Interestingly, Michael Gordon, when he originally wrote this piece of music, he didn't write it for two-by-fours. He didn't write it for wood. He didn't know, actually what the instruments were going to be I mean, technically it's, a Satan trap, which is a Greek liturgical percussion instrument, really honestly, it's, just a two-by-four it's. You can obtain them at your local hardware store. You just have to dry it out.
And you get this amazing sound world just by cutting the various instruments, graduated. Lengths basically what's happening as the board is suspended on these pegs, which have some padding underneath them as it vibrates, it's vibrating in different sections. And this point here is the point at which there is no vibration, so you're able to drill holes, and you're able to suspend the board so that it resonates. So this is what's called a contact microphone it's, a very simple piece of electronic. And we just take a standard quarter-inch audio cable. And it transfers the vibrations from.
The board through the transducer microphone through the contact microphone and into the mixing board, many of us, actually as percussionists, you know, we're beating on lots of things as children. You know and that's how our parents kind of knew to give us drumsticks at some point to keep us from hitting on the furniture. In fact, I actually got in trouble, pretty badly as a kid when I had a meat cleaver, and I was sitting at the windowsill, and I was just smashing the windowsill.
Just like, you know, Playing the windowsill not much different, really, you know, it's like it's you there is a bit of a primitive feel I suppose as you're playing this. When we interact with one another in this ensemble, part of the beauty of this piece of music is the harmonic chorus that kind of floats out into the audience and creates there's, an absolutely rich, Seymour and texture. And this amazing sonic palette you.