I will see if I took any shots before patching.
As to ‘managing’ I really don’t think of these as separate cases. Maybe the only exception is the small square case on the left which was intentionally built as a self contained system around re-301/Teletype/manta. But even this case contains ALm Pamela’s New Workout, which really clocks the entire system (connecting to various clocking, multiplication/division modules throughout other cases).
I build the instrument throughout the process of rehearsals, and then perform it along with all the other components of the work during the showings. In this particular case, the objective was to construct sonic content for a dozen of unique sections, totaling 60min (3600 seconds), where each would have distinct character, while maintaining a sense of continuity and cohesion for the set as a whole.
All the cases are, in effect, my whole studio, so I work with the whole thing regularly, developing ideas and strategies that utilize different modules throughout the system. I draw on these experiences when working on the piece on site with the performers. I personally love the idea that the score is singular to the particular staging, and is basically irreproducible. When scoring this project in different locations, I observe certain structural or dynamic ideas that contribute to particular sections of the performance, but the sonic and textural solutions are always different. And of course, things often vary wildly during the actual performance.
