While the analog oscilloscope has its own distinct aesthetic, using software offers several advantages, such as flexibility, portability, and complete control. A free software emulator of the analog device is available at oscilloscopemusic.com1. However, in my practice, I primarily use Max/MSP to generate visuals, including the image and video samples from the previous section. Max/MSP is a visual programming language designed for music, audio, and multimedia applications. It enables users to create custom interactive environments by connecting graphical objects that process and generate sound in real time. MSP (Max Signal Processing) serves as the audio engine within Max, allowing for advanced synthesis, sampling, and audio manipulation. Jitter extends Max’s capabilities to video and 3D graphics, making it a powerful tool for audiovisual projects, live performances, and interactive installations. For the remainder of this research, I will continue using Max as a reference and demonstrate the procedures required to achieve specific results. As a first step, Video 29 illustrates how to create a minimal dual-channel oscilloscope in X/Y mode. In the previous chapters the concepts of rotary and lateral motion has been mentioned several times. Max offers the ability to save a patch as an abstraction2 and use it as an object in other patches, as long as it is stored in the same folder or in the library directory. This proves to be particularly useful, as demonstrated in the following examples. Figure 25 shows the patch adapted for use as an abstraction.

In previous chapters, the lateral and rotary motions of the harmonograph have been referenced multiple times (see 2. Harmonograph and 10. Oscilloscope Techniques). Implementing these two techniques in Max is relatively straightforward, as demonstrated in Figures 26 and 27. Notice how the abstraction nic.scope is integrated into the patches, allowing key parameters to be controlled effortlessly without directly modifying the oscilloscope patch. For instance, the output of a swatch object directly sets the color of the oscilloscope trace. Moreover, Max offers extensive control over the aesthetics of the visuals. In Figure 28, a shader is applied using the jit.gl.pass object to create a neon glowing effect, while Video 30 showcases a variation of the original oscilloscope patch that incorporates visual feedback (Figure 29). Expanding into three dimensions, as explored in section 10.5, is also easily achievable (Figure 30) since the jit.catch object can handle multiple inputs. Additionally, jit.catch features a downsample parameter, which allows sampling the signal at specific intervals. This enables a smooth circular shape—created by two sine waves—to be transformed into a polygon, as demonstrated in Video 31. In a later chapter, I will explore the application of this technique within a musical composition (see paragraph 18.2).

Sporadically used with wind instruments for educational purposes or research3^,4^,5, feeding acoustic instruments into the oscilloscope often produces chaotic, non-harmonious shapes, making them a challenging match for this visualization technique, as mentioned in a previous section (see paragraph 10.4). To navigate these challenges, certain ploys can be employed. Filtering out excessive overtones or focusing on specific frequency ranges can help in obtaining more visually appealing results. In Max/MSP, this can be achieved by routing the audio input through filtering objects (such as biquad~ or lores~) before feeding the signal into the oscilloscope patch, allowing more control over the visual outcome. Alternatively, the fzero~ object can detect the fundamental frequency of a sound to then control a sine wave generator. Additionally, experimenting with different routings and changing the focus from the actual shapes to visual effects created by amplitude and rhythm, while playing around with extra parameters such as colours, can yield fascinating results. I will dwell more into this in a later paragraph when discussing my own work (see paragraph 18.1). This trial-and-error process requires time and patience, as the behaviour of each instrument is not easily predictable. A systematic approach to cataloging the visual outcomes of different instruments is essential for building a reliable reference. Here are some examples I have gathered so far.

Here are some observations from these examples. Generally, the low register produces more complex shapes, while higher range—having fewer harmonics—tends to resemble sine waves. This contrast is particularly evident in the bass trombone and oboe examples. Additionally, the noisier the timbre (as demonstrated by the airy sound of the flute in certain notes), the less harmonious and stable the shape becomes. Wind instruments and strings can sustain sound and create dynamic shapes by altering timbre or volume. However, their sound is inherently more unstable and often contains noise components. Applying filters can simplify their shapes, making them almost like sine waves (video 37), which allows for the possibility of achieving patterns akin to Lissajous curves or other figures mentioned in previous sections (See 3. Lissajous figures and 10.2 Music intervals). On the other hand, the vibraphone naturally generates harmonious and stable images due to its nearly pure sine wave timbre. However, its inevitable decay causes the shapes to quickly disappear. In the example (Video 36), a compressor is used to prolong the image. This characteristic suggests that the vibraphone might be better suited for more rhythmic or pulsing visualizations.

From the examples presented throughout this research, it is clear that the oscilloscope introduces an entirely new set of possibilities for adventurous composers. Observing sound as it shapes real-time visuals provides fresh, unique inspiration. However, this new source of creativity also brings significant limitations and challenges. This leads to the central question of this research: how can one compose with and for the oscilloscope combined with acoustic instruments? After exploring the historical context, theoretical background, and technical aspects, this question can be rephrased more precisely: how can a composer harness and simultaneously overcome the oscilloscope’s limitations in translating sound into visuals in real time? The strength of the one-to-one audiovisual relationship is evident in many examples throughout this research and can be applied to the following musical parameters: intervals (harmony), timbre, amplitude, and since rhythm can be interpreted as “pitch below 16Hz” (see 9.2 Pitch and rhythm), it naturally fits into this list. While other parameters can also be adapted, these four already present a complex puzzle to solve. Each of these parameters comes with its own set of advantages and challenges.

Intervals are powerful tools for generating stunning geometric patterns. However, these patterns are fragile and can easily be disrupted by the timbre of acoustic instruments or by rapid harmonic or melodic changes. This necessitates a minimalistic approach to avoid chaos and visual overload. Additionally, dissonant chords, tensions, and extensions do not translate well on the oscilloscope. A resonant low pass filter is often necessary when working with acoustic instruments rich of overtones. Another strategy is to combine acoustic instruments with sine waves to balance the output (as demonstrated in this composition), or even double the instrumentation with sine waves and display only those. Timbre, on the other hand, is more straightforward but requires meticulous research and a well-curated collection of samples. In this case, rapid melodies or overlapping timbres are not ideal. Nonetheless, timbre offers a powerful tool for improvisation, as performers can see their sound in real-time and essentially “draw” with their instruments (see exemples in 16. Tests). Amplitude is ever-present: as the sound grows louder, the image expands. Composers can use this feature to visually “amplify” their pieces, creating a sort of “firework music,” or they can minimize this effect using synthesized waves or compressors. Mapping amplitude to color or visual feedback is another effective strategy for managing the chaotic nature of sound. Rhythm can generate patterns similar to intervals when dealing with polyrhythms. This characteristic is featured in my composition Rhythm Sect (see paragraph 18.2).

Before presenting my artistic practice, I wish to share a more personal perspective. As an artist, my research cannot be confined solely to technical or rational dimensions. This investigation is driven by an aesthetic pursuit, but more profoundly by my deep fascination with existential questions. Challenging perceptions of reality is fundamental to my artistic identity and spirituality. Drawing on the allegory of Plato's cave, I perceive hearing and sight as mere projections of a reality that lies beyond our sensory limitations. Earlier, I discussed the narrowness of our perceptual faculties in this context (see first paragraph of 8. Multimedia Art). What we experience as sound is, to me, the manifestation of an underlying source beyond our full comprehension—a glimpse of a multifaceted existence. This perspective invites contemplation of the relationship between matter and vibration, echoing concepts in quantum physics. Moreover, the oscilloscope serves as a metaphorical reminder of the higher dimensions of divine mathematical and geometrical ratios, as well as the chaotic, unpredictable nature of the reality we inhabit (see 10.4 Acoustic Sounds: Dealing with the Complexity of Reality). This notion resonates with Gurdjieff's “Ray of Creation,” which suggests that human consciousness is confined to a lower dimension governed by complex intertwined laws generating unpredictable phenomena, whereas higher dimensions are characterized by simplicity and purity6. Although these philosophical and metaphysical reflections extend beyond the immediate scope of this research, they are central to my artistic motivation. Through my audiovisual work with the oscilloscope, I seek to stimulate the audience's intellect, emotions, and subconscious, provoking contemplation on the nature of reality—a question that remains unanswered despite humanity's technological advancements.