I collected my first musical stones on a small beach near Dover.

I carry with me when performing a suitcase full of objects that I see or hear as an extension of my drum kit. I reach for these objects when I feel the need to extend the sonic boundaries and techniques of the traditional kit.

I first started looking for new sounds for my alto saxophone by making reeds out of many kinds of materials such as metal, wood, plastic, and even chocolate (which didn’t last long).

There are many small objects, little instruments, and various pieces of detritus that end up in an improvising musician’s toolbox; there are numerous reasons why and how they ended up there, and why they remain or get left behind.

I’ve tried various plastics—condoms, material from rubber gloves, etc.—but have found that rubber balloons give a warmer percussive sound and you can also rub and bend the membrane, thereby altering pitch.

In my music making, I’m mostly working with analogue media: tape recorders and reel-to-reel tape machines and recently in addition sculptural antennas.

I have a battered piece of metal pipe, about the length of my forearm, which has become a surprisingly regular feature in my music and live shows.

Setting the fork end in motion, the fork vibrates between 10 seconds and several minutes, depending on quality and string tension. It creates a bright sound, rich in overtones, a pulse which slows down and eventually ebbs.

I recently lost my favorite preparation. It was a metal rod, about three feet long. It was hollow, with a 3 cm perimeter. I thought it was alumi- num, but on trying to replace it, I realized morosely that it wasn’t.

When I was a kid strolling around our small farm, I always had a strong affection for found objects. Small stones, pieces of driftwood from a small riverbank, special shaped or colored leaves from trees.