a quarterly circulation of short-duration audio works, field notes and marginalia in electronic composition. each dispatch documents a single parameter change, one patch, one listening. everything is made at low volume.
a single voltage-controlled oscillator is set to 173.4 hz and left to drift. no modulation is applied. the recording captures the instrument's thermal response over six minutes in a room of uncertain volume. the tone does not remain constant — it cannot. nothing said here is metaphor.
four pieces for FM voice, each ending on a fifth partial rather than the root. the pieces are presented in ascending order of their inability to conclude. listeners have reported involuntary posture changes during the third piece; we record this without interpretation.
an installation recording. three test tones (120 hz, 480 hz, 1920 hz) are introduced sequentially over an unattended twelve-hour period. the room responds. portions of the recording are unlistenable; we do not consider this a failure.
a score, not a recording. three pages of written instructions for setting up a patch that produces no audible result until the sixth minute, at which point the result cannot be described without simultaneously being inaccurate. the score is distributed as a paper leaflet; no audio is included.
twelve envelope shapes applied to identical source material, presented without commentary. the shapes are chosen to bracket the threshold at which amplitude modulation becomes perceived as a new event versus an attribute of an existing one.