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.