Under construction:

History of MarsRadio and newer N-Synth technologies.

1981:The 26-byte audiovisual version typical
of all 1980's N-synths

This diagram may be in error because it was
more a CA than an LFSR.

Throughout the 1980's, following this, a
lot of speech synthesis,

primitive singing of typed phonetics, and
distorted single bit

music and sound experiments were developed
for games and

for uses of extraterrestrial fantasy.

In part, much of this is owed to the subsequent
discovery of the useful

functions of Viroboxes, of which the portable
entropy synthesizers

are distantly related, most Viroboxes being
simple pure analog

devices with fewer than 10 transistors. Viroboxes
are fantastic

alien technology with no original but later
discovered practical

uses. They typically make impulse buzzing
when you touch them,

respond to music, blink forever, and have
a very high resistance.

The ambiguous way in which they respond to
music helped the

invention of the deliberate non-automatic
N-synth technologies.

In the 1990's, the program was embedded in
portable devices

with a few variety controls added...

These devices were called MarsRadios and
often had antennas.

They used the original algorithm with 4096
or 8192 byte loops,

but could not display video audiovisualization.

The only controls of variety here were changing
the loopsize,

and adding truly random noise by using the
ADC rule as long

as the ADD button was pressed. Eventually
the ADC rule would

unrandomize and alternate between 2 tones,
but if released

before then would add rhythm to the sound
being generated.

During this time, the 1990s, more speech
sampling of higher

quality was being experimented with, and
early in the decade

we had a stereo BCD champernowne string player,

called CHIPMAN. It is forgotten what CHIPMAN
originally

played, but it was invented in 1991, after
which stereoBCD

was shelved, and in 1995 whatever it used
to play was

replaced with "Great Horny Toads!".
This player used a

6502 processor WITHOUT SOFTWARE and 32K of
eprom.

(Actually there was one byte of code: NOP!).

One original use of CHIPMAN was for ambient
sound loops.

Since then, ambient sound loop devices have
become common

for helping people to relax and sleep in
urban areas.

Since the introduction of Windows 95, no
one has succeeded

in emulating an N-Synth, especially with
realtime audiovisualization

via the screen buffer, such as was done originally
in 1981.

At the turn of the century, attempts at building
MP3 players

were abandoned when portable ones became
available,

and there was interest in finding more automatic
sound

generators.

First it was discovered that, though the
original MarsRadio

was a 1-dimensional CA, it displayed as 2
dimensional patterns,

and was found to be making Sierpinski Triangles
on the

edge of subsequent frames when stacked.

[insert emulation image]

And then the Sierpinski triangle was found
to be

"virtually phonographically" equivalent
to MarsRadio

seeded with only one "dot".

And that, arranged in 3D, would generate
a Sierpinski Sponge.

Backing up a bit, in the early mid 1990's
I envisioned a symbol

called VALERA/Cybernetic Apex/Fuller's Eye:

[insert image]

And this to me represented a method of deviceless
communication,

suddenly seeming practical whereas beforehand
was

merely the core of the extraterrestrial fantasy
since I was 6

years old.

But more recently I saw a painting of the
Sierpinski Triangle

with watercolor squares enclosing the lone
top triangles of

each size, and saw in an instant ALL POSSIBLE
DATA.

And I realized that making it into a right
triangle, those

top triangles square-enclosed, when plotted
floor(log2y),

makes a binary plot of the numbers...

1234567891011121314151617181920212223..oo

And thus there was a map of numbers.

I once imagined having a computer count from
all zeros

to all ones, generating all possible data
and programs.

But this graph shortened the ultracosmic
time it would take

to a mere instant.

The Champernowne Constants provide instant
infinities

to explore for raw data. Teach monkeys to
count, and

tell them where to start, and they will right
away

type Shakespeare!

Thus I researched #Ch.

The fractals discovered in the N-Synth/Marsradio,

were infinitely redundant, surely they contained
an

infinite number of redundant everything.

Marsradio has a distinctive "essence
of music" melody.

ENTROPY SYNTHESIZER, Why was it called that?

1.It was discovered while trying to generate
random numbers.

2.The test for random number was to see and
hear

audiovisual static on the monitor.

As the audiovisual sample of the discovery
shows, it

was musical and visually patternful.

3.There was increasing complexity in the
audiovisualization

as time passed after starting it.

4.At the time, I thought that Synthesizers
were

intelligent music boxes.

Intelligent enough to create a symphony perhaps.

5.The advanced technology of my imaginary
extraterrestrial

friends included the power of machina ex
deus, and included

Music Synthesis (as well as Flying Superhero
Powers).

MEMORYLESS ENTROPY SYNTHESIZER

Basically an arithmetic/logic function capable
of accessing

any part of a graph at any time. First came
the method of

reading the coordinates to see if it was
part of

Sierpinski's triangle or not:

This is the formula for doing that.

NOT(x AND y)=0 ; AND is wordwise boolean
arithmetic

And here is a MEMORYLESS circuit which uses
that

to generate Marsradio Dot-seed music:

And when the formula is graphed, here are
two of many

possibilities generated, the switches represent
ANDing

with a presettable constant.

Green: Sierpinski Gasket , Red: Sierpinski
Carpet

The binary 012345678910111213 fractal...

can be seen as the triangle rotated 180 and
stretched out like silly putty.

This is the spectrum of the characteristic
melody of Sierpinski's triangle:

(Rendered from the tape of MarsRadio Dot
Mode)

NOTICE THE DC BIAS!

This research changed the direction of what
was formerly Googolodeon.com

which attempted to calculate sounds using
LFSRs.

With all this information so far,

we are still in the "realm" of
ENTROPY synthesizers,

because although any digit of any number
can be found at once,

it takes more information to specify that
digit than is contained

in the whole part of the number.

Wait! What number? The Champernowne number.

There are formulas for doing these things:

1.Finding data (like Shakespeare) in the
Number.

2.Finding what the nth digit of the Number
is.

3.Finding the beginning and end of an Apparent
Number.

4.Extracting specific data from the number.

This is still an Entropy synthesizer for
an unmentioned reason:

THE NUMBER has infinite copies of any particular
information in it!

This makes playing this number, starting
at any xth digit,

a data predictor. Like the Marsradio, the
number is musical,

and infinitely redundant.

Now for the future of this research project:

CONSTRAINED DATA SETS.

The result of this discovery is REVERSE ENTROPY
SYNTHESIZERS!

The number of possible audible sounds of
length N

is computable and less than 2^2^N, and is
N!.

(N factorial)

Even without further constraints, the result
is a discovery

of an "all music set player" which
gets simpler the more

music is found in it. In other words, the
number of the

sound is less than the number of the data
in the sound,

and the more songs found, the less relative
distance between

them, and thus the smaller the numbers used
to find them.

The redundancy in this set is all kinds of
variations of

volume and phase, and this set is like stars
in a noisy

space. But the space is collapsing as more
music is

found in it. When music was found in Champernowne's

number, there was a problem with expanding
space, but

an expectation that since the space takes
up no memory,

and can be read instantly, it didn't matter
how large the...

Secondary Finding Function's data set would
be, since

the whole virtual universe of data was redundantly
full of

data, including the software that makes the
...

Champernowne~Turing Machine SYNTHESIZE!

But, it got much simpler when the set of
all sound,

the Constrained Music Fractal,

when it's finders got progressively smaller
than it's members.

This is the constraint:

Although the Champernowne number has an average
digit

of 4.5, "virtually all" of the
apparent numbers in it do not.

The triangle has an average bit of 0, and
that is a DC bias.

All physical sounds which can be found in
the Number must

be biased at average digit=4.5

By removing an infinite amount of non-4.5
numbers, the

remainder is finite and countable in an increasingly

convenient way.

Using memoryless logic, and a rotary "tuner",
one can

roll through the set of "gray"
numbers

(not gray code, not yet at least, but that
does have relevance)

listen for good sounds in the same way you
find a good

radio station on a transistor radio.

Gray code is one of several orthogonal transforms
that

may make it even more convenient to explore
this

wholly intangible, as intangible as any other
fractal,

or irrational number, intangible universe
of sound.

Why?

Because Gray code moves in a large number
of "dimensions".

Orthogonal... perpendicular... moving along
a different dimension.

Other Dimensions besides counting "gray"
numbers are:

Gray Code

Bit Reversed Counting

Sequency Domain Counting*

Intangible Phonography (simulation of a needle
following a graph)

(*) Thanks to Steve Bjork's Audio Spectrum
Analyzer,

I knew in the early 1980's that Fourier Transforms
do

simplify sounds as timeless chords of finite
tones.

HOWEVER, Virobox buzz approaches infinite
tones.

The counting which is done by Entropy Synthesizers

and by Reverse Entropy Synthesizers is not
truly the

sound we perceive it to be, but the fact
that it does

sound like music, makes it a suitable replacement

for music, to anyone who is pleased to listen
to it.

The "gray" numbers, which are perfectly
biased,

can indeed sound like songs. The Champernowne

string wrapped up in a WAV file is certainly
not

music, it is even DC biased. It sounds bad.
It should

not be played on a computer. It should not
be stored

anywhere. It should be calculated one digit
at a time

in a Reverse Entropy Synthesizer with no
memory.

Not only will it sound better, but there
is, somewhere,

in the all music set fractal, an excellent
stereo "groove".

BEYOND:

This research includes recording dreams and
imaginary images.

This research includes a unique method of
voice synthesis

for singing, since finding good lyrics with
the described

synthesizers would be as unlikely as finding
an unpublished,

correct dictionary in the Number.

This research includes 3D VR world creation
technology.

The purpose of this research is to enable
myself and others

to discover beautiful sounds, drawing them
out of intangible

mathspace, recognizing them as beautiful
sounds, not static,

in much the same way we tune a radio. And
to realize the

imaginary alien technology for making music.

The birds make free music, the wind chimes
make free music,

the universe, physical and intangible makes
music,

Pythagoras, in 300BC, knew this: Music is
made of numbers.

The device that is being developed to play
calculated music

(which is called a Reverse Entropy Synthesizer)
is also known

as the "Pi-Pod" prototype.

One more thing: The CD-formatted memoryless-synthesized

file in the sound gallery, called SR01A.WAV
was inspired

by and is phonographically similar to the
shape in this image:

Incomplete Public Domain/(cc) disclosure
of

Entropy Synthesizer

page under construction, updated 09.16.2005

**
ENTROPY SYNTHESIZER SOUND GALLERY**