The blog post explores a purported connection between Mike Oldfield's "Tubular Bells," famously used in The Exorcist, and Morse code. The author analyzes a specific section of the album and argues that the tubular bells play a sequence that translates to "BELLS." While acknowledging the possibility of coincidence, the author speculates that Oldfield, known for his meticulous approach to composition and interest in radio, might have intentionally embedded this message as a playful nod to his amateur radio background, potentially referencing his callsign "G3SWE." The post further links this potential Morse code to a rumored "curse" surrounding The Exorcist, suggesting the message could be interpreted as a signature or playful acknowledgement of the film's ominous themes.
The blog post, "Morse Code in Tubular Bells (2021)," explores a fascinating, albeit ultimately debunked, theory connecting Mike Oldfield's iconic instrumental piece "Tubular Bells" with the world of amateur radio and specifically, Morse code. The author meticulously details their investigative journey, sparked by a fleeting, almost subconscious, perception of Morse code within the familiar melodies of the composition. This initial impression prompted a deep dive into analyzing specific sections of "Tubular Bells," particularly the introductory movements.
The author employs various methods to scrutinize the music for encoded messages. These include painstakingly transcribing suspected Morse code sequences heard in the piece, converting these sequences into alphanumeric characters, and attempting to decipher any potential hidden meanings within the resulting text. The author demonstrates a clear understanding of Morse code principles, explaining the distinction between dots and dashes, and the process of translating these auditory elements into letters and numbers.
The investigation focuses on isolating melodic phrases from "Tubular Bells" which exhibit rhythmic similarities to Morse code transmissions. The author provides detailed descriptions of these phrases, even specifying timestamps within the musical piece for reference. They then present their interpreted Morse code sequences alongside the corresponding decoded text. Despite the meticulousness of this approach, the deciphered messages ultimately yield incoherent and seemingly random strings of characters, suggesting no intentional coded communication.
Furthermore, the blog post delves into the historical context surrounding the creation of "Tubular Bells," including the recording equipment used by Mike Oldfield. The author explores the possibility that unintended electromagnetic interference, perhaps from nearby amateur radio transmissions, might have inadvertently imprinted Morse-like patterns onto the recording. However, this hypothesis is also deemed unlikely, given the controlled studio environment and the nature of the recording process.
Ultimately, the author concludes that the perceived Morse code in "Tubular Bells" is likely a product of pareidolia, the psychological phenomenon of perceiving meaningful patterns within random or ambiguous stimuli. While the initial suspicion of hidden messages proved unfounded, the author emphasizes the value of the investigative process itself, showcasing the power of curiosity and the analytical approach applied to unraveling a musical mystery. The investigation serves as an interesting example of how our brains can sometimes create connections where none actually exist, even within the intricate tapestry of a musical masterpiece.
Summary of Comments ( 19 )
https://news.ycombinator.com/item?id=42807653
HN users discuss the plausibility and technical details of the claim that Mike Oldfield embedded Morse code into "Tubular Bells." Some are skeptical, pointing out the difficulty of discerning Morse within complex music and suggesting coincidental patterns. Others analyze specific sections, referencing the provided audio examples, and debate whether the supposed Morse is intentional or simply an artifact of the instrumentation. The use of a spectrogram is highlighted as a method for clearer analysis, and discussion arises around the feasibility of Oldfield's equipment and knowledge of Morse at the time. Some express appreciation for the in-depth analysis of the blog post while others remain unconvinced, citing the lack of definitive proof. The comment thread also diverges into discussions about Oldfield's other work and general discussions on musical analysis techniques.
The Hacker News post titled "Morse Code in Tubular Bells (2021)" has several comments discussing the linked article about potential Morse code hidden within Mike Oldfield's "Tubular Bells."
Several commenters express skepticism about the claims made in the article. One points out that the supposed Morse code appears in a section of the piece with heavy phasing effects, making it unlikely that a deliberate, clean Morse signal could be embedded without being distorted. They also highlight the unlikelihood of Oldfield, known for his meticulous studio work, allowing such imperfections. Another commenter echoes this sentiment, suggesting the perceived Morse code is likely an auditory illusion or pareidolia, where random patterns are interpreted as meaningful information. This commenter further notes the lack of any known motive for Oldfield to include such a message, strengthening their skepticism.
One commenter questions the methodology used in the analysis, suggesting that the author should have compared the audio to a known recording of the Morse code sequence they claim to have heard, rather than relying solely on their subjective interpretation. They also propose the possibility of the sounds being unintentional artifacts of the recording process or the instruments used.
Another commenter delves into technical details, suggesting that the described sounds are more likely due to phasing between two slightly detuned oscillators rather than deliberate Morse code. They explain how such phasing can create rhythmic patterns that might be misconstrued as coded signals.
One commenter recalls a similar experience listening to a different piece of music, where they perceived a Morse code-like rhythm, but ultimately attributed it to the natural rhythms of the music itself. This further emphasizes the potential for misinterpretation of musical patterns.
Finally, some comments express general interest in the topic, even while remaining skeptical. They appreciate the exploration of the idea and the technical analysis provided by other commenters, demonstrating the engagement of the community with the topic despite the lack of definitive proof of hidden Morse code. There's a general sense of appreciation for the mystery and the discussion it generated.