In this article, the author discusses his use of frequency modulation (FM) synthesis in his work Arras, an approach he calls polyphonic timbral construction. He discusses the theme of his compositional exploration in detail, the ways in which he used acoustic properties as the basis of the entire composition, relating sound and structure inextricably. He attempts to demonstrate how the concept of the stochastic process can be extended into the timbral domain and how certain acoustic properties of harmonic and inharmonic spectra can give rise to a macro-level structure of precision and complexity.