Though the wealth of percussion sounds is great, there are certain
experiences that percussion cannot produce on its own. Employing
computer technology allows, for example, the freeing of sounds from
the physical position of their origins. Sounds can be made to move
choreographically throughout a performance space, individually or in
groups. They can migrate or traverse rapid trajectories.

A particular gesture made by a performer can be captured and then
allowed to morph gradually over time, losing some of its original
characteristics and acquiring new ones as it persists across time.
Singular events can proliferate into flock-like collections that swoop
and glide around the listener. A detail from the performer’s gestures
can be captured by the computer and used not only in the service of
the auditory experience, but to drive other transformations as the
performance unfolds.

Finally, there is another advantage that technology enables: the
considerable psychological power derived from capturing and re-
presenting intimate activity. The smallest, quietest percussive action
can be brought to the ears of all through judicious amplification and
sound positioning.
The Sanctuary Project
by Roger Reynolds