#11

welcome! digging your track :slight_smile:

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#12


This is a composition based on the letters of the names of my children. I rendered a distinctive sample to each letter and composed a piece of music from these samples. They are mainly field recordings, but there are some synth parts too. I dedicate this piece to my children.

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#13

Love love love the code :grinning:

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#14

This is a piece written for a special lady who turns five years old this week.

Numerology of names and birth dates is an inexact science. Suss Müsik used different methods to arrive at a base number of seven for this piece, with the Pythagorean values of six, three and four serving as “support” figures.

The piece began with a little seven-note piano phrase in the key of G (seventh letter of the alphabet), which forms the spine of the composition. Another four-note bit was added to the end, then inverted for one bar of fake strings. Another bar of fake strings uses a six-note variation.

Both string segments were then refactored for effects piano in phrases of six and three notes. Some heavily treated fake woodwinds take turns dancing around the original seven-note scale.

Suss Müsik intended to write this in a time signature of seven, but counting out the final rest reveals that it appears to have drifted back to eight. A metaphor, perhaps, for how time catches up to all of us.

The piece is titled 7ulia. The image was created on a drawing scratch card and is used by secret permission on behalf of the artist.

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#15

My wife’s name begins with ‘E’ (5th letter of the alphabet)… so key = E major… next letter ‘L’ (12th letter), so up 7 semitones, etc. I used a similar process for my two sons’ names and gave them all an instrument each. Slow tempo and the names squeezed into one bar.

Played everything back via a mixer into an EQ and recorded it to tape.

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#16

The playlist is now rolling. I generally update it each morning over coffee (California time), but sometimes during the day, too. Thanks, everyone.

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#17

I used the name of my soul mate to generate the music for this piece. I ran Meredeth through a musical cryptogram to get FEDEDEFA. I sequenced the eight notes and ran them through the felt piano samples on the Superdisting set to chord mode and played the notes FEDA through an arpeggiated microfreak patch.

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#18

Difficult to say what happened here except that I was thinking about my family and the love I feel for them. This is what came out. Picking out the notes from stevie wonders ’ I just called to say I love you’ to see what the notes are was the start of the process.

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#19

When the email arrived, my mind went in two directions and the result incorporates both ideas.

The first impulse was to use the footage of my partner talking about Acacia Montana, as the common name includes my middle name.

That term for a kind of shrub comes from the Wemba-Wemba people of western Victoria and, early in our relationship, Jo explained its form and it seemed like an analogy for my diverse interests.

The second idea arrived when I googled about how to encode text into music and found Solfa Cipher Secrets.

Using that website, I created a couple of MIDI files for the synth that can be heard in the second part of the song.

Another part of the process was, when I spoke to my partner Jo about the assignment, I was encouraged to consider making a piece of music that honours myself and recognises my achievements.

It’s made me realise that those diverse interests have been united in the way it brings together my music, video and ecology interview.

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#20

Title kind of speaks for itself.

Technical things.
I used http://kickthejetengine.com/langorhythm/ to generate a midi melody. Used that midi file to create a main theme and several layers and drones built off of it. Used cello samples as the main sound source with some viola to add flavor.

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#21

I put together some notes about this composition on my site: thomascannon.me/music/disquiet0454

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#22

I devised an encoding from text to music (melody and rhythm). I encoded my wife’s name and found the melody to be quite spooky (as you might expect for a chromatic type encoding). Also she likes Halloween so it seemed fairly appropriate. I voiced the same notes into some chords which I plays underneath. Finally I added a drone underneath to try and round things out.

The main melody was played on my digital piano then the midi arranged. The strings were from the Peak and the bass station for drone. A delay and a reverb were added from my 500 series pedals followed by my usual master chain. A fairly simple arrangement but it seemed to fit the mood.

In retrospect I think I’d have picked a different encoding to result in something a little more conventional. In that case I’d probably have made something with a slightly less “horror movie” vibe. Either way, another fun project: Thanks!

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#23

I chose Numerology Pro as the DAW because it allows notes to be entered numerically into its sequencers. I created one sequence each using my spouse’s first, middle, and last names, using the bog-standard encoding: A=1, B=2, etc.

Based on her initials, I determined that the appropriate scale for this piece should be Wythoff (3-1) Scale C Left from the Proliferating Infinities Scale Catalog.

The percussion track has no connection whatsoever to my spouse’s name, using 7/4 MIDI drum loops from OddGrooves placed over a 4/4 time signature, with one of Numerology’s stock drum kits.

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#24

https://soundcloud.com/ohm-research/geimryk-disquiet0454

The inspiration for this piece comes from “Ingrid” by Klara Lewis.

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#25

1 2 3 4 5 6 7 8 9 10 11 12

C C#D D# E F F# G G# A A# B

A B. C. D. E F G H. I. J. K. L

M N. O. P. Q R S. T. U. V. W. X

Y. Z

F# G. E. D. G C C# G#. D C C G D C#

The above shows the method I used for assigning notes to letters. My wife’s first name forms the chord progression for the A section and our last name for the B. Once I had the sequence down I took a fairly conventional approach to synthwave in Gadget. The biggest challenge for me was playing around with the rhythms until I found something that worked with the chromatic notes.

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#26

@DetritusTabuIII

Sounds like your life is full of surprises.

@NorthWoods

Always bubbling along?

@sevenism

Those intervals are huge and kinda unsettling. Hope you’re okay.

@Richard_Townsend

Is your partner’s name Melody?

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#27

Six 26-step polyrhythms representing my best friend (and wife)'s name. Each rhythm, from HorNet’s HATEFISh RhyGenerator, drives a separate note being played by separate Xils 3 LE VST synth instances. No other instruments are used. Some of the tracks are passed through AudioThing’s Valves filter and automated. There is also a hint of Valhalla Supermassive and Eventide ShimmerVerb.

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#28

I chose my partner’s name. Letters A-G stayed as the are and then all others just counted up through the 12 notes of our system. I felt like some arpegiating would work well then played the names on the flute too. A couple of unusual notes add a quirky flavour that is appropriate.
Thank you all.

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#29

For my entry this week I used the ‘French’ method of generating cryptograms where the alphabet essentially wraps around to fit the diatonic notes A-G. It turned out to be a simple 3 note progression with some variations.

Marbles>Rings>Clouds = Voice 1 (lower voice)
Yarns>Surface>Qpas>Mimeophon = Voice 2
Marbles>Plaits>Ripples = Voice 3
Output>BigSky>Interface

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#30

The name of the beloved is encoded in the track with multiple clues, and multiple coding systems. All on the modular using USTA to make the polyrhythmic code. Drums via Analog Rytm. A bit longer than I wanted, but that’s how long it took the nested loops to finish their complete cycle.
This was fun!

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