#14

@Paul_Reiners

Sounds great with the numbers transmission. Adding those gaps was a good idea, I wish I’d thought of doing that with mine.

@tristan_louth_robins

This is lush. Feels like a soundtrack. I like that buzzing that fades in and out among the instruments.

@DetritusTabuIII

Kinda chaotic. Love the way my brain tries to make sense of the relationships between the instruments.

@euclidian

This could be an X Files theme! Sounds about right. How did you interpret the notation?

@baconpaul

If I hadn’t read your story about the alien, I would’ve thought this sounded like the wind blowing through the field as the mothership departed. The band are very responsive.

@nonsmeddy

The whistle of the metallic resonator is kinda atmsopheric. Quite a gentle piece, which was enjoyable.

5 Likes
#15

Sometime in July 2004, two crop circle formations were discovered in a Wiltshire field. What was striking about these patterns is how they appeared to represent the chakra system of the human body, generally depicted as circular wheels along the spinal column.

The fourth primary chakra is called anahata, the Sanskrit word to mean “pure, clean, stainless, unhurt and unstruck.” Joseph Campbell reminds us that anahata is the point “where sound is heard that is not made by any two things striking together.” (Suss Müsik mental note: no percussion for this piece).

What’s intriguing about the crop circle used for this week’s Junto is its concentricity: ovals overlapping and repeating, like a gigantic Spirograph drawing. The design also serves as a visual depiction of sonic echoes bouncing off hard surfaces before returning to its origin.

For this weird piece, Suss Müsik rendered the Junto-supplied crop circle image to “pure, clean” flat art. An audio scan was then processed create a series of major pentatonic tones in the key of A. Cyclical phrases for organ and piano were then added, using the graphical notation as reference.

The piece is titled Anahata. The image is the source notation used to create the piece.

1 Like
#16

The playlist is rollin’:

4 Likes
#17

I´ve tried to look at the circles as euclidean instructions for both notes, beats and modulation of a soft Buchla and some drum-machine sounds. Trying to get results, that could interpreted by human ears, the alien messages embedded within the crop circles turned out to need some additional effects - as reverb, granulation etc. … but then this emerged…

For the euclidean fun I used the strokes and weights M4L tools from https://www.congburn.co.uk/strokes

CropCircleW-2
CropCircleW-21334×857 517 KB

3 Likes
#18

Nice assignment. I thought of a number of possibilities for this but ended up with a long sequence surrounded by a number of other shorter ones… seemed like circles to me.

2 Likes
#19

For this assignment, I cracked out Iannix - a graphical, open-source sequencer - and drew the crop circle featured on the Wikipedia page in the program. Then I added some triggers, hooked Iannix up to Ableton and let it play itself.

Here’s four minutes of a crop circle automation :slight_smile:

8 Likes
#20

I’m traveling so this was done on the iPad. AUM, Ripplemaker, Animoog, Mozaic…

3 Likes
#21

Great - perfect use of Iannix!

2 Likes
#22

Thank you! Took me a while to understand how to use Iannix, the instructions are a bit…esoteric for me :wink:

2 Likes
#23

Although it was immediately inspiring, this ended up being a difficult one to tame. Anyway, I took the image from wikipedia, posterized it and reduced it to a very small resolution, turned it into ASCII. Then I had some code interpret it and try to turn it into midi. Next, pulled everything into Ableton, made 3 different versions of the midi at different resolutions, with a different bell sound for each variation. Finally some drums and sprinkling of synth.

3 Likes
#24

Love the atmosphere.

1 Like
#25

I had the feeling crop circles must have an iterative, drop-like structure. No VCO should be involved, because who knows, if the crop circles are ‘made’ or just ‘spontaneous phaenomena’ …

Two different soundscapes from the Koma FX were used in Reaper, both created by self-oscillation of the digital delay with no input. Plus some FX, modular and VST. Deep low frequency bassdrum via contact mic. You may hear the approaching UFO checking the mysteriousness of the crop circles …

I don’t know why but I like it.

3 Likes
#26

I went really basic with this one using the generative sequencer app NodeBeat to create a session to approximate the crop circle pattern.

1 Like
#27

Sure, math-aliens would be the ones that actually make it here and manage to communicate. But my aliens are Happy Accident aliens, they’re just goofing around and tagging some planets before Galactic Security can catch them.

I interpreted this crop circle clockwise, with the central curves indicating volume and the outer circles being pitch and twirls, all underscored with the sound of its own making: plant stalks being flattened down in steps. Thanks to Vijay Balakrishnan and Jimmy Kipple Sound for aliens and environments.

3 Likes
#28

https://soundcloud.com/ohm-research/buain-disquiet0425

1 Like
#29

This was another case where PhotoSounder was used to turn an image I made based on the Wikipedia image accompanying the assignment. I tried various duplications and scalings of the image but concentrated in the low-mid to mid-high frequency range for the PhotoSounder processing.

Next I introduced a Max PitchTracker following the PhotoSounder output and sent it’s MIDI output to various instruments: an instance of Arturia Buchla Easel V, Puremagnetik’s Swarm (fed from the entire PhotoSounder file), and two instances of XILS-lab’s XIL 3.2 (EMS Synthi CS 3 emulation) providing weird percussion.

There’s some reverb and distortion added and a bit of filter sweeping to keep things from being too sterile.

2 Likes
#30

I looked at the crop circle image and detuned an instrumenting what seemed like a fitting pattern for the top six crop circles. It was a really strange tuning that limited what I could add since normal instruments wouldn’t fit alongside these. Due to that constraint, it would up with a lot of shakers and strings and slides. It’s some sort of a bluesy field stomp.

2 Likes
#31

Disquiet0425
Output Composition
• Key: C major BPM: 100 Time signature: 4/4 DAW: Reaper
• Instruments: Absynth 5, Zebralette, Reaktor 6
• Plug-ins:
• Used IanniX and Reaper for this project: https://www.iannix.org/en/
• Imported the crop circle picture into IannixX as a background image
• Placed (superimposed) the triggers, curves and cursors of Iannix on to the crop circle picture
• Used Loop Be 1 to send midi messages from Iannix to Reaper

1 Like
#32

I decided to use the image of crop circles provided as the directions for manipulating the Virtual ANS instrument. The picture was reduced to black and white only, then imported into Virtual ANS (which applies its own colour scheme…). As the process was essentially visual, it seemed appropriate to capture the recording to video rather than audio only.

The sound-generating scan was allowed to touch each edge of the circles as it moved from left to right, then reversed to the previous edge on the route, ping-ponged onwards until the right-hand side of the screen was reached; then the process was taken from right to left again for the final sweep.

No post-processing, just the addition of titles followed by rendering to MP4 for the upload to YouTube.

3 Likes
#33

Greetings! First time here, and contributing to the junto - been messing around with pure data passed few winters and kind of got lost in fiddles - so when I came across the junto thought it would be good to give me some structure and force me into trying to finish/share the odd thing… anyways I look forward to being a part of it when I find the time, 'tis a lovely idea, and in general makes me happy to find creative things like this going on. Cheers!

So I noticed the crop circles encode the fibonacci sequence - trying to count the centre ones I was like, 2/3/5? 8? then when I saw 13 around the outside it clicked :slight_smile:

Initially I wanted to use the 2/3/5/8 as melodic and try to use the outer ring of 13 for a rhythmic/temporal organisation (smaller bars leading to a big 21 beat one in middle) - but too much fiddle (for me at this stage) so had to jack that idea in…

So i just went fractal fibonacci nuts everywhere else - built a drone from sine waves (circles!) mix of fm & additive, and used the ratios 2/1 3/2 5/3 8/5 - 5/3 & 8/5 are basically major & minor sixth apparently - and sounded lovely to me… so the drone is assigned to a midi knob which can play around the scale, plus distortion/volume etc.

Then I plugged in volca keys and did euclidean arpreggio based on 8/5 - had derived fundamental frequency of pretty much D3 by dividing first 6 fibo-ns by 7th - so used that plus aforementioned ratios/intervals to feed the keys.

Took 3 mins of a field recording of wind blowing in reeds to add some atmosphere, a bird sings at the end so took that as my prompt to stop fiddling and… waddjamacallit - when the ship goes zipping back off to alpha centuri?

So those 3 elements all go thru a fibonacci based reverb i made in pure data, which has a kind of tape effect when changing speeds… and i recorded 13 takes, and ended up using mostly 2, with the start from 10 and end of 13.

Et voila. Sorry for the waffle, don’t know if clear as been tiring day - but really a pleasure to take part in this - will return to listen to more of you alls experi mental materials toot sweet, after sleep…

peace. hello. goodbye. until next time. thanks. ok. yes. nice. ok then bye.

4 Likes