The Orange Hut is a sonic research facility operating out of the South East of the UK.

Why orange?

Well… First and foremost… The name denotes the idea of purity, emptiness and the impossible within the possible, as symbolized by the color orange in the Theravadan Buddhist traditions…

Secondly, the name was, in part, derived from Dr Alex Paterson’s original studio lab where the first ideas for the mighty ambient dub collective known as the Orb, were forged…

And thirdly… It’s Karl‘s favorite fruit.

Why choose the medium of sound as a form of artistic expression?

As most current philosophical and scientific enquiries allude to, the universe appears to be made up of pure energy. A lot of this energy is condensed into matter i.e. sub-atomic particles, atoms, molecules, etc… While some of it is simply in various states of radiative emission – for example light, who’s individual photons are much too small for us to readily detect any discernible mass that they might have – that we can clearly see/hear/feel the effect of i.e. light in a dark room. Some of this energy even passes us by without our knowing, being in too rarefied a state for our sense to perceive it.

Despite these minor variances between the types of energy present in the universe, they all vibrate at specific frequencies across the broad-range electromagnetic-energy-spectrum… And it is these very vibrations, which, when they interact with one another, present the most beautiful tapestries of advantage and interference. It is these advantages and interferences that we are ultimately interested in, as we have always felt they provide a natural likeness to the way everything interconnects and interacts in a long chain of cause and effect.

Observing this fundamental and universal ordering principle all around us, we began to feel a strong lure towards an art form that would allow us to develop a good understanding about the workings that lay behind all energetic wave interactions i.e. wave theory… And, in a tangible sense, we felt it should also provide us with a low enough frequency range within which to clearly perceive any interference patterns that might arise from these energetic interactions, predominantly so that we might deduce and reverse engineer the mechanisms behind any marked incongruities that may unfold within their designated time frames… This would then allow us to recreate these anomalies later on in slightly more refined/essential forms.

To add to this, we also had to consider the fact that we therefore needed the ability to easily and accurately isolate individual frequencies from the whole i.e. using Fourier analysis, so that we might effectively separate, recombine and analyse these interesting anomalies. In doing this, we would be afforded the chance to better understand their workings and, so, rework and/or remix them back into our own original compositions, something that traditional artists might find hard to do: to unmix their colors of paint/sound and reblend them into new shades/tones.

In striving to achieve these goals, we were reminded of the metaphoric parallels that link all patterns (whether chemical, physical, energetic, etc…) as they change within any and every dynamical system here within the universe around us (Life included). As they unfurl over time, we see new anomalies procure themselves and new phenomena arise. Bearing in mind this temporal predilection of ours, as well as the highly abstract nature of trying to relay them within an art form, the sonic arts became an obvious and incisive choice over most types of visual articulation.

What We Do

Having been educated in the recording and sonic arts, as well as cultivating a deep interest in this multifaceted artistic platform, we have become very keen to express the dynamic incidents of all Universal patterns in their truest sense i.e. by using non-linear algorithmic motifs to extrapolate and relay Nature’s own seemingly lawless deluge of biological diversity and uncertainty. At the same time, through this scientific mode of expression, we are able to develop and evolve our own understanding of ‘patterns’ and ‘dynamical systems’ via computational, mathematical and philosophical experimentation and extrapolation.

In a similar vein… Here at the Orange Hut we lean towards novel ideas regarding sound synthesis and sonic arrangements, rather than simply relying on the standard recording techniques and compositional theories that many musicians still choose to use. We believe in that fine fractal line that lies between evolution’s “healthy” affine transformations in self-similarity and it’s bane, that of exact replication: one allows movement and progression, while the other only affords stagnation and/or entrapment. And thus, while the majority might choose to play the same old games within standardized frameworks of predefined musical genres, we are more interested in removing any and all constricting methodologies that might restrict and/or limit our creations into cycles of copycat techniques. So we desire no part in institutions that seek to exclude or define… Rather we choose to experiment free from the confines of “right” and “wrong.”

“Out beyond ideas of wrongdoing and rightdoing, there is a field. I will meet you there.”

by Jalal ad-Din Rumi

Thus… While pre-recorded sounds might adequately emulate what one should hear in relative reality, very rarely does this ‘mode’ of aural reproduction do anything other than simply ‘replicate.’ And while ‘copying’ and/or ’emulating’ sounds might be enough for some… We prefer to remove the real-world recognition that our minds have become so familiar with and expectant of, and deploy/explore new timbral analogies that might fit more poignantly to, say, a musical composition, or perhaps to better compliment a film’s visual texture. In doing this we hope to tease new feelings from one’s mindscape, breaking the binds of normal recognition, thereby forcing the listener to re-evaluate what they have just heard, as well as re-equate the context in which they have experienced it.

Mathematics and algorithmic form play more of a role here than any musician ever could or should. We prefer to leave things to chance, so that they are governed by the same probabilistic laws that “God, or Nature” uses to guide his/her/its own structural design and flow. Essentially we are looking to return to the source; to understand fundamental principles of ‘being…’ A ‘being’ that is free from mankind’s own self-imposed, ego-centric need to define… One that is free from bourgeois certainty. Thus math and chaos reign supreme within our creations. There are no taboos or set ways of thinking here… Abstractions work better to free us from preconditioned thought, to remove the set-forms that we have all been taught to express ourselves with… For us, these taut clichéd forms are seen as a hindrance to our goals for artistic expression.

Chaos as seen within a Strange Attractor. This is plot of the trajectory Lorenz system for values ρ=28, σ = 10, β = 8/3.

All this considered, be rest assured that we are not madmen thrashing blindly through vast arrays of accidental abstractions, hoping, by chance, to find some ultimate expression of the divine in an endless sea of probabilistic odds… Rather we are scientists who have firmly grasped the implications of how chaos, as it is, drives all non-linear dynamical systems to evolve in ever unpredicatable ways, so that we might use it’s essence as a creative driving force, rather than as a force to meander around (and away from) pleasing sonic asthetics.

By gorging ourselves on the works of scientists like Dennis Gabor, Edward Lorenz, Steven Smale, Harry Swinney, Jerry Gollub, Maurice Marie Alfred Couette, Otto Rössler, Jules Henri Poincaré, Michel Hénon, David Ruelle, Mitchell Feigenbaum, Paul Stein, Robert McRedie May, Sir Geoffrey Ingram Taylor, Benoît Mandelbrot, Gaston Julia, Georg Cantor, Kurt Gödel, Ludwig Boltzmann, et al… we have been able to precisely roll with this ‘flow.’

With these paradigms in mind, the name of our preferred game is ‘evolution of the audible form.’


Here we rest on the cutting edge of a novel communion… A communion that may seem to many as a somewhat unlikely duo: that of science and artistic expression. Here we channel directly that which the artist has felt a need to express since the dawn of mankind i.e. the wonder and splendor of all creation. Except now, within this golden age of Technology, Knowledge and Scientific enquiry, we are able to weave it’s essence into a highly refined and symbolic ideal of dactylic flow. This flow is the poetry of the numbers and energetic frequencies that we all vibrate with, that we use daily in the collective dance of Life. At the Orange Hut we fuse logic and art into a supreme tool for expressing perceptive forms, ideas and modes, in a way where we are able to leave the confines of words and man made structures, so that we might launch head first into uncharted “oceans of sound” to find new islands of allegory and analogy.

“Pure mathematics is, in its way, the poetry of logical ideas.”

by Albert Einstein