Earth Horns with Electronic Drone
(original program notes)

"The electronics is an open system that processes and stores information about real-time acoustic activity, and recycles it back into the acoustic environment where it becomes a part of a further tone cycle which is again fed into the system and back into the acoustic space…etc.

"The resonance of each Pipehorn is in tune with the AC line cycle of the room. Seven electronic tones, tuned harmonics of the line cycle, are independently generated. Because the sounds are harmonics of overtones of each other, all changes become modulations of a single resonating acoustic environment. Each of the tones can be varied independently or in their combination in an open system. The electronic system is always sensitive to real time activity as well as summing and deriving changes from Pipehorn loudness and duration. Here the electronic controls that add, subtract and multiply are derived directly from changes in Pipehorn loudness, duration and interaction. Electronic sound and Pipehorn sound mix in the acoustic time/space of the performance, recycling and reinforcing sound change. People can hear this sound of subtle movement, the interacting of electronic sound and Pipehorn sound. This creates a dynamic sound environment.

"The point is to create a sound environment (or performance situation) where people are able to listen to this almost primitive, visceral, acoustic sound of the Pipehorns (constructed from ordinary plumbing materials and steam fittings) together with their matching, electronically transformed sounds, for extended periods of time. These instruments, musically, have a precise pitch, and can generate these pure electronic sounds, as well, which are unique to this situation. I am most interested in the effect, psychologically, of these subtle tones and movements on both players and audience alike, particularly played, as I plan, over an extended period of time."

—Yoshi Wada