This dark ambient work was inspired by an astronomical event that occurred during the week of July 16th through the 22nd, 1994, where fragments of a comet called Shoemaker Levy 9 slammed into Jupiter.

Besides my Ensoniq TS12 synthesizer, I also incorporated the sounds of Jupiter, though mangled a bit as explained a bit later.

You can find the video and audio referenced in the following description at
www-pw.physics.uiowa.edu/voyager/v2pws_jupiter_arrival.html
Here's some information on how these signals were recorded as taken from the above citation itself.

Voyager PWS VOYAGER-2 PWS:
ARRIVAL AT JUPITER

The PWS plasma wave instrument on Voyager 2 recorded these signals as the spacecraft was approaching Jupiter on July 2, 1979, between 15:56 and 16:45 spacecraft event time (essentially UTC), near the bow shock in front of the planet's immense magnetosphere. A variety of plasma wave phenomena heralded our arrival, including Langmuir waves, ion acoustic waves, and others. These are the authentic "sounds of Jupiter" unmodified and presented at their original frequency.

The PWS wideband waveform instruments on the two Voyager spacecraft sample the electric field on the dipole wire antenna at a rate of 28800 4-bit samples per second, using an automatic gain control. Consequently, the audio is just slightly better than telephone quality. Packets of 1600 samples are acquired, separated by the equivalent of 128 missing samples. Running these packets together results in the playback taking less than real-time (by a factor of 1600 / 1728), and also introduces a slight audible flutter. The amplitudes at the edges of these packets have been smoothed to reduce this flutter, but this is the only modification to the signal.

These are by no means the only "sounds" that Jupiter makes, but there is nice variety during this hour interval. All of the available measurements during this interval are present but since there are time gaps, the total run time is approximately 27 minutes.

Some of the audible features unfortunately are the result of onboard interference. The constant tone at 2.4kHz is caused by the spacecraft power supply. The occasional sound like someone pounding a bass drum is the result of spacecraft attitude thruster firings. The sound more like thumping on an oil barrel that tends to occur about 7 seconds into each frame, but sometimes more frequently at a regular cadence, is due to a stepper motor on another instrument. The tones with harmonics that build slowly and end abruptly and appear as multiple horizontal lines in the spectrogram are due to the grid modulation of another instrument. The rest of the signals are the naturally-occurring plasma waves that this Voyager instrument was designed to detect: These are the genuine "sounds of Jupiter".

Now, what do we mean by "sounds of Jupiter"? First, the sounds are not typically produced at the planet itself, but in the magnetosphere, the magnetic bubble surrounding the planet. In this particular case, most of the signals are generated from the interaction of the supersonic solar wind colliding with the bow shock ahead of Jupiter's magnetosphere. These waves are not the same as the pressure waves in the atmosphere that we normally think of as sound. However, they do have some similarities. Even though space is an excellent vacuum, it is "filled" with particles at a density of typically a few to several hundred particles per cubic centimeter near planets. Most of these are charged and constitute what we call plasma. Being charged, these particles interact with each other without the need to "collide" as they do in the atmosphere. Moving charged particles both produce electromagnetic fields and waves and also are moved by electromagnetic fields and waves generated elsewhere. These are "plasma waves". Many of these interactions occur at frequencies that are audible to humans. This doesn't mean that a human ear could hear them in space -- the
pressures are far too small -- but it is conceivable that an ultra-sensitive microphone could measure them. In practice, however, it is far easier to measure the oscillations in the accompanying electric and magnetic fields with antennas, and that is just what we do. To produce sound we can hear, we simply do the moral equivalent of hooking our antennas up to an amplifier in order to drive speakers. Plasma waves can be considered "space audio".

The video shows a series of 48-second-wide spectrograms with an animated cursor that shows the time of the audio track. The amplitude of the signals is color coded with dark blue for the weakest and red for the strongest signals. Low frequencies are at the bottom of the plot and high frequencies are at the top. Time ranges from left to right.

For more information on the Voyager project, see voyager.jpl.nasa.gov

For more information on the Voyager plasma wave investigations, see
www-pw.physics.uiowa.edu/voyager/

For access to the specific data used to produce this video, see:
www-pw.physics.uiowa.edu/voyager/data/VGPW_2001/EXTRAS/HTML/JUPITER_ENCOUNTER/V2P2_056/V2P2_056.HTM

www-pw.physics.uiowa.edu/voyager/data/VGPW_2001/EXTRAS/HTML/JUPITER_ENCOUNTER/V2P2_057/V2P2_057.HTM

review by David Murrieta from A Closer Listen:
"If ambient consists of an environment built and modified, then field recordings consist of an environment interpreted and described – the first has architectural
leanings, while the second is more in the spirit of looking at the world as text. So what happens when, with a bit of humor, you make both come together?
I am not talking, of course, about the use of found sounds in a wider composition nor the humanist intent of musique concrète, but the union of the conceptual
underpinnings of both genres into a music that is fundamentally systemic, made by machines for machines in a mode of communication that is forever speaking
of mathematical wholes. The result is an imposing feeling of vastness, of echoes growing echoes, of an infinity that, like many of the stars we see every
night, has already ended and yet we can still gaze at its life in all its brilliance.

Jupiter is a Cosmic Vacuum Cleaner is based upon the collision of comet Shoemaker-Levy 9 with Jupiter as observed in 1994, an event from which astronomers
were able to deduce that the largest planet in our good old solar system attracted and absorbed a great deal of comets and asteroids that would otherwise
impact upon the surfaces of the rest of the planets. Using the ‘sounds’ of Jupiter’s magnetosphere as collected by the Voyager 2 in 1979, Scott Lawlor
processes the aural qualities of our very own cosmic home appliance in order to construct a place of electronic beeps, scratches, and drones, while at
the same time presenting us the way in which the spacecraft ‘interpreted’ the function of the planet. It is significant that the study included in the
liner notes, written by a NASA scientist, reminds the reader that even if the waves’ frequencies are audible to humans, it doesn’t mean that we could hear
them as they are, first in and then from space, as we would a field recording: a machine hears for us, a machine listens and interprets according to its
own (by now) dated equipment, generating its own noises in the process, one in which there is only a machine-to-machine communication, one in which there
is no artist to make a second take, to look for an appropriate location to place devices, to listen first and then decide to make art out of what is heard.

In this way, this album is both ambient and field recording, situated amongst those rare explorations of the music of the spheres, of the music generated
by a system that in principle we can understand but is still out of reach, both aurally and conceptually; its drones, while human, also feel irrevocably
other, strangely harmonious in the manner only engines and electric devices are often capable of being. It is true ‘space music’, all signals, all unknowns
and humorous – but apt – analogies that can only highlight a cybernetic intuition that details the encounter as a deeply mechanical recognition of interconnectedness,
because to every tone there is a semi-tone there is a micro-tone there is a noise that drones, on and on, something we are not even being able to notice
without the constant reminder that we don’t know how most of it works. The only thing we know is that there is something keeping it all together, but the
way this album works makes even that seem alien, always already out of reach, always already expanding into yet another electronic sound originated deep
inside the bowels of some machine or other, be it cosmic or earthly."