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Chops Fun 2026年9月22日7:27
Chops Fun 2026年9月20日8:30
more test´.
Chops Fun 2026年9月18日5:47
HOUCNC FIELDSONIC — Houdini Volume Sonification Test
This experiment presents a working implementation of FIELDSONIC, a procedural sonification system in which evolving volumetric field data generated in SideFX Houdini is translated into musical control data.
The source simulation consists of a 96-frame sequence running at 24 FPS, corresponding to a duration of 4 seconds. At a musical tempo of 120 BPM in 4/4 time, these 96 frames correspond precisely to a two-bar musical cycle.
Rather than extending the simulation itself, the same two-bar field sequence is used as a repeating data loop within an 18-bar musical arrangement. The sonic result is progressively developed across the arrangement by introducing and layering different synthesis parameters, modulation routings, dynamics, and timbral responses. Consequently, the underlying simulation remains identical during every repetition, while its musical interpretation gradually evolves over time.
The Houdini volume fields are spatially sampled into a 16 × 16 analysis grid, producing 256 spatial measurements per field and per simulation frame. The current system can be expanded to substantially higher spatial resolutions, including 32 × 32, 64 × 64, and potentially the full 128 × 128 source grid, allowing progressively finer structural information from the simulation to influence the sonification.
Multiple physical characteristics of the simulation—including field magnitude, spatial position, topology, temporal change, turbulence, activity, and pixel-grid structure—are extracted and mapped to MIDI performance parameters controlling several synthesizers independently.
The important conceptual distinction is that the resulting musical development is not generated from a conventional pre-composed sequence. Instead, the same deterministic Houdini field evolution acts as the underlying control structure, while different mappings expose different aspects of that data as sound.
Although the audible composition develops over 18 bars, its fundamental generative source remains the same two-bar, 96-frame physical simulation loop. This makes the experiment particularly useful for studying how a single multidimensional simulation dataset can produce a large range of sonic behaviours through alternative mappings and levels of spatial analysis.
In short: one four-second Houdini simulation becomes a reusable multidimensional musical control system.
And yes — once you start varying the field processing, grid resolution, synthesizer architecture, and modulation mappings, the number of possible interpretations becomes enormous. Endless procedural fun. 😘
This experiment presents a working implementation of FIELDSONIC, a procedural sonification system in which evolving volumetric field data generated in SideFX Houdini is translated into musical control data.
The source simulation consists of a 96-frame sequence running at 24 FPS, corresponding to a duration of 4 seconds. At a musical tempo of 120 BPM in 4/4 time, these 96 frames correspond precisely to a two-bar musical cycle.
Rather than extending the simulation itself, the same two-bar field sequence is used as a repeating data loop within an 18-bar musical arrangement. The sonic result is progressively developed across the arrangement by introducing and layering different synthesis parameters, modulation routings, dynamics, and timbral responses. Consequently, the underlying simulation remains identical during every repetition, while its musical interpretation gradually evolves over time.
The Houdini volume fields are spatially sampled into a 16 × 16 analysis grid, producing 256 spatial measurements per field and per simulation frame. The current system can be expanded to substantially higher spatial resolutions, including 32 × 32, 64 × 64, and potentially the full 128 × 128 source grid, allowing progressively finer structural information from the simulation to influence the sonification.
Multiple physical characteristics of the simulation—including field magnitude, spatial position, topology, temporal change, turbulence, activity, and pixel-grid structure—are extracted and mapped to MIDI performance parameters controlling several synthesizers independently.
The important conceptual distinction is that the resulting musical development is not generated from a conventional pre-composed sequence. Instead, the same deterministic Houdini field evolution acts as the underlying control structure, while different mappings expose different aspects of that data as sound.
Although the audible composition develops over 18 bars, its fundamental generative source remains the same two-bar, 96-frame physical simulation loop. This makes the experiment particularly useful for studying how a single multidimensional simulation dataset can produce a large range of sonic behaviours through alternative mappings and levels of spatial analysis.
In short: one four-second Houdini simulation becomes a reusable multidimensional musical control system.
And yes — once you start varying the field processing, grid resolution, synthesizer architecture, and modulation mappings, the number of possible interpretations becomes enormous. Endless procedural fun. 😘