A sound machine that creates natural sounds and animates ripples of water (“hard-limbed” bodies of water).

I started first by sequencing audio. I opted on rain as the primary event. I had spent some time learning about the physics of rain as it falls and what differentiates different waveforms as a droplet splats over water or sand or pavement or wood. I chose to combine pink and white noise~ as an FFT audio signal that would randomly scrambles pitches based on the waveform’s pattern. That scrambling is what makes the rain pattering pitched. This is not supposed to imitate rain as much as embellish it or be an interpretation of rainfall as a ‘musical notation’.

Then I synthesized the, which means I populated a 3D animated blank world with data that would self-generate a mesh system. The mesh system could be handled live and adjust as fast as my computer GPU can handle. I manipulated the mesh system to populate a matrix chart in a similar fashion to the raking of sand in a karesansui garden. My friend called it a ‘silk simulator’. The intent was to watch a close-up view of the sand grooves with a sonic interpretation of the inorganic materials interacting with one another as the ‘sand’ was being generated.

I was really fascinated by the idea of experiencing different seasons and natural events from the dry garden. Forcing ‘rain’ over the dry garden felt cataclysmic. To add to that mix, I chose to populate a waveform analyzer with the matrix visuals, which could then be manipulated by other frequencies, in this case a phasor~. This new frequency addition introduced an element of wind to the overall scene, decided by a factor of the sand generator—this sounds more like a lores frequency and it is quite aggressive. I was thinking here about erosion, the elapsing time and how wind is an unsuspecting transformer. Wind moves slowly but surely and displaces fine grain particles in its wake. I was very happy to introduce it as a sound.

The rest of the gadgets of audio would manipulate the sounds away from the natural and back to the synthetic which is just a further exploration of the sound manipulating capabilities. I would suggest setting your volume low before listening. I’m not sure if this project is meant to be relaxing. I think it ventures towards a deliberately unmanicured chaos—in the right format I’m sure someone would find it relaxing.