This time I was interested in what I could do with this old Feonic Soundbug I have. More about Feonic’s technology here : http://www.feonic.com/ But basically they are a small piece of Terfenol-D which changes shape when a magnetic field is applied to it. This solid can be pressed against other solids to cause vibrations which turn that whole solid object into a speaker of sorts.
I took my Soundbug and attached it to a number of things in my house / studio and played the sample tracks through them. This included the window, a Jen SX1000 synth case, my studio desk, a hollow body electric guitar, a great grandmothers violin and my oven door. I recorded the sound they made very closely with a Zoom H1.
Sometimes the Soundbug was either overloading, coming loose, or the battery was in the process of dying and it made the whole thing go crazy. I used all these sounds too.
I took all these samples into Ableton Live and did this quick live mix on my APC40.
I used a lot of the built in effects to do things like isolate frequencies and try to build structure out of the sounds. I used a few Michael Norris plugs to create sort of fake spectral reverbs, but I also used Lexicon Hall reverbs too. The whole thing went through Izotope Ozone at the end.
Here is some more info about this weeks Junto :
Disquiet Junto Project 0039: Netlabel Derivations
The netlabel phenomenon is a tremendous force in contemporary music, with hundreds of these small organizations around the world actively distributing for free the music of willing musicians. In many ways, the concept of the netlabel is at the forefront of the Creative Commons — except for one lingering issue: Many netlabels set their tracks to a license that doesn’t allow for derivative works. On a label-by-label basis, that’s likely an informed decision. But from a broader perspective, it arguably stunts the promotion of shared culture.
In order to encourage the employment of licenses that allow for derivative works, such as remixes, the Disquiet Junto will focus its collective attention this week to a netlabel that allows for derivative works. We’ll take three tracks from three different releases from the Nowaki label, based in Paris, France, and combine them into remixed celebrations of the label’s vibrancy.
So, the assignment this week is simple. Please download the following three tracks from the netlabel Nowaki and combine them into a new track. You can process the sourced audio in any way you choose, but you can’t add anything to it:
“Irese” from this Barascud’s Summit:
“Sumatra” from André D / Christophe Meulien’s Archipel
“She Likes to Look at the Sky” from Kluge’s No Love, Please.
Note: You will likely have to download the full albums to access the source audio.
Deadline: Monday, October 1, at 11:59pm wherever you are.
Length: Your finished work should be between 2 and 5 minutes in length.
Information: Please when posting your track on SoundCloud, include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto.
Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0039-remixingnowaki” in the title of your track, and as a tag for your track.
Download: For this project, your track should be set as downloadable, and allow for attributed remixing (i.e., a Creative Commons License permitting non-commercial sharing with attribution).
Linking: When posting the track, be sure to include this information:
This Disquiet Junto project was done as a celebration of the efforts of the Nowaki netlabel, and to support its employment of licenses that allow for derivative works. This track is comprised of three pieces of music: “Irese” by Barascud, “Sumatra” by André D / Christophe Meulien, and “She Likes to Look at the Sky” by Kluge. More on the Nowaki label, and the original versions of these tracks, at
More on this 39th Disquiet Junto project at:
More details on the Disquiet Junto at: