I actually really liked this movie, yet I also never really want to watch it again. OK, on second thought, mid is a good way to describe it yeah lol. I think tonight I'm gonna mess around with something similar to what I uploaded. Cloudburst on max, black hole or something similar then I'm gonna add some 4 on the floor drum actions ducking the entire wash of sound. I'll shoot for an Andy Stott style atmosphere, fail, then end up somewhere else. You ever listen to Stott? Yah might like him, great uk electronic artist imo.

There is a song of his I like, not really what ill end up with or even what I'm going for but still an epic cut!

 

It is an interesting and fascinating topic indeed. I find it hard to believe the Universe is "soundless".

Sonification, as I inderstand, is a process which one translate frequencies you can't hear (you can't hear 5Hz) into something audible.

 

Last edited: Jul 19, 2025 at 7:25 PM

Interstellar 4K HDR IMAX | Into The Black Hole - Gargantua 1/2

Interstellar 4K HDR IMAX | Into The Black Hole - Gargantua 2/2

Spoiler: Source: Grok KI

Creating a black hole sound effect with synthesizers involves crafting an otherworldly, intense, and immersive sound that evokes the mysterious and powerful nature of a black hole. Here's a step-by-step guide to achieve this using synthesizers (hardware or software like Serum, Massive, or Ableton's Operator):

1. Conceptualize the Sound
A black hole sound might include:

• Deep, rumbling low frequencies to convey massive gravitational pull.
• Swirling, phasing, or Doppler-like effects to mimic matter spiraling into the event horizon.
• High-pitched, eerie tones for cosmic energy or Hawking radiation.
• Chaotic noise bursts or distortion for the sense of spacetime distortion.

2. Set Up Your Synthesizer

• Choose a Synth: Use a versatile synthesizer like Serum, Massive, or a modular synth setup. Software synths are great for complex modulation, but analog hardware can add warmth.
• DAW Setup: Load your synth into a DAW (e.g., Ableton Live, FL Studio) for easy automation and effects processing.

3. Layer 1: Deep Rumble (Sub-Bass Foundation)

• Oscillator: Select a sine wave or triangle wave for a smooth, deep tone.
• Pitch: Set the oscillator to a low octave (e.g., C1 or lower, around 20–60 Hz).
• Filter: Apply a low-pass filter with a cutoff around 100–200 Hz to keep it sub-heavy. Add slight resonance for character.
• Envelope: Use a slow attack (100–500 ms) and long release (1–3 seconds) to create a gradual swell, mimicking gravitational waves.
• LFO: Assign a slow LFO (rate ~0.1–0.5 Hz) to the pitch or filter cutoff for a subtle pulsating effect.
• Tip: Add slight distortion or saturation to give the rumble some grit, like the crushing force of a black hole.

4. Layer 2: Swirling Vortex (Mid-Range Movement)

• Oscillator: Use a saw or square wave for a richer, harmonic texture.
• Detuning: Add a second oscillator detuned slightly (±5–10 cents) for a phasing effect, simulating matter spiraling inward.
• LFO Modulation: Assign an LFO to the pitch or pan with a moderate rate (1–5 Hz) to create a Doppler-like swirl.
• Filter: Use a band-pass filter with automation to sweep the cutoff frequency (e.g., 200 Hz to 2 kHz) over time for a dynamic, spiraling feel.
• Effects: Add a phaser or flanger with slow rate and high feedback to enhance the swirling vortex effect.

5. Layer 3: Cosmic Highs (Ethereal Tones)

• Oscillator: Choose a sine or FM-based oscillator for a crystalline, sci-fi tone.
• Pitch: Set to a high octave (e.g., C5 or higher, 1–4 kHz range).
• Modulation: Apply vibrato via an LFO on pitch (rate ~5–7 Hz, subtle depth) to mimic unstable cosmic energy.
• Effects: Add reverb with a long decay (5–10 seconds) and high wet mix to create a vast, space-like atmosphere. A touch of chorus can enhance the ethereal quality.
• Tip: Use a high-pass filter to remove low-end mud and keep this layer sparkling.

6. Layer 4: Chaotic Noise (Spacetime Distortion)

• Noise Oscillator: Use white or pink noise as a base for chaotic texture.
• Filter: Apply a band-pass filter and automate the cutoff to sweep across the frequency spectrum (e.g., 500 Hz to 10 kHz) for unpredictable bursts.
• Effects: Add distortion, bitcrushing, or granular effects to make the noise sound fragmented, like matter being torn apart.
• Automation: Use volume automation to create sporadic bursts rather than a constant noise layer.

7. Effects Chain

• Reverb: Apply a large, ambient reverb to all layers (except the sub-bass, to avoid muddiness) to give the sense of infinite space.
• Delay: Add a ping-pong delay with moderate feedback for a sense of movement across the stereo field.
• Sidechain Compression: Sidechain the mid and high layers to the sub-bass to create a pumping effect, emphasizing the gravitational pull.
• Automation: Automate parameters like reverb wet/dry, filter cutoffs, or LFO rates to make the sound evolve over time, mimicking a dynamic black hole event.

8. Mixing and Dynamics

• Balance: Keep the sub-bass prominent but not overpowering. The swirling mid-range and high tones should weave in and out, while noise bursts add intensity at key moments.
• Panning: Pan the mid and high layers subtly to create a 3D, orbiting effect.
• EQ: Use EQ to carve out space (e.g., cut mids from the sub-bass, cut lows from the high tones).
• Compression: Apply light compression to glue the layers together, but avoid squashing the dynamics too much.

9. Optional: Field Recordings or Samples

• Blend in processed field recordings (e.g., wind, water, or metallic drones) to add realism. Time-stretch or pitch-shift these samples to sound alien.
• Use sci-fi-inspired sample packs for additional textures like laser zaps or warped radio static.

10. Experiment and Iterate

• Modulation Matrix: If your synth supports it (e.g., Serum), use a modulation matrix to route LFOs, envelopes, or randomizers to multiple parameters for evolving chaos.
• Randomization: Randomize oscillator or effect parameters slightly to create unpredictability.
• Test Context: Play the sound in context (e.g., with a sci-fi video or game) to ensure it fits the mood.

Example Synth Patch (Serum Example)

1. Oscillator A: Sine wave, octave -2, unison 5, detune 0.05, blend 0.3.
2. Oscillator B: Saw wave, octave 0, unison 7, detune 0.1, panned slightly left.
3. Noise Osc: White noise, band-pass filter, automated cutoff.
4. LFO 1: Slow sine (0.2 Hz) to Osc A pitch for rumble pulse.
5. LFO 2: Medium triangle (3 Hz) to Osc B pan for swirl.
6. Filter: Low-pass for Osc A (cutoff 150 Hz), band-pass for Osc B (cutoff sweep 500 Hz–2 kHz).
7. Effects: Reverb (30% wet, 8s decay), phaser (slow rate, high feedback), ping-pong delay (1/4 note, 20% feedback).

Tools and Plugins

• Synths: Serum, Massive, Omnisphere, or hardware like Moog Sub 37.
• Effects: Valhalla VintageVerb, Soundtoys EchoBoy, FabFilter Pro-Q 3.
• DAW: Ableton Live, Logic Pro, or FL Studio for automation and layering.

Tips for Realism

• Study sci-fi soundtracks (e.g., Interstellar’s black hole scenes) for inspiration.
• Check YouTube tutorials on sci-fi sound design for visual examples.
• If you want real-time feedback, I can search for specific synth patches or X posts with black hole sound design tips—just let me know!

This approach should give you a convincing black hole sound effect. If you want a specific synth setup or have a particular vibe in mind (e.g., ominous, chaotic, or serene), let me know, and I can refine the steps!

 

My favorite question at 08:41...

Somehow this topic reminds me of Dawesome Zyklop...

 

That would then simply be pitch- or frequency-shifting (or audification). Actually, the definition of sonification is the translation of data into audible frequencies. So, a sound is created where there was none before. To be able to shift the pitch, there has to be a sound in the first place. But that doesn't exist in space, because there is no medium in space that could be stimulated by a sound source. There are, of course, some gas clouds that can serve as a medium for pressure fluctuations, but we would have to be on site to record this phenomenon. And we would need millions or billions of years. That's not possible. Therefore, the sound must be derived from other data or parameters. In other words, sonified.

The problem here is that alot of inaccuracies can arise. How accurate are the measurements? Which parameters are included? How are they interpreted and mapped? And in the case of the gas pressure fluctuations, I'm particularly skeptical because the measured value (3x10^-15 Hz) is extremely small and the shift into the human audible range is enormous. While I don't want to deny that NASA works with extreme precision and care, with such a huge shift, even the 16th or 17th decimal places still make a massive difference. Provided, of course, that the measurement, models and interpretation are accurate in the first place.

 

Last edited: Jul 19, 2025 at 8:49 PM

The Voice Of Our Earth - Real Sound
Despite space being a vacuum, it doesn't imply the absence of sound within it. Sound does exist in space, manifesting as electromagnetic vibrations.

 

@The Dude
What do you disagree with?

 

It is Saturday night where I live...I'll get back to you tomorrow...

 

My I quote porn foley artist: "We do not make it sound HOW it sounds! We make it sound how we WANT it to sound!"

 

Just because you
Can't hear it doesn't
Mean that it doesn't
Make a sound...