Title:
Quantum Shells

Dates:
05-Oct-2024 (inception), 05-Oct-2024 (finalised), 08-Oct-2024 (released)

Artists:
Music composed, performed, produced by Norman Freund
Artwork by Norman Freund

BandCamp Purchase:
https://normanfreund.bandcamp.com/track/quantum-shells

Description:
Music inspired by physics.

On the 4-Oct-2024, Kristal McKinstry (Ref. [1]) posted on the "Microtonal Music and Tuning Theory" FaceBook group a micro-tuning scale inspired by quote:
"Electrons have relative shell orbits based on power of quantum shell, i.e. 1 4 9 16 25 36 49"
(end quote)

Ref. [1] provided the frequency ratios as
quote:
50/49
9/8
32/25
64/49
49/36
25/18
36/25
72/49
49/32
25/16
16/9
49/25
(End Quote)

I took the first seven ratios of Ref. [1] assuming it started with a 1/1 ratio. Don't quite remember why I only took the first seven notes.

The portion I used from Ref. [1] were the following frequency Just Intonation (JI) ratios (octave reduction portion shown in []:
(1) / (1)
([2]*5^2) / (7^2)
(3^2) / ([2^3])
([2^5]) / (5^2)
([2^6]) / (7^2)
(7^2) / (3^2*[2^2])
(5^2) / (3^2*[2])

which in cents is (rounded):
0c
35c
204c
427c
462c
534c
569c

These were defined in a scala tuning file using the exact integer JI ratios, not as cents.

Perhaps I should have used all twelve plus the 1/1 and 2/1 ratios of Ref. [1], but I just went with my whim and only used the first seven notes, which gave a frame interval of 1.388 instead of the usual 2/1 ratio of an octave.

Discussing this tuning with the McKinstry post composition completion, revealed that the intension was that it was assumed that the tuning began with 1/1 and ended in 2/1 to complete the octave.

To put me in a certain frame of mind during this composition, I thought of vibrating electrons and as I scanned through the instrument list in Ableton Live, I came across the chime and bell and thought, perfect. Some more sound hunting landed me on electric strings for the chordal section, an impression of electrons humming. Mind you, this is all very fanciful, I suspect if any vibration of an electron could be captured it would not be within the limits of human hearing, so I actually do not know what the vibration of a real electron would sound like, but hey, "don't let the truth get in the road of a good story" :) . This then set the back drop to improvise freely using my voice through the Soma Pipe fed into the Soma Cosmos (hardware drifting memory station), then feed back into Ableton Live, where all the recording and arranging took place.

Thanks again to Kristal McKinstry for the inspiration your tuning gave for this composition.

References:
[1] Kristal McKinstry, 4 October 2024 10:52, posting on the FaceBook group "Microtonal Music and Tuning Theory".

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Quantum Shells

Spencer Klavan, author of "Light of the Mind, Light of the World," joins me to talk about the ways that science and faith are converging, contrary to the agenda of the scientific community.

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Title:
Hydrogren

Dates:
19-Oct-2024 (inception), 20-Oct-2024 (finalised), 21-Oct-2024 (released)

Artists:
Music composed, performed, produced by Norman Freund
Artwork by Norman Freund

BandCamp Purchase:
https://normanfreund.bandcamp.com/track/hydrogen

Description:
Music inspired by physics.

My recent composition, Quantum Shells Ref. [1], used a microtuning scale Ref. [2] based on atomic quantum shell numbers. During my background research into quantum shell numbers, I found that Hydrogen atoms vibrate at discrete frequencies Ref. [3] p. 1108 equ. (49-29) as attributed to Niels Bohr (1885-1962).

These vibrations are a function of physical constants and the quantum states, j and k of the hydrogen atom, where j and k are the integers 1,2,3 ... , where k is greater than j. Each time the atom makes a transition from one state to another, radiation at a specific frequency is emitted as:

f = C * (1/j^2 - 1/k^2)

where
C = 3.2695E15 Hz

So this got me intrigued, a frequency based upon two integer numbers, I immediately thought of my Ableton Push2, an 8x8 grid based midi controller. Assign j to the column position and k to the row position of the midi note pads.

Naturally the hydrogen frequencies had to be pitched down several octaves to place them back into the limits of human hearing. Concert pitch frequency is 440 Hz, so to get the atom frequencies near this, you would have to drop the hydrogen frequency by about 42 octaves. Now that is one hell of an octaver!

I quickly put together a Max (Cycling 74) patch, to map the row,column positions to the tuning and a custom synthesiser to listen to what the harmonies sounded like. A very funky keyboard indeed, very widely spaced intervals and very narrowly spaced intervals on the one playing grid. I liked what I heard, so refined the synthesiser (NOF_HydrogenFrequency), doing the initial prototypes as a Max standalone, then finally a Live friendly Max for Live (M4L) device, that I could place in an arrangement, ready to compose music with it.

"Hydrogen" uses the NOF_HydroggenFreuqnecy synthesiser in three tracks, each synchronised using the same basic tuning with a reference frequency of 6644.88 Hz, giving the 8x8 pad an octave range of -1 to -8.  Some drum tracks were then added.

Now I had the frame work for improvising with the Soma Pipe. I sung into the Soma Pipe (Drum, Oktava, Reverb and Orpheus modes), fed this into the Soma Cosmos (original firmware), then finally into Ableton Live for recording. The original firmware for the Cosmos uses drifting timing, but yet my Hydrogen composition was in a strict 4/4 rhythm, but hey it worked, tweaking the mix levels, delay gains and degree of suppression of older recordings in the Cosmos memory with the new incoming audio.

There is a lot of fine detail in the NOF_HydroggenFreuqnecy tracks, find a quiet place to listen, with the following fictional story that came to my mind when the audio part of the project was completed:



Experiments in the Hydrogen Lab.

Hydrogen vibrations are detected and
pitched down to within the limits
of human hearing.

The engineers decide to sing along,
improvising to what they hear.
An improvised drum kit is fed
through the test equipment,
experimenting with the control dials.

The sounds of the hydrogen atoms continue
to echo through the vast tunnels in
the test facility.

Pings are sent out to the outside world.

They wait and listen.


The story line, I think Hainbach would approve of.

References:
[1]
Music, “Quantum Shells”
SoundCloud, https://soundcloud.com/norman-freund/quantum-shells
BandCamp, https://normanfreund.bandcamp.com/track/quantum-shells
by Norman Freund, 8-Oct-2024

[2]
Kristal McKinstry, 4 October 2024 10:52, posting on the FaceBook group "Microtonal Music and Tuning Theory".

[3]
David Halliday, Robert Resnick, "Physics Part 2", Third Edition, Wiley, 1978

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Hydrogen

Deep

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Cinematic Galactic

Эта песня — нежное признание в любви, наполненное романтикой и ощущением вселенской связи. Она о том, как слияние двух душ стирает границы времени и пространства, превращая каждое мгновение в уникальное чудо. Это история о космосе внутри отношений, о радости быть вместе и тоске разлуки. Каждая строчка — это глубокий вдох, каждое слово — биение сердца.

Как хорошо с тобой, родная и как не очень без тебя,
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Когда вместе - мы вне системы, обрЕзали провода,
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Я знаю, я твой Гагарин, ибо ты космос мой,
Нас как-бы и нет, но мы всё-же непременно случились.
Льёмся рекой, летим рассветом, стоим горой,
Две сияющие половинки, мы просто... влюбились. 

Мы растворяем границы, нет больше "я" и "ты",  
В каждом дыхании — вечность, в каждом взгляде — история мира.  
Ты — моя неизбежность, источник бескрайней мечты,  
С тобой каждый миг — как чудо, которое нас повторило.  

Радость, как хорошо с тобой, и как не очень без тебя,
Время достало... ограничения, барьеры
рамки, границы,
Смотришь в окно, но видишь ли ты там меня?
Вот мои молекулы, разлетевшиеся на частицы.

Ты и я

An introspective exploration of the power of language and its connection to nature, 'Every Creature Speaks' delves into the timeless beauty of words and their ability to shape our understanding of life. With vivid imagery and poetic reflections, this song captures the essence of humanity's bond with the universe, blending thought-provoking lyrics with an ethereal melody.

The Fshtunken Project

Words of the Ancient

Been Here All Along

Bootstrapping and maintaining a validator set can be a challenging endeavour, especially for projects that are in search of a product market fit. However, this does not mean one should abandon the ethos of decentralisation in favour of a more streamlined centralised approach. The notion of shared security had been previously explored in the Cosmos ecosystem, but Symbiotic takes it a step further, making it readily available for any project, regardless of its native blockchain, through restaking. Symbiotic is a modular coordination layer that sources node operators and economic security in a maximally capital-efficient manner.

Topics discussed in this episode:
- Misha’s background
- Symbiotic’s origin story
- How Symbiotic tackles decentralisation
- The role of restaking in proof-of-stake models
- The economics of restaking
- The architecture of Symbiotic
- Liquid restaking tokens (LRT)
- Expanding restaking beyond Ethereum
- Slashing
- Symbiotic smart contract immutability and future updates
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Links mentioned in this episode: 
- Misha Putiatin on Twitter: https://bit.ly/4eQXW6K
- Symbiotic on Twitter: https://bit.ly/4fLRRtE

Sponsors: 
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This episode is hosted by Brian Fabian Crain. Show notes and listening options: https://epicenter.tv/575

#575 Misha Putiatin: Symbiotic – Scaling Shared Security Through Restaking

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Spiritual Mirage

Sirius (A) ist der hellste Stern am Nachthimmel und gehört zum Sternbild Canis Major (großer Hund). Er ist nur wenige Lichtjahre von der Erde entfernt. Aufgrund seiner Helligkeit und Nähe zur Erde spielt Sirius seit vielen Jahrtausenden eine wichtige Rolle in der Astronomie, Astrologie, Glauben und Kultur vieler Zivilisationen. 

Die Sumerer verehrten Sirius als einen sehr wichtigen Stern. Im alten Sanskrit hat Sirius (dort als "Tishya" bzw. "Saptarishi" bezeichnet) u.A. eine bedeutende Rolle bezüglich der Transformation zwischen Welten.

Musikalisch habe ich mich hiermit dem Thema auf diese Art und Weise konkret gewidmet und eine schön langsame, verträumte, aber dennoch rhythmische Interpretation des Themas erschaffen.

Konkret liegt dieser Titel hier in einer Sonder-Edition „OPIA Edition“ vor. Vom Style her gehört er als elektronischer Titel in etwa zum Genre Chillout, Downtempo bzw. New Age. Wie nahezu immer bei mir ist auch er schön spacig geworden. Nun viel Freude beim anhören :-). Genießt Ihn und denkt positiv … es gibt viel mehr als wir denken zu wissen … .

Sirius (OPIA Edition)

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Welcome to my place of musical experiments and my endless journey of exploring new sound textures, rhythms and melodic ideas. I am a multi-instrumentalist coming from a background of having actively played, harmonica, recorder, piano, organ, clarinet, tin whistle, pan pipes, guitar, violin, Shakuhachi, jaw harp, didgeridoo and accordion. My genre is mostly a fusion of Jazz and Soundscape, however I often seek inspiration from a wide variety of music, Celtic, Rock, Heavy Metal, Classical, Folk, Micro-tonal, just to name a few. I also build my own instruments, various Shakuhachi using them either directly in recordings or sample the sounds to incorporate in pitch shifting tools in Ableton Live. I often set myself a music challenge, taking every day sounds not considered musical, sampling, transforming and moulding them into a virtual musical instrument. Experimenting with evolving polymeters is a favourite feature of my works. I have been classically trained but soon ventured into free improvisation, which is my happy place.

I am based on the South Island of New Zealand, enjoying the great outdoors there. I often take inspiration from this for my music and associated cover art.

I have a no cover’s policy, all my works being original compositions, the only exception would be the odd jazz interpretation of a Bach piece from the Baroque era. My percussion sections do not use any artificial intelligence drum machines, nor do I use auto tuners for my violin playing. Paid likes and plays — none of that either. 

I also participate in musical collaborations, from accepting sound samples to see what I can do with them, to instrumental collaborations. Send me a message if interested.

Please join me on this wonderful journey of music exploration.

Epicenter is a podcast about the technologies, projects & people driving decentralization and the global blockchain revolution.

Epicenter is hosted by Brian Fabian Crain, Sebastien Couture and Meher Roy. Every week, we find the most interesting people in the industry for in-depth discussions about their projects, ideas and stories.

New tracks tagged #Cosmos,