Dolly have been doing this for years for audio on cinema film reels - literally from tiny QR-like codes between the sprocket holes on the filmstrip, with cinema-grade audio quality.
Really like it. For some reason I'd insist on spectrograph instead of qr - artifacts make the medium. The fragile bizarre distortions and loss of the double digitization of analog data - you'd end up with more of an instrument than a format.
The compression choice is what makes this work. OPUS at 12 kbps is good enough to not embarrass itself — ten years ago you'd have needed a much faster tape speed to get acceptable audio. The paper tape is the aesthetic, the codec is doing the real work.
Dolly have been doing this for years for audio on cinema film reels - literally from tiny QR-like codes between the sprocket holes on the filmstrip, with cinema-grade audio quality.
Really like it. For some reason I'd insist on spectrograph instead of qr - artifacts make the medium. The fragile bizarre distortions and loss of the double digitization of analog data - you'd end up with more of an instrument than a format.
Think along these lines https://youtu.be/Z7Zb4rso82M?si=3FYaidCwwVdUhocO
Imagine being able to control where the loss happened in real time with potentiometers
In a sense this is reinventing digital sound-on-film, but without the continuous feed and with a much lower tape speed. https://en.wikipedia.org/wiki/Sound-on-film
Another picture:
https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fh...
The compression choice is what makes this work. OPUS at 12 kbps is good enough to not embarrass itself — ten years ago you'd have needed a much faster tape speed to get acceptable audio. The paper tape is the aesthetic, the codec is doing the real work.