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Krell Music No. 1: Origins

Extract from Morbius' Field Notes Deeply entrenched in the enigmatic lore of the Krell, I have dedicated my studies to understanding the origins of this magnificent, though tragically fated civilization. Among my profound discoveries on Altair IV, the resonant echoes of the Krell music have been one of the most intriguing and captivating subjects of my research. The Krell, as I have come to understand, did not merely spring forth on Altair IV. Their true origins trace back to Krell, a moon that once orbited this planet, lush and vibrant, fostering the evolution of this extraordinary species. Krell was more than a celestial body; it was the cradle of their civilization, nurturing their growth from primal beings into the architects of the most advanced society the universe might ever know. Krellian music, an art form so advanced yet so ancient, seems to embody the essence of their intellectual and emotional evolution. From the records and the remnants of acoustic technology I've uncovered, it is apparent that their music transcended mere entertainment or cultural expression. It was a fundamental aspect of their being, interwoven with their daily lives, their technology, and their very thoughts. The tonalities are simple yet profound, encapsulating a broad spectrum of emotional depth and intellectual complexity. These sounds, generated through a sophisticated assembly of generative synthesizers and ancient acoustic machinery, reflect a longing—a melancholic yearning for the lush greens and blues of their ancestral moon, Krell. The variable, but mostly 'largo' tempo of their compositions, interspersed with the occasional rapid sequences, might suggest a contemplation of their own history, from the verdant expanses of Krell to the technological zenith on Altair IV. It is as if through their music, the Krell sought to remember and perhaps mourn their lost paradise, all while celebrating their monumental achievements. It is my belief that in studying the Krell music, we are not merely uncovering the sounds of a lost civilization; we are peering into the soul of the Krell, understanding their dreams, their achievements, and the nostalgia for their lost world—a world of which I have only scratched the surface. Patch Notes Free/Name Your Price album of the first eight Krell Music recordings: https://krellaxiom.bandcamp.com/album... As documented by Captain Ken:    • Making of Dr Morbius'  first generati...   at ‪@krellaxiom‬. The patch used to (re-)create the generative Krellian music is built around a modular synthesizer that employs several key components to produce a dynamic and evolving soundscape. Here’s a concise description of each element in the patch and how they interact: 1. Sample and Hold Circuit : This component is pivotal in generating the primary triggers for the music. It randomly samples voltage from a noise source and holds this voltage until the next sample is taken. The output voltage occasionally reaches a threshold that triggers the next component in the patch. 2. Step Sequencer : The step sequencer receives triggers from the sample and hold circuit. Due to the random nature of the triggers, the timing between steps is irregular, creating a non-uniform rhythmic pattern. Each step in the sequencer sends a specific voltage that determines various musical parameters, primarily pitch. 3. Slew Limiter (Glide Module) : The control voltages output from the step sequencer are routed through a slew limiter, which smooths out rapid changes in voltage, resulting in a glide or portamento effect between notes. This creates the characteristic rising or falling pitches at the beginning of each note. 4. Oscillator : The oscillator generates the audio signal based on the voltage it receives, which dictates the pitch of the note. This is where the actual sound waves are produced. 5. Envelope Generators : These are triggered by a gate output from the step sequencer. They control the dynamics of the piece by shaping the amplitude and filter cut-off frequency of the sound, adding expressiveness and texture to each note. 6. Reverb and Delay Modules : Finally, the audio output from the oscillator is processed through reverb and delay modules. The reverb adds a spacious, ambient quality to the sound, simulating a cavernous environment, while the delay adds echoes that provide depth and complexity to the audio landscape. This setup results in a piece of music that is both spontaneous and structured, mirroring the advanced yet mysterious technology of the Krell. The music ebbs and flows with a life of its own, evocative of the lost world of Krell and its ancient inhabitants.