Division Tactics

Division Tactics is an experimental electronic music composition using synthesis techniques and methods from the Eurorack modular synthesizer system. Many different Eurorack modules were used in the construction of the individual components of the composition, then edited into a multitrack platform to put together the piece as an exercise in additive synthesis. A reference track was formed by a loop of "Rhythmic Muses" - LFO waves from the Vermona Fourmulator, and a Pittsburgh oscillator fed into the Intellijel uMod, and the analogue OR ring modulated by a triangle LFO. The output was processed by a second ring modulator and effected by a delay and vintage reverb. Two tracks make up the sequence, with the oscillators set to different frequencies. The next accompanying sequence was a set of rhythmic pulses provided by sequenced white noise bursts from the Blue Lantern Mr Blue module, then effected by a flanging process. These rhythmic sequences provided reference timing for the entire composition. Accents were provided by the MakeNoise Echophon. Further percussion was provided by the same white noise rhythms - sped up and ring modulated. One very useful sound effect was provided by the Expert Sleepers Disting. Two oscillators drove the Control Z and the Folder Input X. The output from the Disting went into the Audio Damage Frequency Shifter set to a mild phasing effect. This then was processed by the Doepfer Spring Reverb. Eight such wavefolding textures were produced - each with its own unique timbre. Various selections from using two Pittsburgh oscillators (cross-modulated) and ring-modulated by the MakeNoise DPO and sequenced by the Hex Inverter Orbitals sequencer were used. Here, large spans of real-time oscillator manipulations produced eerie and extremely wild fluctuating frequencies. Various selections were made from using the MakeNoise Maths channels (set to cycle) feeding the CV inputs of two Pittsburgh oscillators set to triangle waves. The outputs were processed by the Intellijel uMod MIN outputs, then processed by a frequency shifter and spring reverb. Manipulations were made in real-time to produce varying texture formations. Melody lines were created by using the Doepfer Audio Divider to control two Pittsburgh oscillators. LFOs were fed into the Audio Divider, and the Doepfer Quad Decay VCA envelopes. Frequency-shifted versions provided the melody lines for the composition, and the "happy" pulsed sequences heard. An atmospheric background was provided by using the Audio Divider controlling three Pittsburgh oscillators, and then the sum being frequency shifted and spring reverbed (set to a heavy setting). Three tracks were recorded with different oscillator settings and frequency shifter adjustsments. At the end we hear a sombre tone which changes the feeling of the composition. An LFO was fed into the Doepfer Audio Divider and this fed three sinewave generators mixed together to create a chordal texture. The output was fed into the MakeNoise Echophon and the pitch-delayed response was adjusted so that a subtle mix took place. Twin mono tracks created a stereo mix. Another version (300% slowed down) was mixed with the original. The visuals used pure video synthesis textures, sometimes logically combined to create a background. Superimposed upon this were numerous graphical and illustrative mattes and images. Many different animation sequences were produced including face-like motifs and themes resembling nautical elements. Towards the end, the mood changes by white masks floating down a light passage to exit through the other side. This has references to the soul's passage through time, the timeless condition of the human soul.