This Week in Sound: The Science of Calling a Cat

Plus: sound gadgets for infants, onomatopoeia ingenuity, and more

These sound-studies highlights of the week originally appeared in the May 9, 2023, issue of the Disquiet.com weekly email newsletter, This Week in Sound.

JUST KIDDING: There is a Kickstarter (I have no association with it) for a “smart pacifier.” The little device, which seems to combine a harmonica and a binky, is designed to “activate the creative mind at an early age, making passive listeners into musicians before they can say their first words.” … And separately, news about a nursery device that turns “patented auditory sequences into soothing melodic and other background tracks to help the infant brain do its job of paying attention to environmental sound changes.” It’s the Smarter Sleep Sound Soother from RAPT Ventures.

WHISKER WHISPERERS: “Scientists in France might have just found the most effective way to catcall an unfamiliar cat. The team discovered that cats living at a cat cafe responded most quickly to a human stranger when the stranger used both vocal and visual cues to get their attention. The cats also appeared to be more stressed out when the human ignored them completely,” writes Ed Cara at Gizmodo. Here’s a helpful diagram of how the experiment, by Charlotte de Mouzon and Gérard Leboucher at Paris Nanterre University’s Laboratory of Compared Ethology and Cognition, was undertaken:

THE THIX OF IT: “Irish inventors Rhona Togher and Eimear O’Carroll created an advanced acoustic material that reduces noise and can be used with household appliances, as well as in the automotive, construction, and aerospace industries.” The material is called SoundBounce, and it “has a cellular structure that works in tandem with a thixotropic gel placed inside the cells that allow sound to be dampened, reducing noise transmission from one space to another.” FYI, “thixotropic” means “Becoming a fluid when agitated but solid or semi-solid when allowed to stand.” Togher and O’Carroll are currently in the running for a European Inventor Award 2023.

CROSSTOWN TRAFFIC: The ecommerce/delivery reality is making life louder: “With millions of Americans now living in close proximity to a warehouse, it’s time to start treating these drab, feature-less buildings like pollution hotspots, says a recent report by the Environmental Defense Fund. Warehouses are quickly popping up all over the US, bringing truck traffic and tailpipe emissions with them. And yet there is no federal database to see where current or proposed warehouses are located, unlike other major sources of pollution like oil and gas facilities. … [T]here’s significantly more traffic, air pollution, and noise in census tracts with warehouses compared to those without them, another study based in California found last year.”

QUICK NOTES: Rim Shot: Netflix has a news desk (I don’t know how new it is) and it’s called “Tudum” — i.e., onomatopoeia for the network’s sonic brand logo — and that is sorta genius (netflix.com/tudum). ▰ Bank Teller: Voice biometrics was the focus of a letter sent by Senator Sherrod Brown, chairman of the Senate Banking, Housing and Urban Affairs Committee, reportedly to JP Morgan Chase, Bank of America, Wells Fargo, Morgan Stanley, Charles Schwab and TD Bank. ▰ Moon Man: Austin Kleon did a new blackout poem inspired by comments I madein recent issue of This Week in Sound. ▰ Bull Market: The Shriek of the Weekwas the bullfinch, “adept mimics” that “can be taught to whistle a human tune like a parrot.” ▰ Mo’ Mojang: There’s new ambient music in Minecraft (update 1.20) and Rohan Jaiswal knows where to find it. ▰ Street Scene: Check out this microtonal composition based on data related to Krasnodar Public Transport in Russia. (Thanks, Glenn Sogge!) ▰ Blue Jay Way: Soundfly, which offers courses for musicians and connects them to mentors, has a story about bird song — I love the idea of musicians having an avian tutor.

The GitHub in My Life

A piece I wrote for the January 2022 issue of The Wire

This piece appeared in the January 2022 issue of The Wire as part of its look back at 2021:

One of my favorite records of the year was released by a company that makes guitar pedals. Several other favorites collected samples (atmospheres, beats) whose intended audience was musicians, though those samples are eminently listenable on their own. Many of my 2021 favorites included heartfelt thanks to the hardware and software developers whose engineering was part of the musicians’ creative process. Sometimes those expressions were merely admirative; often they revealed working relationships.

In all such cases, the releases were meaningfully proximate to the practitioners’ own working lives, minimizing any reliance on record label mediation. Throughout 2021, conversations between participants flourished not just on formal social media (Twitter, Facebook), but in niche safe harbors using platforms like Discord, Discourse, and Slack. (Much as the aged email newsletter had its revival, so too has the BBS.)

In a given week you might spy Lloyd Cole on llllllll.co asking for iOS app advice, or Robin Rimbaud on YouTube answering a comment about technique, or the Who’s Pete Townshend singing the praises of a virtual synth’s engineer on Instagram. GitHub, long the shared virtual workspace of coders, provides a window on collaborations both within and between projects thanks to pull requests that evidence input from users. Listening in on these conversations, and sometimes participating, has been one of the year’s great pleasures.

twitter.com/disquiet: Armonica, GIF(t)s, Bosch

From the past week

I do this manually each Saturday, collating recent tweets I made at twitter.com/disquiet, which I think of as my public notebook. Some tweets pop up (in expanded form or otherwise) on Disquiet.com sooner. It’s personally informative to revisit the previous week of thinking out loud.

▰ I love when members of the Disquiet Junto post images of their works-in-progress. These are photos by participants’ set-ups from doing the latest project, which explores the glass armonica of Benjamin Franklin, whose original Junto society inspired our own.

The top one is by sixolet/Naomi from the San Francisco Bay Area. The bottom one is by RabMusicLab of Heidelberg, Germany.

▰ Oh, some Moog-stuff in that new Hulu documentary about Paul McCartney (featuring Rick Rubin on mixer and cross-talk interview chatter), via Rob Sheffield at rollingstone.com. (“Day or night he’ll be there any time at all, Doctor Robert”).

▰ Diced carrots are the Legos of the kitchen (unless, of course, there’s already Lego on your kitchen floor).

▰ I’ve wondered why I say GIF as in “gift” (not as in a kind of peanut butter). Today I recalled: I learned the word in the early 1990s from a graphic designer who traded “gift images”* he made with other designers. Time passed before I learned “gift” was in fact “GIF.”

*obscene 😳

▰ Just loved how just before his final confrontation in the final season of Bosch, the title character went ahead and quoted the show’s long-running theme song (that he “can’t let go”). Not quite breaking the fourth wall, but sure as heck knocking on it.

▰ Wax Trax!, ECM, Warp, Leaving

▰ OK, on that note, have a great weekend. Between notes-tidying and bike riding and longform writing and recipe-trying-out and an inevitable nap … well, we’ll see what there is time for. See you Monday, or maybe Tuesday.

Writing About Radio as an Instrument

For the latest issue of The Wire

The latest issue of The Wire, July 2021, is out, and it’s all about radio. I wrote a piece for it on musical instruments that have radio reception built in. I interviewed five instrument designers (Andre Goncalves at ADDAC in Lisbon on the ADDAC102, Joel Davel at Buchla in the San Francisco Bay Area on the 272e, Christian Zollner at KOMA in Berlin on the Field Kit, Piotr Raczynski at Polyend in Poland [can’t recall the city] on the Tracker, and Jens Rudberg at Teenage Engineering in Stockholm on the OP-1), plus three musicians (King Britt, Thomas Dimuzio, and Robin Rimbaud). I think this is the first time something I wrote for The Wire got mentioned on the cover.