[1][2] McLaren had experimented with this technique for creating notes through patterns of stripes on the soundtrack area of the film in the 1950s, working with Evelyn Lambart.
[3] Their technique was based on earlier work in graphical sound by German pioneer Rudolf Pfenninger and Russian Nikolai Voinov.
[4] The creation of Synchromy was documented by Gavin Millar in a 1970 film called The Eye Hears, The Ear Sees.
[5] In McLaren's production notes, he stated that "Apart from planning and executing the music, the only creative aspect of the film was the “choreographing” of the striations in the columns and deciding on the sequence and combinations of colours.
[6] Terence Dobson, The Film Work of Norman McLaren (Eastleigh: John Libbey Publishing, 2006) ISBN 0 86196 656 2