We have a category five typhoon rolling in this evening, and I have my ticket to see MELVINS play in Shibuya next month. These two facts had a direct influence on my destruction of the “red winged blackbird” sample >> pitch shift, distortion, delay, reverb, glitch upon glitch. The aliens included a purer recording of the beautiful bird song at the end of their transmission. Thank you to the ‘National Park Service’ for providing the original recording. The track title is a quote from Wallace Stevens.

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Mission Report: Pilot Pirx here. a few days after the unfortunate failure of my ship, two of the locals took me out in a small water-going vessel made of wood. They carried some bowed instruments, also of wood, and a supply of liquid made of fermented fruits. I have collected samples, They informed me that they were capable of producing a sort of quantum entanglement by resounding with the local wildlife, and would be able to send me on my way.

Once we were in the middle of the small body of water, they began to produce sounds in some inchaote rhythm that nevertheless seemed to reverberate with the local fauna.

After a sometime passed, with occasional refreshments from the local liquids, I found myself back in the sector, next to my locker. And so I present myself and my recording to you, sir:

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Maybe aliens won’t be sure if the forests or even the geysers are living and/or intelligent? I decided to use only video bits from the geysers and edited them together through EboSuite through Ableton Live and added resonators and distortion.

I’ve added some GeoSonics sounds as well (an amazing library, btw!). Also - I just had to add a sequence from Arturias virtual ARP2600…

The resulting video available here: https://youtu.be/-4PZbcREbDQ

Thank you for yet another fun challenge. And thank you National Park Service for great material!

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the following are 11 random environmental/animal sounds collected from yellowstone park on Terra (native nomenclature: earth); a boundaried and somewhat curated aspect of the landscape.
the recording follows some of the conventions of the dominant species’ music (base frequency 130.813Hz, layering, repetitive rhythm, repeated sounds, approximations of music instruments: ableton live8, protoplasm tsmpro)
the natural frequencies are very low compared to what we are used to so you’ll want to raise this considerably. the sounds are generally unadorned but some work has been done in raising frequencies so it’s slightly less unpleasant. the goal is to distinguish between sounds to produce an internal network of 11 concurrent tracks. on average it will take about 4.75 terra minutes to traverse from cacophony to concurrence.

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I was a bit short on time, so haven’t gone overboard with this one - and some of the animals there sound amazing, more electronic than my modular synth!

I made a modular synth patch in the Radiophonic style, using processed feedback loops on a spring reverb, to serve as the alien’s report. Overlaid with this were a few recordings: Unita Ground Squirrel, with echoes, and also reversed; Wilson’s Snipe; and the bed of sounds from Singing Lake, and Geyser Hill (with birds).
A bit like an Alien postcard.

Wish You Were Here? I sure do.

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What I found from this process is that since each of the recordings is a different length, looping each of them and mixing all the loops produces a generative environmental soundscape.

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Synakkah Musfor is the name of a planet that appears in a series of illustrated science fiction books written by Stewart Cowley. Published in the late 1970’s, the series describes how human life on Earth expanded into neighboring galaxies via the Terran Trade Authority.

According to Cowley, Synakkah Musfor is one of four planets that circle the G5 sun of Alpha Pheonicis, some seventy-six light years away from Earth. With a surface land mass of only 14%, the planet is inhabited by water-dwelling creatures who … you know what, let’s have Cowley describe it himself:

“As might have been expected on this watery world, the dominate species was aquatic and, in fact, not unlike terrestrial lobsters. Their dependence on a substantial water supply and a lack of shortcomings in their home environment meant that they never had cause to explore the potential of space travel … They proved swift to learn [however] and industrious in applying the knowledge they had acquired, develop[ing] a remarkable artificial respiratory system which allowed them to exist outside the vast seas of Synakkah Musfor.”

For this weird piece, Suss Müsik envisioned what might occur in the event that the “terrestrial lobsters” of Synakkah Musfor happened to arrive in Yellowstone National Park. Perhaps they would concentrate their efforts in communicating with mud pools, interpreting their acidic burbling as a form of greeting. It’s not inconceivable that they’d find the Fountain Paint Pot a most unwilling conversational partner.

Suss Müsik imagines the Synakkahans then attempting to woo the stubborn mud pot with a gentle little song. The cosmic crustaceans sing and dance among the viscous slurry before growing increasingly frustrated with the lack of conversation. Having been duly ignored by a group of tourists more interested in capturing selfies with their iPhones, the disappointed and dejected Synakkahans depart Earthen soil forever. Such is our loss.

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Rocket science is easy, transmitting samples back from a distant planet is hard. The audio channels overlap and we got all kind of weird interferences.

I only used the samples from NPS and some FX, no synths. All played and recorded in AUM on an iPad.

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A quick late night one for me here.

I’ve been quite into Vocoders recently after finally trying one out with my own voice in a track I had been working on. So decided it was appropriate to use again for an alien transmission.

I figured that a visitor to this planet would be equally intrigued by our technology as our nature and want to provide the best factual information possible to their friends and family back home. As it happens, vintage adverts exist showing off the best the park has to offer. I kept one track clean of this advert and a second track slightly delayed with a vocoder on it - with much of the dialogue quite indecipherable.

I sprinkled the recording with a dawn chorus, a maple fire, an Elk bugle (learnt a new word there) and Coyote’s singing. All with various effects added to them.

I’ve wanted to visit the park for the longest time, but still haven’t ever made it to that part of the US :expressionless:

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OK I am in with my gritboy mix. Bison Rutting In The Dragon’s Mouth is on the SoundCloud. Having made my own recordings at Yellowstone a year ago I could not resist this one and made the time. A couple I had started did not get there. Had a pretty clear vision on what I wanted to do after listening to the samples and cherry picked three or four from the NPS ones to give it some more oomph. Alien technology provided by Form. I may want to revisit this batch of sounds later.

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So awesome to see your name pop up here!

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Frog chorus with Digitakt.

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Transmission following a visit to Yellowstone National Park by, strangely, Dutch-sounding aliens. This transmission contains recordings of Boreal frogs, Spadefoot toads, wolves and the Old Faithfull geyser.

The samples were sliced and played alternately over 16 bars with various filter and grain effects applied.

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Went for a darker vibe with this one. Lots of Paulstretch on the various geysers and Granular synths on the animal sounds.

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Disquiet0406

linguistics

• Key: BPM: 66 Time signature: 6/8 DAW Reaper
• Instruments:
• Plug-ins: AlterEgo
• Randomly chose the sounds to download and use in the project
• Downloaded 8 sounds
• Imported them into Reaper on to 8 separate tracks
• Added FX like panning, voice synth, reversing, delays

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Different clips of Bugeling Elk. Those who know my soundcloud (probably just me) know that there are several examples where I have used the wonderful Yellowstone library, including my submission to DJ 0401.

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Really nice sounds especially the voices

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Red squirrel and the Uinta ground squirrel trying to send a message.
Processed mainly through the demo version of GRM evolution, Argotlunar, reverb and delay.
Some processing as raw data in Audacity.

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I selected a dozen or so samples from the Yellowstone library and loaded them into Logic. From there I decided to use the lake sounds and the maple fire as the backbone of the report – those bodies being the largest lifeforms or explorer encountered – and fit in some of the frogs, elk, birds, the passing automobile, around transitions in those samples. No processing other than a couple of volume fades.
Coincidentally this weekend went to an inspiring exhibit by the artist Tom Uttech who does fantastic nature landscapes full of creatures real and mythologized. The cover are is from this link: http://embarkkiosk.chazen.wisc.edu/VIEO24151?sid=18550&x=24096&port=1564

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