Much of the live processing for this piece revolves around the spatialization of sound between 6 channels. In some sections of the piece the sound is swept in waves through and around the audience, with various aspects of the live sound being used to control the position and distribution of individual samples and grains of sound. The precise perceptual location of each sound is somewhat stochastic, but is driven by a dynamic probability-distribution in at least one axis at all times. Variable delay lines are also used to deconstruct and reconstruct the rhythmic patterns played by the performer through fast transient detection. Certain elements of the electronic part are pre-recorded, others are generated in real-time.