this track contains mostly 'open' sounds (= with a lot of reverb): the rubber dampening discs are lifted up to allow for a maximum of resonance. when the rubber discs descend the bell-like sounds transform into dry ticks.

here you hear all rubber dampeners go up simultaneously; you hear the servo motors

this is an alternative version to sample05, recorded with two mono microphones in a stereo XY setup.

maximum loudness

nice and strong overtones

gradually more 'open' strikes are added to the overall sound picture so that you slowly hear the overtones swell from overlapping reverb tails.

here 'forte' strikes come into play again

this recording contains 'softer' sounds ('piano' as opposed to 'forte' in most other tracks). the amplitude of the pins can be controlled by variations on the range the pin strikes out; comparable to 'velocity' of a finger on a keyboard.

the bursts of harsher resonances are produced by partially lifting the rubber discs and varying the master value for down-time of the pins

most of the strikes in this track sound 'closed' (as opposed to 'open' in hi-hat sounds) and irregular. this effect is achieved by manipulating the 'down-time' of the pins. as the pin stays longer on the plate it dampens the resonance.

at this point the down-time of a big number of solenoid pins is given a value that exceeds the interval between successive strikes, so they stop striking. since each pin is striking at a different frequency, increasing a master amount for down-time gives beautiful but unpredictable results

just above my head

from here you hear me moving from plate to plate so that the rhythm is colored differently step by step. each plate has the same dimensions but it has a different tone color mainly because of: 1) angle and proximity of suspended solenoid pin; 2) degree of bending of plate caused by welding of suspension points

from this particular point you clearly hear my head turning and me walking away from a position

here the rhythm seems to be overridden by new plates that kick in; this change of rhythm depends on the dominance of the plate just above your head

this ambulant recording starts close below a whirring bass sound that originates from a single pin barely touching the steel at a high speed. the steel responds by moving up and down, attached by springs to the suspension structure, which gives produces this whirring rhythm.

massive reverb tail when all pins come to a synchronous stop

you start hearing how a sub-rhythm takes shape within the general din of striking pins. these cadences shift when you move position below the ceiling of steel tiles

acceleration of solenoid striking frequency on all plates up to a minimum interval of 30 milliseconds

rubber dampeners are lifted so reverb tails of individual plates start overlapping again, which results in overtones

dampeners descend on steel plates and reduce resonant reverb and therefore overall amplitude

overtones become dominant