#50


Simple response to this weeks Junto

I took the numbers provided and plugged them into Gnaural (http://gnaural.sourceforge.net/)
that gave me a 73min .wav, which I have trimmed down.

(I feel like I’ve fudged a steady state out of something temporal, but it’s hard to comprehend such things that dwarf the human scale )
(also it was nice to not use “music software”)

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#51

My track is here: https://soundcloud.com/plusch/spheres-in-space-disquiet0272

For this project, I constructed a self-playing Pure Data patch. When the patch was completed, I pressed “record” in Audacity and set the patch playing. After the patch turned itself off, I stopped recording, removed DC offset, normalized the audio, and trimmed silence from the start and finish.

For the frequencies and timing of the arpeggios, I used three sets of numbers that have the planetary ratios:
100, 133.333, 200, 300, 500, 800
150, 200, 300, 450, 750, 1200
300, 400, 600, 900, 1500, 2400

There was a main counter that triggered everything: the arpeggios, a 50 Hz bass note, and a noise burst. Sound sources were sine waves, sawtooth waves, and square waves. All except the bass note went through reverb and delay.

https://soundcloud.com/plusch/spheres-in-space-disquiet0272

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#52

Short piece using the orbital frequencies of the planets in the TRAPPIST-1 system as semitone intervals and polyrhythms.

Performed on modular synthesizer, sequenced on Monome Ansible and Teletype.

The melodic sequence was created by building a Teletype scene that used six trigger inputs to trigger the six notes. Each output would cycle through the four CV/Trigger outs going to different oscillators and envelopes. (Oscillators used are two Mannequins Mangroves, and the Make Noise Mysteron).

The six inputs were triggered from two Ansible Kria instances, triggering each of the size based on their frequency ratio to each other to create polyrhythms.

The background drone was performed manually on a touch keyboard, playing the same semitone intervals over long periods.

Noise and static is meant to be reminiscent of radio/radiation interference. Generated randomly.

Thanks to @mzero for doing the math.

(Completed before the frequency of the 7th planet was released, so only six are included)

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#53

https://soundcloud.com/zedkah/cosmic-plainsong-disquiet-0272

My method was to use the pitches starting with the root note b ( B2 -123.47, E3-164.81, B3 -246.94, F#4-369.99, D#5-622.25, B5-987.77) and to have each note (drone) pulse/throb in keeping with the same ratios(1,4/3,2,3,5,8).
I realised this twice. Once in protools using the organ plug in and a amplitude filter tied to the tempo. The organ also had its own pulsing wheel thing going on which I hadn’t quite factored for. The organ sound was a bit gritty/ dirty.
I also had a go at realising the whole thing in pure data- which was made surprisingly easy by finding the patch tremtonett3:dimittripaile2011 - all the difficult stuff was done I added 3 more channels and changed a few values. this gave a cleaner, purer realisation.

The two versions (12 tracks as I did one planet at a time) were all mixed and merged. with an overall arc of clean -> dirty -> clean but wobbly. A wide stereo that narrows down
A subtle touch of comp and rev to keep it smooth.

Dimitris pd patch is archived here

3 Nasa space samples are also included
Juno: Morse code “HI” received from Earth ( around 3 seconds in)
Cassini: Saturn Radio Emissions #1 in the fade out
Voyager: Interstellar Plasma Sounds (1.30,3.10, 4.30)
all under Creative Commons License.
available at: https://soundcloud.com/nasa

thanks

5 Likes
#54

Hi, first post and first track.
Here I used the frequencies for making a drone with Droneo app and the orbits for a beat with Patterning.
Also some background notes from animoog.
Nothing fancy, here it is:
https://soundcloud.com/gensek80/orbite-frequenze-disquiet0272

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#55

https://soundcloud.com/krzyzis/just-a-quick-trip-to-the-cornerstore-disquiet0272

To manage the trip from the slowest to the fastest of the planets of T-1, we first had to bake a pie. Just kidding, we’ll do that during the trip.

First we set two spacey pads. They will be playing the notes corresponding to the rotation speeds. Then we link them to six gates (yes, six progressive gates). Each is set to gate at 1/X beats, with the numbers corresponding to each body in the system. These will slowly open as we travel through the planet system, encountering the slowest planet first. We’ll hear the jumps it’s spin creates in our instruments. On to the next, where the instruments will jump more, and more, and so forth. (Out of character comment: only two gates are open at once because a) otherwise we hear nothing of the pads anymore and b) you don’t want to jettison all the air, do you!?).

On top, we place a synth travelling on the notes. It repeats a few times. During each new planet encounter, another synth holds the note/spin/planet we’re meeting.

Now, don’t forget to take your pie out of the oven. No windows you can open to get rid of that smell if you burn it.

EDIT: The tempo’s 42. Because obviously. Or if not, (7planets x 6freqs).

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#56

https://soundcloud.com/ohm-research/xii-parsecs-disquiet-0272

A piece consisting of sine and triangle waves set at the appropriate frequencies.

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#57

First Junto!

Used the ratios as pitches, building from a low E on guitar (didn’t catch the 7th planet). Looped using a Line 6 M9, played through a few times, then recorded in one take.

https://soundcloud.com/unknown_known/resonant-orbits-disquiet0272

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#58

That is very cool. Thanks for the update.

#59

So long since I’ve put one up …
Lines log in even works, well that helps - and a lot of things lead to the planets these days, so why not have a go?
Multiple effects chains live captured in Reaper, single run through guitar improv.
Slow, gradual dragging orbits, and some peace, for now.

5 Likes
#60

https://soundcloud.com/glenn-sogge/the-trappists-disquiet0272

Using the Mai Tai synthesizer that comes with the PreSonus Studio One DAW, I created 6 variations of a patch. Six tracks were recorded of the six tones described in the detailed instructions. The order of the pitches for each track was determined by a random method. The six tracks were then delayed by a random amount each to produce overlapping, changing chords. Some equalization and reverberation was added during mixdown.

4 Likes
#61

Super to see your name in the thread.

#62

Great results everyone! Some weeks the Junto is a mixed bag but this one sounds very consistent.

When I listened to the playlist I could imagine all the recordings were part of a single soundtrack.

3 Likes
#63

I took a simple approach this week - I started off by using SoundForge ‘Synthesis’ to create some samples where the length in seconds was equivalent to the orbital period in days, and the frequency of the sine wave was the relative orbit in Hz, using orbit e as A3. I added a sine envelope to create each of these as a slow blob of sound. I then imported into Acid Pro, and laid out the samples. Because the lengths were equivalent to the orbital periods, they automatically lined up as they should. I added some panning (with the innermost planet getting the narrowest pan) and a big reverb. I then exported this as a WAV back into SoundForge, where I pitched it down an octave, applied another little reverb, and then pitched it back up by 5 semitones. All this processing added a little extra instability to the sound.
I then set up a very simple sequence in the modular using the intervals, and then played that gently over the top with a large reverb to add some variety and space.

2 Likes
#64

Been busy lately, not so much to describe here, the parts correspond to the planets. Chimay Blue is probably my favorite Trappist beer … or maybe Rochefort is …

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#65

My piece is called extrasolar sympathies. It is mostly guitar and Mutable Instruments Clouds, with some external processing and manipulation (mostly timestretching) in Ableton Live. (I used reverb, delay, and channel-strip plugins in the box but all sound sources are either guitar or Clouds.) Ambient guitar noodling is not new territory for me, but the modular is, and this assignment was a great excuse to get some decent results out of Clouds.

The pitch classes in this piece are taken from the ratios of the orbit periods of six of the planets in the TRAPPIST-1 system: 1:1, 4:3 2:1, 3:1, 5:1, 8:1. The first five lend themselves to a natural arpeggio in the first position on a standard guitar (and it’s possible to play the high note too if you fret it with your dominant hand). I played around with these intervals on my guitar, recorded this into Live, processed it into multiple loops, and then fed the loops back into Clouds, automating the buffer position from Live and changing other parameters manually. I added two hard-panned aleatoric tracks that are usually tails of the high E (8:1) but occasionally full notes with attacks.

Now that I’ve finished this project (my first in a while), I’m looking forward to listening to the playlist!

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#66

https://soundcloud.com/an2netto/trappist-1disquiet0272
and a zip with the pure data project:
pd-trappist-1.zip (46.5 KB)

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#67

I’m about halfway through listening to these and just thought that I would give kudos to all submissions, which have been exceptional.

Cheers -

georg

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#68

https://soundcloud.com/vgmrmojo/dj-0272-exoplanetary

Downloaded a color image of Trappist-1

Imported the image into the software “Audio Paint ” and generated a sound file

Used the following pitches for both the chords, bass and melody
Bass F1
Root C2
The fourth F2
Octave higher C3
Octave and a fifth G3
Two Octaves and a major third E4
Three Octaves C5

Imported the Audio Paint… .wav file into Reaper

Created six VSTi tracks with six different instruments on them

Recorded each of the chords or bass notes or melody with one of the six instruments on to it’s track

Mixed

Uploaded to Soundcloud and Mastered

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#69

Cheers, happy to see it all the same-but-different, and not at all as hard as it sometimes seems.

1 Like