In "Homogenic", every track was built around a loud beat, but in "Vespertine" Björk wanted to make a "microcosmos of thirty or forty beats interacting". To do this, she recorded noises around her house to make beats out of them. Once the songs were almost finished, Björk contacted the duo Matmos, who she considered "virtuosos" in the field, and sent them various songs to work with. They added beats made from the noise of crushing ice and shuffling cards, among others. In her documentary "Minuscule", Björk explained that this process consisted of "taking something very tiny and magnifying it up to big", intending to convey the "sensation that you've been told a secret", that is also present in micrographs. Marius de Vries and Björk did a lot of the sound design in "Vespertine" with a text-based synthesizer called Supercollider. Although he described it as "horrendous and impenetrable once you first get it", de Vries admitted: "There is something about typing commands in and hearing the noises come out which is very different from tweaking knobs and it really does take you in surprising directions. It's a way of disrupting the normal circuitry between you and the sound-making machinery."