New Disquietude podcast episode: music by Lesley Flanigan, Dave Seidel, KMRU, Celia Hollander, and John Hooper; interview with Flanigan; commentary; short essay on reading waveforms. • F.A.Q.Key Tags: #saw2for33third, #field-recording, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

Listening to art. Playing with audio. Sounding out technology. Composing in code. Rewinding the soundscape.

My Online Hangs

A recent accounting as of October 2022

Where I hang out online:

Twitter: Twitter is my public notepad (or scratchpad), more than anywhere else aside from itself. I tweet weekdays at I’ve made an OK home for myself on Twitter by muting frequently and blocking occasionally. I take weekends off. On Saturdays I do a roundup here on of some of what I’ve tweeted.

Instagram: There’s at least one new image a week at, and often more. (I’d like to have, but it’s under the possession of someone who hasn’t used it since 2012. If you happen to know how I could trade out for that, I’d appreciate it. Maybe you work at Instagram and would like to help.)

Mastodon: If you use Mastodon, I’m at @[email protected] I don’t use it as much as I’d like, because it remains more theoretical than practical, but I keep at it. (I wrote a lengthy appreciation of Mastodon back in May.)

YouTube: I sometimes post videos at, though not as often as I used to. I also occasionally update my ongoing YouTube playlist of fine live performance of ambient music). My main streaming music service is, which includes an ad-free YouTube subscription, which is the only recommended way to use YouTube. There is no social component to, which confuses me to no end.

SoundCloud: My has over 10,600 followers at this point. Unfortunately, I can only follow 2,000, because that’s a SoundCloud restriction.

Bandcamp: I buy and listen on Bandcamp. You can see some of what I’m listening to at, and if we follow each other we can keep abreast of such activities. It’s low-level social, and somewhat useful. There’s a great online discussion group called Lines at, where I spend a lot of time. If you make music, especially if digital tools mediate your creative process, I recommend the community.

Etc.: My Facebook is mostly friends and family. Facebook is where you realize how little you have in common with people you know and Twitter is where you realize how much you have in common with people you don’t know. My Reddit activity is minimal, though I do peek it regularly. There are some Slacks, in particular the Disquiet Junto one, but most aren’t public in the primary sense of the word. Same for Discord, which has yet to become a habit for me. I see “social” as a function, not a category. GitHub is social. LinkedIn is social. Email is social (especially many-to-many group email lists), etc. I am social.

Anyhow, the above are my main hangs.

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Here Comes Trebble

A nifty web audio app

Trebble is the name of a nifty web audio app that lets you not just edit but augment recordings in your browser. It works best in Chrome. You upload spoken text, which is automatically transcribed (and, yes, is prone to error — and yes, we’re being trained by our speech-to-text tools to enunciate with greater precision, and yes, I do find new reasons to rewatch Francis Ford Coppola’s The Conversation pretty much every day in our ever more increasingly technologically mediated world). You can then — magically, as it were — edit the audio by editing the text. That is: If you want to remove a clause from the audio, you either cut it or instruct Trebble to ignore it. You can also remove noise and — this is pretty cool — add music to select moments within the track. And when you’re satisfied with the result, you can output the recording for subsequent use, with all the edits and other augmentations in place. Trebble is clearly still in beta. The interface reminds me a bit of what you can do in’s transcription service, but the editing and enhancement is something else entirely. It’s still early going for Trebble, but the user experience provides an upstream view of what’s ahead. Tools like this quite quickly go from web novelties to universal norms. (Found via the always excellent

Try it out at

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DALL·E 2 Experiments: Microphones

Ongoing exploits with the Algorithm

Prompt: “microphone hanging out a window, pixel art, black and white”

Made with DALL·E 2, via

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DALL·E 2 Experiments: Microphones

Ongoing exploits with the Algorithm

Prompt: “microphone in nature, pixel art, colorful”

Made with DALL·E 2, via

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DALL·E 2 Experiments: Microphones

Ongoing exploits with the Algorithm

Prompt: “3d model of tiny microphone the size of speck of dust”

Made with DALL·E 2, via

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  • about

  • Marc Weidenbaum founded the website in 1996 at the intersection of sound, art, and technology, and since 2012 has moderated the Disquiet Junto, an active online community of weekly music/sonic projects. He has written for Nature, Boing Boing, The Wire, Pitchfork, and NewMusicBox, among other periodicals. He is the author of the 33 1⁄3 book on Aphex Twin’s classic album Selected Ambient Works Volume II. Read more about his sonic consultancy, teaching, sound art, and work in film, comics, and other media

  • Field Notes

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  • Current Activities

  • Upcoming
    • December 13, 2022: This day marks the 26th anniversary of the founding of
    • January 6, 2023: This day marked the 11th anniversary of the start of the Disquiet Junto music community.

  • Recent
    • April 16, 2022: I participated in an online "talk show" by The Big Conversation Space (Niki Korth and Clémence de Montgolfier).
    • March 11, 2022: I hosted a panel discussion between Mark Fell, Rian Treanor and James Bradbury in San Francisco as part of the Algorithmic Art Assembly ( at Gray Area (
    • December 28, 2021: This day marked the 10th (!) anniversary of the Instagr/am/bient compilation.
    • January 6, 2021: This day marked the 10th (!) anniversary of the start of the Disquiet Junto music community.
    • December 13, 2021: This day marked the 25th (!) anniversary of the start of the Disquiet Junto music community.
    • There are entries on the Disquiet Junto in the book The Music Production Cookbook: Ready-made Recipes for the Classroom (Oxford University Press), edited by Adam Patrick Bell. Ethan Hein wrote one, and I did, too.
    • A chapter on the Disquiet Junto ("The Disquiet Junto as an Online Community of Practice," by Ethan Hein) appears in the book The Oxford Handbook of Social Media and Music Learning (Oxford University Press), edited by Stephanie Horsley, Janice Waldron, and Kari Veblen. (Details at

  • My book on Aphex Twin's landmark 1994 album, Selected Ambient Works Vol. II, was published as part of the 33 1/3 series, an imprint of Bloomsbury. It has been translated into Japanese (2019) and Spanish (2018).

  • disquiet junto

  • Background
    Since January 2012, the Disquiet Junto has been an ongoing weekly collaborative music-making community that employs creative constraints as a springboard for creativity. Subscribe to the announcement list (each Thursday), listen to tracks by participants from around the world, read the FAQ, and join in.

    Recent Projects

  • 0561 / Samplelicker / The Assignment: Rework environmental sound recordings with Aphex Twin's new software.
    0560 / Sonic Disambiguation / The Assignment: Help the Wikimedia Foundation develop a sonic logo.
    0559 / Yes Exit / The Assignment: Compose your personal entrance and exit cues for conference calls.
    0558 / Chore Progressions / The Assignment: Use a routine activity as the map of a composition.
    0557 / Condensation Is a Form of Change / The Assignment: Interpret a graphic score that depicts four phases.

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