The electroacoustic ch’in is a pentatonically tuned seven-stringed solid body zither Sounds are picked up by the microphones fixed at the bridge, transmitted to electronical sound processors and amplified there. In contrast to the original Chinese ch’in, my instrument may be played using not only plucking, but also bowing techniques.
So the instrument I play is actually not the pure zither; rather, it consists of the ch’in and the electronic equipment, both of which combined constitute a kind of “meta-instrument”. The ch’in is an instrument featuring very subtle timbres. Normally barely audible microcosmic sliding sololoquies, a characteristic feature of ch’in music, are even emphasized in the electroacoustic version on account of their amplification and their isolation as a result of sound processing.
The e-ch’in displays an extraordinarily wide range of sounds. Drones are constantly oscillating, changing in timbre, structure, atmosphere, emotion. Again, generation merges with decomposition. In this sound world, distinction between tonal sound, noise, orchestral music, musique concrète, pop or avantgarde, din or trash is no longer relevant.