first 9 minutes is generative max sequencing, the rest is live piano (digital) and effects.

qmixv5 - spring 2021

qmixv6 - summer 2021

qmixv7 - summer 2022

Suikinkutsu, a japanese instrument and fountain that features water dripping into an underground resonant chamber

Nezu Museum, Tokyo

iPhone recording

Suikinkutsu

drone. single e-bow guitar tone, modulated reverb, loops

arc of drone [disquiet0675]

and ice [disquiet0679]

bell study for the disquient junto "unring a bell" project.

spent some time with a single chime from the pictured bell. after over-thinking it for some moments, came to dwelling on the most simple loop. the product itself. a nearly-clean chime hits at around 40s.

bell study [disquiet0682]

source material is entirely samples played through an analog delay pedal

thermae

a collection of sketches, experiments, and field recordings from the last few months

qmixv12 – winter 2025

the first few seconds are a record of sandhill cranes. every other sound in the track is just those cranes slowed down and manipulated. for disquiet junto project 0688.

sign up flock down [disquiet0688]

only sound source is a recording from my firepace, from a disquiet junto prompt.

i had a fireplace recording from recent months. for this one, some few minutes of fireplace crackle is the only sound source, as in the fire few seconds. sampled and sliced, then some heavy and not-so-heavy manipulation. i tried to let the spirit of the recording come through enough here and there.

fireplace [disquiet0692]

the prompt here was to play a piece from sheet music, and then sort the notes in alphabetical and length order. so here are 2 passages of sorted notes, one plays straight through. the other loops three times in the bass. additionally the main passage of sorted notes plays through at 4x speed against a sample bank for some rhythmic scrunches.

in order [disquiet0693]

quick track for the disquiet junto 0695. all source material is the noise/click/crackle only residue from Izotope RX on a field recording of some birds in the early morning

lint [disquiet0695]

per: disquiet junto 0696

Step 1: Record 10 to 15 layers of continuous sound.

Step 2: Create a piece of music in which you only change the relative presence of those individual layers from Step 1 over time. Some light effects and panning are certainly fine, but the majority of the impact should be how the prominence of the individual layers changes.

all source material came from 4 or 8 bar loops i made via synthstrom deluge. the rest was LPF, HPF, gain and panning.

layer [disquiet0696]

mix of several tracks and some field recordings from the last few months

qmixv13 - spring 2025

used this photo from my window as a graphic score. the elements in this photo mapping to elements in the track.

most sounds in here come from a contact mic applied to the window itself, or the frame.

five lines [disquiet0700]

per disquiet 701, "Break apart a piece of music and fill the resulting spaces"

(satie source recording via Daria Baiocchi via wikimedia commons)

and wait [disquiet0701]

the exercise was to misuse a piece of software

so, i took some hip-hop beats from ableton's stock loop library (which i never use)
stretched them out 8x or so
side-chained them against each other at 80-100%
added 100% wet delay or so to every track
and these are the only sounds

(the cover started with an actual glitch i screen-captured earlier in Kontakt)

the55

Pinned to spotlight

Popular tracks