This LP was three years in the making. I started recording it one evening after a messy end to yet another underground art space in Boston landed me- by happy coincidence- right upstairs from the Basement 247 recording studio, owned and operated by veteran Boston musician and engineer Jack Younger. He had come across a pair of 1950's Cole Ribbon mics- of a series number, incidentally, to have been used in the BBC Sound Studios. He was also rebuilding vintage tube gear, like the pre-amp we used. (Incidentally, he is also in possession of an Edison Wax Cylinder cutter).  I had long wanted to make an analog recording of my solo microtonal work, especially that which utilizes harmonics, difference tones, and other accoustic artifacts which seem to be compromised in the digital recording realm. I was certain an analog recording would give a more vivid picture of the strange and ghost-like world I experience when playing, and the illusion of many more violins than are actualy there. . . . .  So I went downstairs to the studio in the three decker in the evenings. and recorded. After many pieces were put down, I selected these four. No further mastering or editing was done, other than transferring the work to 1/2 inch tape from the 1 inch tape on which it was recorded. After the demise of the Zeitgeist Gallery in 2006, I moved with my partner Hans Rickheit and our friend (and writer) David English to Philadelphia. After getting settled, I sent the record off to be pressed. Michael Anton Parker agreed to put it out on his label, Sprout Music. The labels are silkscreened, as are the covers. A computer has never laid silicon digits on this project. Which means you can hear all the most quiet, impossible and ghostly details. . . . . ORDER