"Since space is a vacuum I was not able to sample the tear in the fabric of space-time. To achieve the Sci-Fi feel of this sound I used the fabric of old carpet and tore it to shreds."

"I went to a parking garage in the middle of the night when there were hardly any cars and no noise, and started banging on things. Hitting rails, glass windows, wood panels, etc... The largeness of the sound is reminiscent of the Japanese Taiko drum, but its greater flexibility pushes the boundaries into more unknown territories."

"Walking under the Golden Gate Bridge I found the sound of metal clanging and gates shaking an interesting idea for a playable soundscape and textural noise. With the addition of slight synthetic and tonal characteristics the sound can be played across the range of a keyboard. Proving that any physical object can be made in to a musical instrument no matter how complex."

"While I was driving in the rain I realized the effect of the rain pelting the window and the windshield blades clearing it away had sort of a hypnotizing effect. I wanted to produce a similar effect with this sound. The friction of the blades on the window and the sloshing sound of the rain evoke this image."

"There are a lot of sound possibilities lurking in the most unglamorous places.. Even the laundromat. Here I sampled a rickety washing machine which I shaped into an aggressively ramshackled percussive sound that makes doing laundry fun again."

"This sound was made from sampling Dry Ice with various pieces of metal rubbing against or placed on it. When you do this it causes the metal to vibrate at various frequencies causing the metal to sing creating different noises depending on how it is applied."

"The sound of a spray can along with the haunting choir conjures an image in this sound. Maybe a graffiti artist working outside of a cathedral can hear the choir singing inside. The combining of these ideas gives a special emotional resonance to the sound."

"This instrument came together from sampling large rolls of paper being torn and smashed then programming the machine-like sound in Absynth. The result is a belligerent, mechanical shredder that is effective at noisy percussion while being subtly tonal."

"This musical instrument is made entirely from glass objects such as wine glasses and rectangular blocks similar in shape to the wood blocks on a xylophone. The sound variations dramatically alter this sound by allowing flexible morphing from percussive mallet sounds to smooth glass harmonica pads."

"The most liquid sound ever created. I spent some time recording drops of water then I combined them with Absynth to create a sound that makes you feel like you are touching water rather than your keyboard."

"I was inspired to make a Lithophone (Rock Xylophone) after hearing a band called ‘Musical Stones’ play one that was made over 200 years ago. Using the variations you can change from a percussive mallet sound to a scraping pad. Lithophones tend to be enormously heavy and hard to carry. This instrument is essentially an extremely portable lithophone that pushes the boundaries of the sound."

"With this sound I had the idea to make an instrument out of some springs I had laying around. It turned out to be similar in sound to a plucked upright bass, but the spring samples change it into an instrument that can only be imagined and realized through the technology of Kore."

"This prepared piano sound was designed by sampling the strings of a grand piano using various articulations and techniques for acoustic noises that I combined with piano tones I programmed using Absynth, which allows the sound the dynamics expected in a synthetic environment while still sounding like an acoustic instrument."

"I sampled various light bulbs being struck as well as certain intrinsic qualities in lamps such as switches and the buzzing of fluorescent lights to create this musical garden of lamps."

"I replaced the standard xylophone (latin for wood) blocks with pagophone (latin for ice) blocks to create this instrument of ice. I also sampled and created various wintry effects such as melting ice and arctic winds to complete the impression of it being a cold instrument. It can also be morphed into scraping pad sound. Inspiration came from the musician Terje Isungset who creates all his instruments out of ice. But he can only play them in ice caves. You will not have that limitation with this instrument."