Bryzoan Reactive & Upper Frequency Modality

Bryzoan Reactive & Upper-Frequency Modality is an experimental electronic synthesizer composition utilising the Eurorack modular synthesizer system for the main sequenced sounds, ring modulation for an audio mix effect, signal generation tones, and other kinds of effected tones and software audio manipulation techniques. Various versions were created, the last being the most complete mix. A 50 bpm clock synchronised all of the units of sound. The rhythms were important to synchronise, and the Hammerhead Rhythm Station provided some Korg electro rhythms, the Compu Rhythm 8000. A machine-like glitch flanged rhythm was also used for effect. Eurorack modular synthesizer components played a major part in the composition. Several MakeNoise Echophon sequences were used for the atonal chord pulses. The trigger sequencer from the Vermona Fourmulator was used to create a pulse rhythm using an oscillator synched to another. The signals then went into a Doepfer Quad Decay module, and one output to a MakeNoise DPO. The two sine outputs from the DPO (sometimes synched) were mixed, fed into a Bubblesound VCA, processed by the MakeNoise Echophon, then frequencyshifted by an Audio Damage module. Different sequences were recorded with different DPO and Echophon settings. More Echophon textures created an eerie sense of continuity. Semi-periodic pulses fed a Doepfer Audio Divider. The output of the divider fed 3 x Pittsburgh oscillators. The triangle and sawtooth waves were mixed and went into a MakeNoise Echophon - set to a subtle frequency-shifted delay so that a swirling/phasing effect was achieved. The output was sometimes frequency-shifted or with a spring reverb. The TS-404 software synthesizer provided the funky bass tones. The Blue Lantern Mini Shimmery module provided the metallic percussion sequences - sequenced by the Blue Lantern Mr Fill Gates. Some metallic sequences were slowed down, others were complete works in themselves. A clock pulse was fed into a MakeNoise Maths in order to modify the clock divisions. This pulse drove the Mr Fill Gates module, which drove a Blue Lantern ADSR module. Signal sources included the Blue Lantern Mini Shimmery module, modulated by a sinewave. Seven tracks were recorded to add to the overall sonic texture, and then processed by a Doepfer Spring Reverb. Each sound was tailored by adjusting the ring-modulated square waves of the module. Other Eurorack textures included 2 x Pittsburgh oscillators set to pulse waves going into a Blue Lantern wavefolder module, mild frequency shifting then effected by a MakeNoise Echophon for interesting delays. Signal generation tones played a major part. From low-frequency inverted sinewaves, to ring modulated chordal structures played at regular intervals. This main mix provided the means to further integrate ring-modulated sounds, signal generation tones, and high-frequency ringing sounds and strange choir-like ethereal sounds derived from other ring-modulated frequency mixtures. The visuals are pure video synthesis compositions using many different kinds of background textures and oscillographic superimpositions. Some screens are composites of several oscilloscopic traces, others are full-screen waveform animations. Some textures and shapes were created on Microsoft Powerpoint. Other textures used XOR (exclusive OR) combinations to create many complex moiré effects. The total effect is one like a scientific experiment - waveform tones, sequences, patterns, frequency interactions - in both the audio and visual domain. Multiple orders of waveform reactions.