The point of departure of the composition 'The Spirit Catcher' is 5 spectra with different ambitus and registers, but with many 'common partials' to assure harmonic cohesion. The 'sound object generator' created the events according to predefined parameters. The 'leading-parameter' is 'Klangfarbe'. The general direction is: noisy - with tone.

The instrument triggers the computer sounds, either with MIDI-pedals or any other suitable means. The triggered sounds are spatial extensions of the instrumental sounds, however, they often develop their individuality and provoke new actions from the soloist. The piece is conceived as an 'open-form' environment where the soloist can trigger the events she/he wishes. However, the present version has been worked out as an independent composition. Melody and harmony arc given entirely by the spectra. The instrument is processed during the performance by means of a MAX-Patch in the Next-ISPW environment. The interface is a 'Mathews-Drum'. The patch is a mixture of harmonizer, ring modulator and amplitude modulator, which produces spacialization by means of a circuit that generates Lissajou-curves. The main intention of the patch is to create instability in the instrumental part, a certain irreality. The performer on the 'Mathews-Drum' is to accomplish this improvisingly, according to taste, acoustics, etc. (Mesias Maiguashca)