Non-Linear Studies

Deer rutting near Le Bosc in the Pyrenees.

2025_10_09 - CAMP_FR - DEER_RUT

This is a composition that was created using a Max 7 patch. It mimics the sounds that might be heard from an underwater propeller turning at a constant RPM and under a steady torque. The pops thay erupt from time to time are similar to "cavitation", which is the formation of vapour cavities in a liquid. As can be heard, turbulent flows are highly irregular and, in order to sustain a turbulent flow, a persistent source of energy must be supplied – hence the constant RPM and torque.

Nonlinear Compositions

Non-Linear 083 - Turbulence from Propeller Vortex Flow (Const. RPM REV Mix)

Using spectra taken from the sound of a ballbearing rolling over a steal sheet, pulses (square waves) of sound arre mixed into eachother and the resulting waveform triggers several gates that have envelopes over their outputs. The envelope's parameters and the fequency at which the pulses are triggered are modulated according to several simple nested differential arguments that are based on a Lorenz system. Interesting stroboscopic effects manifest as sonic abstractions within this short composition.

Promo

Non-Linear 001 - Kyma Strange Attractor (Pitched Metalic Spectra - Version 1.52)

Utilising the 'a-lorenz' object (made by André Sier) within a Max 7 patch, this composition uses a mixture of sample-based modulations and granular synthesis modulations (from the drum same sample) to produce an interesting flurry of abstract beats and swirling textures that never exactly repeat themselves. These were then arranged and treated in Logic Pro (using a filter effect) to create this arrangement.

https://cycling74.com/forums/chaos-library

Non-Linear 192 - Breakbeat Mod. (Version 5.193)

This sample based track uses a breakbeat that is granularised and then modulated using spiral like patterns found in the fibonacci sequence for interesting breakdowns and chops. The patch was created within Kyma and controlled using a CM Labs MotorMix and assorted virtual synths were added to complement the rhythmic undulations.

Rhythm in the Numbers (Hexadecimal Mix)

Performed during Electrophonetik Works on the evening of the 27th of January 2007 by Polynomial, supporting Sunoa Inami an Mira Calix, at The Forum in Tunbridge Wells.

Functional (Live Set - Electrophonetik Works - 2007)

Inspired by a childhood fasination with the Voyager expeditions that visited the outer planets in our solar system, this composition uses a heavily modulated rhythmic sequence that mimics some of the dynamics found within the Saturnian ring system.

SLAnet PatUrn

Continued experiments sonifying non-linear dynamical systems, this time looking specifically at Kelvin Helmholtz Instabilities using granular synthesised textures within the time and frequency domains.

Non-Linear 201 - Kelvin Helmholtz Instability Studies (Version 07.08)

This is the first piece that was made on a Korg MS20 Kit after it was built. It was performed at home using a Moog Etherwave Plus with Controller/Theramin for an authentic 1920's feel, though it also includes several loops that were made with the MS20 and then filtered and effected within ProTools.

https://www.moogmusic.com/products/etherwave-plus-theremin

https://www.korg.com/uk/products/dj/ms_20kit/index.php

The Inconvenience Store

Interface (Theramin Mix)

This was created and played live within Logic Pro 9, taking a sampled drum beat and simply looping it (and MIDI patterns for the melody) within the DAW, and playing some of the assorted soft-synths live to create a few of the melodic rifts. The intro sound comes from an Arp AXXE, which was being contolled by CV and Gate inputs via a Kenton Pro-2000. It sometimes gets too cluttered in placed with melodies, so it is difficult to hear everything clearly, but as this was my first live set, I thought the outcome was alright.

Bounce (Live Set - Electrophonetik Works - 2007)

This was an idea that Matthew Daughton and Karl Richard came up with to play live. Sections were arranged in Logic Pro and the various parts were "cycled" through the track, while some virtual synths were played live. The sounds that can be heard at the beginning were taken from a piano being plucked by Matthew down in Glastonbury town a few months before his passing. Matt also provided the source material for many of the other sounds that were created and used in the track, most of which were modified and reworked in Max/MSP by Karl.

Trials & Errors

Caged Acid (Live Set - Electrophonetik Works - 2007)

This is a short snippet of an idea that is presently in development here in the studio.

MS2000 + BB CH[oPs]

An oddity that was found on an old HD in the studio store. Created using a TB-303, a TR-909 and lots of effects, it was an exercise to try to create a quirky acid house track with the new studio setup.

ACID 2015_07_23 001.0

This was the very first sine wave composition we created on the Moog Model 15 here at The Orange Hut.

MOD EXP 1.01

This track that was composed back in 2014 using a sample based sequencer that was realised in Max. The acid bass line sound is from a Cyclone TT-303, while the synthesiser riffs come from a Korg Poly-61. Both were programmed using MIDI within ProTools.

SLD BT ACD TEST 001.0

This time of year sees Tawny owls pair-bonding. As a general rule of thumb owls tend to be monogamous - pairs comprising of one male and one female, neither one of which has any involvement with other nesting birds. While with some owl species the pair bonds last only for the duration of the breeding season (mainly with migratory birds), in others, particularly sedentary species such as the Little Owl, pairs may remain together throughout the year. Tawny Owl pairs are similarly faithful to one another, their bonds remaining for life.

After liaising with the Ashdown Forest Rangers about where the best locations to hear tawny owls were, we deployed several Audiomoth units around these areas and left them to record night over a period of 5 days. We then listened to the recordings and isolated the areas where we noted good owl activity. Before making any recordings, we visited the sites several times to observe their habits and calling patterns. After these were noted, we then returned with our gear and stayed for several hours each time to make field recordings.

This recording was made on the eve of the 23rd of October 2020 at Charles Smith Wood in Ahsdown Forest, utilizing a Sennheiser MS microphone array made up of a MKH-20 and MKH-30. This night was a particularly active night.

For more information about tawny owls, please visit the RSPB website here:

https://www.rspb.org.uk/birds-and-wildlife/wildlife-guides/bird-a-z/tawny-owl/

Wildlife Sounds of Ashdown For

2020_10_23 - Tawny Owls at Ashdown Forest

A sonic research facility, operating out of the UK & making sound art since 2002.

The Orange Hut

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