The easy part is mapping the timestamps, so that the duration of the piece is mapped to spam arrival times. Beyond that, I think this gets more into the area of the art of it than anything meaningful, but I did toy with look at the length of the messages themselves. Here, because spams did tend to overlap, I mapped pitch as a simple algorithm that would randomly generate some variety while avoiding two notes hitting at the same time and flanging. But I could do something fancier in the future.

So you’re absolutely right, though I haven’t done the *most* interesting thing with this just yet!