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Listening to art. Playing with audio. Sounding out technology. Composing in code. Rewinding the soundscape. Beat/Street Remix MP3s

This week, Monday through Friday, I’m participating in an excellent online conversation hosted at Molly Sheridan’s “Mind the Gap” blog at with a bunch of musicians, composers, critics, and other folk talking about Lawrence Lessig’s recent book, Remix.

As a kind of sidebar to that discussion, I’m taking the opportunity with each of the daily Downstream entries here at to focus on how they correlate with issues raised by Lessig in his book. In Remix, Lessig talks about varieties of economies, and divides them into two categories: “commercial” and “sharing.” The latter term applies to those online communities ( is his primary example) in which the participants receive no direct financial benefit for their efforts.

There are numerous communities of musicians on the Internet, places where individuals share their creations in the interest of building an audience — and sometimes to solicit advice and get creative or technical input. Some of these communities invite online collaboration, frequently by people who may never meet in person — people whose interaction may simply be an occasional trading of, and enhancing of, files.

One of my favorite such places is, which is where field-recording enthusiasts, as well as those who favor sound effects and other noises, gather. The majority of the site’s activity is a vast, ever-expanding collection of cataloged sounds, from German Nightingales to North American thunder claps. There’s also a spot on the site, called a “Remix! tree,” where people take each other’s sounds and make something else of them. I’ve included such remixes here in the past, and this is another fine example:

A user named Schulze posted a three-second drum sound (MP3,, which was created with the audio package Reason. Schulze has posted over 25 tracks to Freesound, ranging from other synthesized tones, to recordings of street activity, to the rumble of a washing machine. The three-second drum beat is an especially attractive sound, eminently loopable, a bouncy, lively drum beat that could be a talking drum from some South African pop band:

[audio:|titles=Short percussion loop|artists=Schulze]

Later, a participant named dobroide came upon the Schulze track and decided to act on that very loopability. Dobroide is a prolific member of the Freesound, with almost 1,800 uploads to his credit. He took the Schulze loop and combined it with one of his own samples. His field-recording contribution was of street musicians tuning their instruments before a performance (MP3,

This is the original recording by dobroide:

[audio:|titles=Field recording of street band tuning up|artists=dobroide]

And this is his contribution to the Freesound Remix! tree, which combines his and Schulze’s work (MP3,

[audio:|titles=Remix of Schulze’s beat with a street-band sample|artists=dobroide]

That Schulze’s beat lends song-like structure to the relatively formless document that was dobroide’s field recording serves as a perfect metaphor for the remix activity at Freesound, where unexpected transformations are performed daily, as part of an ongoing asynchronous and highly fruitful group collaboration.

By Marc Weidenbaum

Tags: , , / Comments: 2 ]


  1. leon milo
    [ Posted March 18, 2009, at 9:17 am ]

    Freesound has been, from the start, a fabulous asset and fabulous community. There is a great spirit of sharing and community. Lots of great work and great sound has come from this effort.

    I love it.! :)

    my freesound page:

  2. Evil Paul
    [ Posted March 18, 2009, at 2:40 pm ]

    Nice article, it made me realise that Freesound could be a great replacement for the sadly defunct Sound Injury netsound project.

    It was kind of like an Exquisite Corpse for small mp3 files done via a mailing list – ran from about 2000 to 2003.

    Great article chronicling sound_injury here:

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  • 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

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