About the Provided Examples

To give the reader further understanding of the information presented above, we have chosen and classified examples from many of the mounting systems explored by the Baschets. In the following examples, when not explicitly indicated, the creators of the instrument are the Baschet brothers.46 We have also included examples of sound sculptures developed by Marti Ruiz and other collaborators under the label of après-Baschet as a tribute and acknowledgement of a legacy in derivative work that the Baschet brothers encouraged everyone to pursue.47

We have chosen examples of Baschet and après-Baschet ondontophones that we consider representative of the most recognizable “species” of the Baschet odontophones, taking as a given that there will be always be unique, one-of-a-kind examples and pieces that defy categorization.

We have presented many examples to illustrate the underlying complexities of tuning and timbral design. Each piece is briefly described. We have not provided detailed descriptions of the sounds, since we the audio files allow the sounds to speak for themselves. We have not included detailed dimensions of the physical elements, only what we consider relevant for understanding the relationships between the sound qualities and the physical source.48 We invite you to listen and appreciate the sonic nuances that the different mounting systems and individual sound sculptures make possible.49

Regarding percussive activation: The impact of different types of mallets and sticks determines the qualities of the sounds produced. In these audio examples we have used mallets created by the Baschets after years of trying many different combinations of materials. We present these sounds as a default sonority for the sound devices, one sonority of many possible. The Baschets encouraged experimentation with other activators, from chopsticks to gong mallets, to explore the effect of the activator on the resultant sound.

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