Michael Vorfeld’s sounds are generated by different light bulbs and actuating electric devices, and the rhythmic variety of the flickering and pulsing lights is directly transformed into a comprehensive and microcosmic electro-acoustic world of sound. Using Harvestworks’ new 8-channel sound cube (with 4 speakers each situated on floor and ceiling), Hans Tammen’s Prozesshansl software moves these sounds in three dimensions to create fragile and contrastive soundscapes surrounding the audience.

Projects other than the Endangered Guitar that use electronic sound processing on percussion, string and wind instruments, to create an alien world of bizarre textures and polyrhythmic maneuvers.

Clang 026, recorded 2012, released 2015 on Clang. Total Time: 38:39 Minutes. Satoshi Takeishi – percussion; Hans Tammen – endangered guitar, guitar and percussion live sound processing

By using a table machine as a sound source, and a software that "listens" to the audio input to then determine the parameters of the live sound processing, two automata playing off against each other, creating an alien world of bizarre textures and polyrhythmic maneuvers.

Wave Farm Artist-in-Residence, Steve Bull, concludes his residency with a live broadcast of Cellphonia: Wave Farm, performed by "Banned Ingredients" (Steve Bull, John Driscoll, Phil Edelstein, Scot Gresham-Lancaster, Hans Tammen, and Brooks Williams.)

Recorded 2012, released 2013 on OutNow Recordings. Total Time: 69:41 Minutes. Denman Maroney - hyperpiano, Hans Tammen - endangered guitar, electronics, live processing. Recorded June 2012 by Peter Karl at Peter Karl Studios.

Excerpts from Denman Maroney (hyperpiano) and Hans Tammen (hyperpiano processing) at the New York Electronic Arts / Rhythm In The Kitchen Festivals in June 2013, an event collaboration with Harvestworks and Hell's Kitchen Cultural Center

The LEMUR GuitarBot (, a collection of four MIDI-controlled monochords built by Eric Singer, is a beautiful soundsource, especially when also recorded with microphones to capture all the mechanical noises that surround it.

Massimo Ricci - Touching Extremes: If a hundred crackpot 4-track cassettes met in the eye of a cyclone, the result could near what’s heard in “Oxide”.