Solera (1981) I developed an ensemble of intrinsically related, though quite varied, timbres from manipulations of only the single bass clarinet tone analyzed in Grey's experiment. Simple alterations of pitch, harmonicity, duration, and bandwidth created a large palette of identities which were focused together in Solera (ranging from percussion and shakuhachi flute to new instruments with no reference to experience). It was conceived of as a closed space derived from limited acoustical transformations, or a sort of inverse timbre space. Samson Box (WER 2026-2)