This is an entry for this week’s Disquiet Junto project

The instructions were:
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.

I wrote a Csound program that generates three sine waves.
- The first tone is a 240Hz tone that sounds for the entire piece.
- The second tone is higher, starting at a ratio of 31/16 relative to the first tone (sharper than a major seventh, derived from the 31st harmonic).
- The third tone is lower, at a ratio of 16/31 relative to the first tone (the reciprocal of the second tone).
- After 15 seconds. the second tone starts gliding downwards in pitch until it reaches the ratio of 65/64 (flatter than a minor second, corresponding to the 65th harmonic).
- Also at 15 seconds, the third tone start gliding upward in pitch until it reaches the ratio of 64/65 (again, the reciprocal of the second tone).

The sound file is just the output of running the Csound program, with no other manipulation. I will be happy to send the Csound source code for this piece to anyone who would like a copy.

The image is from and is in the public domain.

More on this 60th Disquiet Junto project at:

More details on the Disquiet Junto at:

This piece starts with a bowed crystal bowl, the sound of which passes though a ring modulator, then a resonating flanger, then a resonating delay, then a delay in a long continuous loop. The sound is further processed by a reverb. Everything is analog except the the looping delay.

Throughout most of the piece, I take long, slow draws of the bow against the edge of the bowl, with several seconds between each stroke. As this is going on, I progressively modify the other devices to modify the sound in various ways. The general shape of the piece is to slowly lower in pitch as it grows spatially, and eventually to come back up. Perhaps something like a fainting spell and recovery in slow motion.

You can see the setup of the equipment (in my studio) here:

Image: (Public Domain).

An improvisation from about an hour ago. I wasn’t planning anything, just experimenting, but it eventually got to the point where it seemed appropriate to hit the record button and this is what ensued. Recorded off the mixer to Zoom H4N. The only edit was a fade-in at the beginning (once I figure out where the “beginning” was).

This was done with a single oscillator (the carrier output of a Moogerfooger Ring Modulator), going through the Repeater Noise Swash, which I somehow happened to catch in an unusually sedate mood. The signal is then routed through an effects loop consisting of an Ekdahl Moisturizer and a stereo Deluxe Memory Man with Hazarai. The DMM is in a pseudo-frippertonics mode with a three second delay.

That’s the audio portion, but there is also a fairly complex control voltage configuration going on involving a Moogerfooger CP-251 Control Processor, with three different LFOs (from the CP-251, Ring Mod, and Moisturizer) running at very slow rates and modulating each other as well as various aspects of the audio.

Image: “Nowhere in Spain” by swizzled on Flickr, used under a Creative Commons license.

A 60Hz drone meditation, as usual recorded direct to Zoom H4N from the mixer, with no post-processing other than adding a fade-in at the “beginning”.

This piece is dedicated to the memory of Aaron Swartz. I didn’t know Aaron, but I’d known about him for years and read many of his writings, and had great respect for his integrity and accomplishments

The basic drone was formed by a Moogerfooger FreqBox (oscillator output, no input) through a Moogerfooger Ring Modulator. The LFO from the Ring Mod was patched to the waveform control on the FreqBox.

This was routed through a Trogotronic Iron Hand controller into three separate streams: a Moogerfooger MuRF (center), a MoogerFooger ClusterFLux (left channel) and an Electro-Harmonix Deluxe Memory Man with Hazarai (right channel). The omnipresent Ekdahl Moisturizer was in the effects loop.

The picture is from the field in front of my house in southern New Hampshire, taken about ten minutes after I recorded the piece. The original is on Flickr. This is what it’s been like here for the past couple of days, except at times the fog has been heavier.

Recorded in performance at Turn It Up in Brattleboro, VT, earlier this evening, April 4, 2014. Another 60 Hz piece.

The underlying drone is the Synthrotek 4093 NAND box that my brother Doug built inside an old English tin (he also made the wooden knobs).

The only other sound source is the FreqBox VCO, which is driven by the carrier output from the ring modulator which passed back through the ring mod, then further processed through a flanger (with a phaser inserted into its feedback loop), then through a delay unit in a flangy setting, and finally through a looper.

This is the second part of my piece “~60 Hz”, available now on CD on the Irritable Hedgehog label. The complete release may be streamed and/or purchased at Marc Weidenbaum’s liner note essay “Even Waveforms Have Terroir” may be read at Artwork by Scott Unrein.

Recorded in performance at 119 Gallery (Lowell, MA) on January 25, 2014.

I played a Shnth with processing and looping. The piece is in three sections. To make this version, I edited out the first couple of minutes of playing and added a fade-in at the beginning and a slight fade-out at the ending, but there was no other post-production other than conversion from 96K/32-bit WAV to 48K 320kpbs MP3.

The first section uses an 8-note scale devised by Lou Harrison, and the tones and chords are actuated by my breath as I blew into the Shnth’s built-in mic. The second section moves back and forth between two 6-note metaslendro scales played on the buttons of the Shnth. The third section returns to the Harrison scale, also played using the buttons.

The two channels of the Shnth’s stereo output went through two Grunge distortion pedals (used only in the third section), and were then combined into a single channel. This mono channel was split up and routed through a Moogerfooger Ring Modulator and a FreqBox in parallel, and then recombined along with the original signal and sent to a Moogerfooger Clusterflux, the stereo output of which went to a Deluxe Memory Man with Hazarai and finally a Boomerang III looper, both in stereo. I used an Ekdahl Moisturizer reverb unit on the mixer’s FX bus. The recording was made directly off the mixer. All the nutty routing was facilitated by a Repeater Electronics 4x4 passive matrix mixer – a very helpful device.

The Boomerang III loops throughout in pseudo-Frippertronics fashion. In the second section, the Deluxe Memory Man is temporarily switched into a similar mode, but with a different loop duration, which allowed me to build up clouds of notes that were only approximately predictable (similar to the technique used in Collider). In the first and third sections, the Deluxe Memory Man is used more like a flanger.

Here’s a photo of the setup (taken at home before the gig):

The image is from Wikipedia:,_greatly_exaggerated.jpg
SF-12001 : Absence sleeps between the buildings at night. : Mysterybear : : Stasisfield mp3 releases

Drone master Dave Seidel, aka Mysterybear, produced this collection of tracks derived from his soundtrack for Gregory Kowalski’s production of the play “Crave” by Sarah Kane. Crafting loops from field recordings posted to the Freesound archive, Seidel has created a suite of seven harsh drones: noisy, abruptly starting and stopping, these slices of time could be the infinite sounds of metaphysics, the echoes at the core of existence.

Something that emerged, somewhat unexpectedly, from the exploration of an idea (which I’m still working on). This is a live take, unedited except for the opening fade-in. The sound source was a single oscillator (the carrier output of my Moogerfooger ring modulator) and its associated LFO, with help from some other devices, especially a Boomerang III looper and a Repeater Electronics tunable CV “keyboard”. No sequencer or conventional keyboard (don’t have either).


Nothing profound, just an excerpt from an impromptu session at home, applying a series of effects to a chord from a Drone Lab and playing with control voltages. The effects all have LFOs, which are interconnected via a fairly complicated CV configuration.

The audio originates with the Drone Lab, then passes through a Gristleizer into a MuRF, the two outputs of which go to a ClusterFlux and a Phaser, each of which sends its own stereo signal to the mixer. The Ekhadl Moisturizer provides reverb and filter antics.

I’m not going to detail the control voltage signal flow, but it includes all of the above devices (including the Moisturizer, which also has an LFO) and a CP251 Control Processor. Only the Drone Lab was not involved in the CV circuit, because it doesn’t do that.

Recorded, as usual, from mixer directly to Zoom H4N. Edited only to establish a beginning. The ending was done in real time.

The image is called “HIT Isotropic Turbulence” by rreis on Flickr ( and is licensed under a Creative Commons Attribution-ShareAlike 2.0 Generic license.