Open end is one in a series of pieces that I have written addressing intimate relationships between electronic and acoustic sound. Relationships which, I hope, evoke our knowledge and experience of an instrument, bringing its acoustic identity into focus by engaging restrained pallets of sound and gesture. Many of the electronic gestures unfold gradually to gain the trust of the listener — so that the belief might exist, if only temporarily, that the sounds coming from the speakers are acutely indebted to the mechanics of the instrument which spawns them.

Open End uses speakers which are placed underneath the vibraphone to create explicit patterns of 'beating' between the acoustic and electronic signals. This beating gradually permeates into other aspects of sound-experience; gestural, timbral and spatial.