Origin Matrices

Origin Matrices is a surreal and electronic experimental music composition utilising modular synthesizer and signal generated sound sources. The Eurorack modular synthesizer system provided much of the complex tonal combinations heard in regular sequences, but not actually sequenced as such. A Korg MS-20 mini monophonic synthesizer also provided the phasing filter sweeps heard at the conclusion of the work. An attempt was made to emulate the Crystal Palace devices as used by the BBC Radiophonic Workshop in the late 1960s. This device accepted multiple input sound sources and selectively passed each source as a function of its operation. This effect was emulated by each tonal source being heard at a particular time interval within each sound texture. The sound textures were cut and edited into segments that could be easily arranged within the sound editing software. As a timing reference, a loop made of signal-generated tones and oscillating white noise made up the primary rhythm track. All other tracks were timed to this. Various Eurorack modular texture tones were added to this rhythm track - including a resonating waveshaped atmospheric segment (resonated by a frequency shifter module), a segment using the Synthesis Technology Cloud Generator, segments created by the MakeNoise Maths influencing oscillators then slowed down, and still further other Maths tones - even slowed with reverse reverb for some really eerie shimmering atmospherics. To this, still further signal-generated and ring-modulated tone sources were added - often slowed down with added heavy reverb. Some of these atmospheric combinations are quite dark and industrial in nature - adding to the surreal quality of the music in these passages. Sometimes pure signal-generated tones were used to enhance the effect - such as the rising tone frequencies heard at the start of the composition. The middle changes in composition with part of the rhythm segments replaced. Several atmospheric textures created by the Cloud Generator were used for additional atmospherics. Other textures were composites of existing Clouds and MakeNoise Maths modules sounds mixed together to create complex arrangements. The conclusion of the work features the Korg MS-20 mini playing automatically several square wave tones and the high pass filter being modulated by an LFO and also emphasing certain bass frequencies. These MS-20 tones were additionally mixed by sinewave tones slowed - creating a melancholy atmosphere. Additional shimmering signal-generated mixtures were applied at selected points, as well as some atmospherics being ring-modulated to create certain high-frequency metallic effects. The overall effect is one of pure electronic experimentalism. The music taking the dominate lead to transport the listener into an alternate realm. The visuals emphasise this alternate realm by using as a primary background logically-created texture weave patterns (such as like those created by the EMS Spectron Video Synthesizer). Overlayed to these textures were modulated geometric forms and animated shapes. Superimposed over these were various symmetrical video-feedback-like patterns created by animations only - no video feedback was used at all. These patterns seem to resemble some of the early Doctor Who title graphics, even though video feedback was not employed. Of interest are the "fishscale filigree" patterns - created by edge effects and multiplied several times within the frame. Many different kinds of background textures and foreground modulated images were created. The images are very fluid and organic in construction. At the conclusion of the composition with the Korg MS-20 phasing atmospherics, we see edge-bubble effects and vapour-like tendrils. The light tendrils could relate to the finer vibrations of the space-time continuum. The rich and stranger aspects of electronic music and visual synthesis is communicated in this work. Sound and visual textures stimulate the senses. The biological floe of pattern modulations resonate with the sonic atmospherics produced. Structures exist, but not to any preconceived theoretical authority.