quantum is here
-
gaggle of hermits gaggle of hermits https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=521655
- KVRian
- 965 posts since 18 Jul, 2021
close but no cigar, this is the real McCoy: https://www.futureshop.co.uk/quantum-re ... nchronizer
- KVRAF
- 15331 posts since 8 Mar, 2005 from Utrecht, Holland
gaggle of hermits wrote: ↑Wed Jan 17, 2024 5:02 pm close but no cigar, this is the real McCoy: https://www.futureshop.co.uk/quantum-re ... nchronizer
wtf ...* Available in the UK only
* Fully manufactured in the USA
I'd like to see some proof of that (which disqualifies me as possible audiophile)* Lowers the noise floor
We are the KVR collective. Resistance is futile. You will be assimilated.
My MusicCalc is served over https!!
My MusicCalc is served over https!!
-
gaggle of hermits gaggle of hermits https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=521655
- KVRian
- 965 posts since 18 Jul, 2021
- KVRAF
- 10762 posts since 20 Nov, 2003 from Lost and Spaced
That was chatGPT. Bing AI also gave a very interesting answer. I'll paste it so you guys who know something about it can tell if it's just babbling or not:
Quantum oscillation, resonance and decay are phenomena that occur in quantum systems, such as atoms, molecules, or superconductors. They involve the periodic variation, enhancement, or reduction of some physical quantity, such as energy, charge, or magnetism. These phenomena are usually described by mathematical equations that capture the quantum behaviour of the system.
To mimic these phenomena in music production, one would need to translate the mathematical equations into sound waves, or use some other method to generate sounds that resemble the quantum behaviour. This is not a trivial task, as quantum systems are often complex, nonlinear, and stochastic. However, there have been some attempts to do this, such as the Quantum Music project that I mentioned earlier, or the sonification of quantum data by researchers and composers12.
One possible way to code a software that would mimic quantum oscillation, resonance and decay is to use a physical modelling synthesis technique, which is a method of
synthesizing sounds by simulating the physical properties of the sound source. For example, one could model the quantum harmonic oscillator, which is the quantum-mechanical analog of the classical harmonic oscillator. The quantum harmonic oscillator is one of the most important model systems in quantum mechanics, and it has applications in many fields of physics and chemistry. The quantum harmonic oscillator has a discrete spectrum of energy levels, which are given by the formula:
En=ℏω(n+21)
where ℏ is the reduced Planck constant, ω is the angular frequency of the oscillator, and n is a non-negative integer. The energy levels are equally spaced, and the difference between two consecutive levels is ℏω. This means that the quantum harmonic oscillator can only absorb or emit photons with energy equal to ℏω, which corresponds to a frequency of ω/2π. This frequency is called the natural frequency of the oscillator, and it is independent of the energy level.
To mimic the quantum harmonic oscillator in music production, one could use a software that generates a sine wave with a frequency equal to the natural frequency of the oscillator, and modulates its amplitude according to the energy level. For example, one could use the following pseudocode:
# Define the natural frequency of the oscillator in Hz
omega = 440
# Define the number of energy levels
n_levels = 10
# Define the duration of each level in seconds
duration = 0.5
# Loop over the energy levels
for n in range(n_levels):
# Calculate the amplitude of the sine wave
amplitude = sqrt(n + 0.5)
# Generate a sine wave with the natural frequency and the amplitude
wave = amplitude * sin(2 * pi * omega * t)
# Play the wave for the duration
play(wave, duration)
This code would produce a sound that resembles the quantum transitions of the harmonic oscillator, as it changes its energy level from 0 to 9. The amplitude of the sound would increase with the energy level, and the frequency would remain constant. The sound would be similar to a siren, but with discrete steps instead of a continuous sweep.
Of course, this is a very simple example, and there are many other ways to code a software that would mimic quantum oscillation, resonance and decay. One could use more complex quantum systems, such as the Bose-Einstein condensate, or the insulator-superfluid transition. One could also use different synthesis techniques, such as additive synthesis, subtractive synthesis, or granular synthesis. One could also add effects, such as filters, envelopes, or reverbs, to enhance the sound quality and diversity. The possibilities are endless, and only limited by the imagination and creativity of the programmer and the musician.
Quantum oscillation, resonance and decay are phenomena that occur in quantum systems, such as atoms, molecules, or superconductors. They involve the periodic variation, enhancement, or reduction of some physical quantity, such as energy, charge, or magnetism. These phenomena are usually described by mathematical equations that capture the quantum behaviour of the system.
To mimic these phenomena in music production, one would need to translate the mathematical equations into sound waves, or use some other method to generate sounds that resemble the quantum behaviour. This is not a trivial task, as quantum systems are often complex, nonlinear, and stochastic. However, there have been some attempts to do this, such as the Quantum Music project that I mentioned earlier, or the sonification of quantum data by researchers and composers12.
One possible way to code a software that would mimic quantum oscillation, resonance and decay is to use a physical modelling synthesis technique, which is a method of
synthesizing sounds by simulating the physical properties of the sound source. For example, one could model the quantum harmonic oscillator, which is the quantum-mechanical analog of the classical harmonic oscillator. The quantum harmonic oscillator is one of the most important model systems in quantum mechanics, and it has applications in many fields of physics and chemistry. The quantum harmonic oscillator has a discrete spectrum of energy levels, which are given by the formula:
En=ℏω(n+21)
where ℏ is the reduced Planck constant, ω is the angular frequency of the oscillator, and n is a non-negative integer. The energy levels are equally spaced, and the difference between two consecutive levels is ℏω. This means that the quantum harmonic oscillator can only absorb or emit photons with energy equal to ℏω, which corresponds to a frequency of ω/2π. This frequency is called the natural frequency of the oscillator, and it is independent of the energy level.
To mimic the quantum harmonic oscillator in music production, one could use a software that generates a sine wave with a frequency equal to the natural frequency of the oscillator, and modulates its amplitude according to the energy level. For example, one could use the following pseudocode:
# Define the natural frequency of the oscillator in Hz
omega = 440
# Define the number of energy levels
n_levels = 10
# Define the duration of each level in seconds
duration = 0.5
# Loop over the energy levels
for n in range(n_levels):
# Calculate the amplitude of the sine wave
amplitude = sqrt(n + 0.5)
# Generate a sine wave with the natural frequency and the amplitude
wave = amplitude * sin(2 * pi * omega * t)
# Play the wave for the duration
play(wave, duration)
This code would produce a sound that resembles the quantum transitions of the harmonic oscillator, as it changes its energy level from 0 to 9. The amplitude of the sound would increase with the energy level, and the frequency would remain constant. The sound would be similar to a siren, but with discrete steps instead of a continuous sweep.
Of course, this is a very simple example, and there are many other ways to code a software that would mimic quantum oscillation, resonance and decay. One could use more complex quantum systems, such as the Bose-Einstein condensate, or the insulator-superfluid transition. One could also use different synthesis techniques, such as additive synthesis, subtractive synthesis, or granular synthesis. One could also add effects, such as filters, envelopes, or reverbs, to enhance the sound quality and diversity. The possibilities are endless, and only limited by the imagination and creativity of the programmer and the musician.