Regularity and irregularity are notions that I use often in my composition process; I stated that the morphology of the piece is not only a fact of order and disorder, but also an interactive mixture of both of them. Working with the matrix-mixer developed in the Experimentalstudio, one can control the amount of regularity and irregularity of sound layers, establishing local points of density in the physic space. The main objective of this procedure is to develop a complex timbre texture, as if we were hearing a unique meta-string instrument. This assembled body of sound has several “time layers”. I imagine this multi-time scale as if we could “see” the sound passing threw different crystals, reflecting its own deformation; its own articulation located in different parts of our sonic space.