Science Dixon State-Variable Development

Science Dixon State-Variable Development is an electronic meditation in aural and visual form. The sounds pulsate and evolve into intriguing textures, creating vibrations that are organic and resonating. The sounds themselves were inspired by the unique sounds produced by the audio-frequency device from the BBC Radiophonic Workshop in the late 1960s - the Crystal Palace - a kind of sound source sequencing device for the creation of sound effect textures. In order to realise such sounds, various modules from the Eurorack synthesizer-system were connected, and aural textures recorded. It is the combination of such textures (as well as some signal-generated tones and chords) that weaves the atmospherics of the composition. Several different resonating or vibrating textures were created. One effect involved using a Doepfer A-115 Audio Divider with a pulse wave input sometimes approaching frequencies going into the audio spectrum. The A-115 was tuned to various intervals and the buffered output feeding the 1 volt/octave inputs of 3 x Pittsburgh oscillators tuned to different triad chords. The outputs were mixed and processed by a Doepfer A-125 VC phaser module. The output was treated to a delay shimmer by a MakeNoise Echophon. Doctor Who-style vibrations could thus be created. Another kind of texture involved using the Doepfer Audio Divider tuned to different intervals and the output feeding the frequency CV of one channel, and the input of the other of a Din Sync Sara filter set to self-resonance. The band-reject outputs were ring-modulated and the output processed by the MakeNoise Echophon. Various tracks were recorded. Another variation on this method involved using the Doepfer Audio Divider feeding the CV inputs of 2 x Pittsburgh oscillators tuned to different frequencies and then sending out the triangle waves of the oscillators into the Intellijel Azimuth II. The pan between the two inputs was modulated by an LFO and then processed by a Doepfer Spring Reverb. Twin pairs of sounds made the stereo composite sound. A granular voice effect track was used at the end of the composition, and a ring-modulated and flanged slowed version was created for a "nightmare" granular voice effect. Other vibrational effects included using the Audio Divider at audio frequency modulation and feeding the 1 volt/octave inputs of 3 x Pittsburgh oscillators tuned to chords and the sound phased. Another sound texture involved 4 x Pittsburgh oscillators tuned to different frequencies, phased and processed by a MakeNoise Echophon for a shimmering effect. Eight tracks were recorded of each sound, with the VCA controlled by a Blue Lantern ADSR. The stereo master was a cascade of square-wave (4 chord tones), with 8 tracks for each element, kind of emulating the functioning of the Crystal Palace. The MakeNoise DPO was also used with the Audio Divider, and the twin oscillator outputs of sinewaves used processed by an Intellijel uMod using the MAX output logic function. This was phased and an Echophon and Spring reverb used to treat the sounds. Several tracks of signal-generated sinewaves and sinewave chords added atmospheric fluidity to the composition. Some noise bursts were also incorporated into the mix. The visuals use video synthesised electronic weave textile patterns as backgrounds with some patterns even logically constructed. Superimposed are mandala-like motives and planetoid graphics. Slit-scan-like graphics are also incorporated at the end. The final result is a surreal meditation that evolves into a cosmic journey that transforms into final vibrationary forces.