere. 

Here I used two samples from the same rock on the squarewave fm and sawtooth generator, and tried out a new mixer circuit on the breadboard I've been slowly working on.

wheal lovelace pyrite drones

**Production Notes**

I went for emi minami’s lovely „tinyrhythms“, a mixture of pins and insects, recorded with a contact mike. You find it here: [https://soundcloud.com/emiminami/tinyrhythms]

Picked some tonal parts of a newer drone piece, arranged them. I cheated a bit in the length, it’s not quite the same, but otherwise the loops would have sounded somewhat strange. 

Some EQ’s and sidechain compression… and that’s all.

* * * 

**Disquiet Junto Project 0216: Thin Layers**

The Assignment: Add a thin foundational bed to beats of pin-prick audio.

Step 1: For this project you’ll be adding sounds to a pre-existing track of your choosing. Select one track from the previous Junto project, in which beats were made with five tiny, pin-prick sounds:

http://disquiet.com/0215
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 adding a thin layer, or several thin layers, of an ambient foundational bed to the pre-existing track. Don’t alter the pre-existing track significantly. Maintain its original length.

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 at noon, California time, on Thursday, February 18, 2016, with a deadline of 11:59pm wherever you are on Monday, February 22, 2016

(…)

More on this 216th weekly Disquiet Junto project (“The Assignment: Add a thin foundational bed to beats of pin-prick audio”) at:

http://disquiet.com/0216
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 by Evelyn Flint, used thanks to a Creative Commons license:

https://flic.kr/p/rKoG1i

Bed & Crackers [disquiet0216-thinlayers]

Disquiet Junto Project 0216: Thin Layers (Introduction)

i used my own track (Disquiet0215) as the source material 

in ableton live   
track 1 Helm played live
track 2 Disquiet0215
track 3 Disquiet0215 with delay 
track 4   armed  to record 

done in one take :) 

track 4 was exported  to audacity  where the .wav was trimmed 
a general compressor was applied 



ambient  synth 
Helm synth by Matt Tytel
http://tytel.org/helm/



Eps Sample Disk94SIDE B Disquiet0216- Thin Layers

I really like the collaborative aspect of this weeks assignment and strongly feel this could be the main strength of the whole junto idea. The main track I choose to work with was Emi Minami's gentle and understated piece "disquiet0215-tinyrhythms"https://soundcloud.com/emiminami/tinyrhythms?in=disquiet/sets/disquiet-junto-project-0215  I liked the outdoors vibe and thought it offered a lot of room to roam around in. I went to free sound looking for some nature sounds. I downloaded and used the following sound files.
1)62487__sagetyrtle__1103campfire1
2)13576__acclivity__batwalk
3)269570__vonora__cuckoo-the-nightingale-duet
4)190112__tran5ient__flail6
I added the files onto the Minami track. I then proceeded to do a lot of fx and proceesing and crossfading which got out of hand and I decided to stick to the simplicity of the original and left the files as is except for looping the very short flail sample to give it more of a rhythm. I still decided it needed more of a tempo so I added the beginning of Audio Obscura's excellent track https://soundcloud.com/audio-obscura-music/super-tiny-sound-disquiet-junto-project-0215-tiny-rhythms?in=disquiet/sets/disquiet-junto-project-0215 looping that in. The title "Night of the Cuckoo Batwalk" came from the free sound files.    More on this 216th weekly Disquiet Junto project (“The Assignment: Add a thin foundational bed to beats of pin-prick audio”) at:

http://disquiet.com/0216

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 by Evelyn Flint, used thanks to a Creative Commons license:

https://flic.kr/p/rKoG1i

Night Of The Cuckoo Batwalk (disquiet0216-thinlayers)

My 33 1/3 series book about the Aphex Twin album <i>Selected Ambient Works Volume II</i> was published in 2014. The book was one of the top 5 bestselling titles for the calendar year, and in 2015 was ranked by Pitchfork as one of the "33 best" of the 100-plus books in the 33 1/3 series. It has subsequently been translated into Japanese (2019) and Spanish (2018)

Since 2012 I have moderated the Disquiet Junto group, which began on SoundCloud. More at disquiet.com/junto. 

I've written for Nature, Pitchfork, The Wire, Down Beat, Boing Boing, NewMusicBox, Red Bull Music Academy, Art Practical, the website of The Atlantic, and many other publications. 

I've exhibited sound art at galleries in Los Angeles (Crewest), Manhattan (apex art), and Dubai (DUTAC), and I had a audio-visual installation at the San Jose Museum of Art as part of its 45th anniversary.

And since 1996 I've run the website Disquiet.com about the intersection of sound, art, and technology.

Disquiet Junto Project 0216: Thin Layers (Introduction)

disquiet

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