Observing the spectrogram of "Tomorrow's Harvest"

[Miles Powerhouse]

Split Your Infinites has some weird tentacles coming out of the ground in the intro.

[lukalukaluka]

Is it worth running the A & B track from TH Cosecha code that we had to overlay with each other through a spectrogram

[Stavorius]

Apparently, the number 42 is written all over Telepath!

Also there's this weird 'thing' in Nothing is Real

Gemini has a skull

And finally, White Cyclosa has some birds (?) over it.

[Miles Powerhouse]

Apparently, the number 42 is written all over Telepath!

Also there's this weird 'thing' in Nothing is Real

Gemini has a skull

And finally, White Cyclosa has some birds (?) over it.

"Bird" is military slang for helicopter.

[Negamuse]

Apparently, if you can find a way to convert these spectrograms to sound... you hear MUSIC :0

[Aerial Boundaries]

Apparently, if you can find a way to convert these spectrograms to sound... you hear MUSIC :0

Haha.

I was going to say earlier when I saw this thread being brought back, that this is mostly a combination of coincidence and pareidolia in my view. There are tonnes of examples of this kind of thing happening by accident, especially in electronic music.

I'm not saying it's impossible of course. But all the examples of this happening on purpose I've heard, have had a defining characteristic: They sound like shit when you hear them. As in completely random sounding high, medium and low pitched noises happening and changing quickly. There are no sounds I can recall on TH that sound like this.

[Stavorius]

Yeah, I personally think that only Telepath was done one purpose, because it's written five times or so across the song!

[re-phaelam-ed]

look hard enough and you'll see what you want to see

[Najlepsiejszy]

^that is so true

I don't see any 42's in Telepath

[Jonse]

Pareidolia. Probably not much more (though I don't know for sure) than that.

Working on music including the use of spectrograph imagery quite extensively and listening to a lot of it, I want to say that it usually is quite audibly just that. You can bury it deeper into the mix (and by all means you guys should go split the tracks to mono and invert them and whatnot to see if you can hear anything out of place around these marks) but it's still distinct.

With justin on this.

[Stavorius]

Reviving this thread, because I ran Beware The Friendly Stranger through Spek.


There's a solid 15,75 kHz sine throughout the song.

[Stavorius]

The same goes for Dandelion, Sunshine Recorder, The Smallest Weird Number (although, that one has a tone at 16,25 kHz), A is to B as B is to C and Dawn Chorus

[Miles Powerhouse]

I always thought that sine was from an old TV set, as if they recorded the samples straight from the TV itself.

[Negamuse]

15.735kHz or somewhere nearby is the frequency of NTSC yeah. PAL isnt far off either I think. Wonder if they were picking up interference on the recording? And if differences in pitch on some tracks are cos they pitched the whole mix up or down or something.

[Peacock Tail]

It's picked up from computer monitors. Very common. You'll find it on many recordings, not just BOC.

You can guarantee that computers were used for recording and/or mixdown!

[Stavorius]

Still, why would they record Beware The Friendly Stranger from a TV?

[Negamuse]

They probably didn't. CRT TVs used a set of magnets to steer an electron beam across the screen in rows, and then at the bottom of the screen to go back up to the top. That last movement of the electron beam is called the "flyback" and is the one that fires at every (whatever it was Hz). That causes a certain amount of electromagnetic radiation to fly in all directions, where it can be picked up by other electrical gear including recording gear, unless its properly shielded. But I mean anything metal, like a cable, basically acts as an antenna and can pick up the signal. So it was probably just on in the studio, or the next room, or wherever.

(EM emissions were the bane of my life in my last job!)