The root note was B flat, derived from the perpetual hum of nearby machinery. All manner of instrumentation was employed: I witnessed and heard tell of performances on accordion, cello, cymbal, guitar, lap steel, recorder, snare drum, shovel, trumpet, violin, and voice. I played an ancient Casio VL-Tone for a couple of sets. On others I used a minidisc recorder to play back prepared loops made from samples of my voice and a concertina, as well as field recordings that either blended well with the fundamental or had been tuned to do so (cicadas, crickets, casino slot machines, an exhaust vent), treated during the performance with effects pedals hooked up to a small battery-powered amp.

I had the pleasure of improvising in quartets with Bryce Beverlin II (percussion), Hadija (violin), Michelle Nagai (voice, recorder), Mary Springer (cello), and Laurie Witzowski (voice). The below recording documents the final hour; everyone left standing played a mass drone together as dawn rose over the Mississippi River. The rooster crow field recording at about 1:30 would be my contribution. Also, I believe I am rocking the Casio VL-Tone at a later point.