The sounds were processed through a custom program in Max/MSP, translating sound files into MIDI and making graphs with pitch and velocity. Ox did not listen to the sounds during the sorting, only relying on visual differences and similarities for separation into eight groups. She modeled each sound in virtual reality, making objects that reflect pitch from the front, while scaling on top to visually demonstrate velocity changes.

The coloring systems and materials applied to the objects, in combination with the group landscape, are derived from very close listening to the sounds and reference to an extensive list of timbre derived colors. These objects (in their sound form) are the raw materials of Curran’s composition. They also serve as the basic raw materials in their 3D virtual object form for the visualization of Curran’s music. As the sound files are changed in their audio constructions through a set of filters controlled by the four laptopists (one in each musician group) , the visual objects will enter movement patterns that will have been devised as metaphors to the filter processes.