Mike Linksvayer, October 1st, 2005
Creative Commons (“CC”): How did Freesound come about?
Bram de Jong, Freesound Founder (“BdJ”): In 2005 MTG hired me to organize the 2005 ICMC (international computer music conference), and to create a website around that year’s ICMC theme “free sound”. Dr. Serra and me took the title quite literally and decided to create Freesound. We knew of other, similar, projects like archive.org, ccmixter, … but none of those projects specializes in sound files.
In MTG we have plenty of algorithms for browsing and organizing sound and music, and we wanted a platform to work on. Freesound is perfect: we have a LOT of files, and a an impressive amount of users giving us feedback (even though they might not always realize it). This is an amazing source of information for research.
Oh, and obviously we started Freesound because we could (we have the bandwidth!) and because it’s fun. ;-)
CC: What led you to mandate use of a CC license for all samples in Freesound?
BdJ: Simply because the creative commons licenses are clear licenses, well thought of, well documented and above all quite modular. We doubted a long time about which license to choose, and in the end decided to go with Sampling+. In retrospect we chose wrong, and we’re planning to ask our users to switch to Attribution/Attribution-NonCommercial, but that’s a bit further in the future.
I think Creative Commons is a superb initiative, but it’s still a very young phenomenon. A while back we went to talk to a television station for something we are doing for freesound, and to our surprise, no-one there had even heard of Creative Commons. The common man (pun intended) still has no idea there’s an alternative to “full” copyright. Hopefully Creative Commons will become an even larger movement in the future!
As I said a while ago in an interview with the a local Catalan website, I personally see the CC licenses as the perfect way of preventing crime. Everyone samples, if it’s illegal, or not. CC gives such tremendous power to the author to decide what you can and what you can’t. And as we all know, authors are in general much more open than large industry bodies! Power to the commons-people.
CC: Is the sample (not music incorporating samples) an artform unto itself? If so, point out a few samples at Freesound that a listener might appreciate on their own.
BdJ: Oh, yeah, entirely! Some of the people in Freesound are so dedicated to recording and creating sounds it’s amazing. Especially the people that do recording in nature or so called “field recordings” are very detailed about it all. I might be a bit -well a lot- obsessed with sounds, but sometimes I think a single sound can be a lot more evocative than music. Music is perfect for mood-setting, but sounds take you there. Especially sounds recorded “out there”.
I could give a hundred examples of single samples, but I’ll try to select a few which are really fun:
- Let’s start with melack’s printer: you hear the sound and you can’t help but laugh and imagine the beat-up broken printer sitting there. Not printing, oooooh no, but making superb sounds.
- A very new file: ‘wildsollution’s train sample with its geotag. If this didn’t make you visualize, … :)
- In general our two users Acclivity (from England) and Dobroide (from the south of Spain) are two amazing examples of evocative recordists. Acclivity is a gentleman of respectable age who by his own words spends way too much time on Freesound. His tagline says it all: “Close your eyes, and you’re almost there!”. Acclivity has many superb samples, but some that left an impression on me would be Acclivity as the pied piper, Olga talking, and a classic. Dobroide is I think a field-working biologist and almost all his sounds are pretty amazing. Check out his complete animals pack and his voices pack.
- Obviously a sounds library is complete without a perfect thunderstorm, captured in sparkling high fidelity. Our user Richard Humphries owns the local hero position when it comes to these kind of things: he is a pro sound recordist for television, and was so kind to upload 136 of his gems…
… et ce te ra
CC: 20,000 samples is a lot. Can you make any sweeping generalizations about the character of the samples or the community that has produced them or how each has changed as the site becomes more popular?
BdJ: Difficult. There are a lot of nature recordings. An amazing amount of “water” samples (splashing, dripping, streaming, …). More and more directly usable drumloops and synthesizer hits. But doing real generalization is very difficult. If you have a look at our tagcloud you’ll see it’s very eclectic… What we’ve been noticing lately is that our various telephone ringing sounds are very popular lately. I guess there’s a lot of people out there with nice oldschool ringtones :-)
CC: What does the future hold for Freesound?
BdJ: More! We want more samples, more users, more features, more everything. In the close future we will also do the jump to another license. We will be adding some technology from BMAT to Freesound as a technology demo. There’s some rather interesting technologies we want to be using like nice collaborative filtering and more content based recommendations to make it easier for people to explore Freesound even more. More about that later on Freesound!
There’s some more plans that involve Freesound, but some of them are so secret I’d have to make you listen to our mind-erasing sound (although I forgot where I put them).