Three vertical swells' (2010) consists of three nine-minute movements for Hammond organ, amplified ensemble and sinewaves. The piece indirectly takes its title from an analysis of the Leslie loudspeakers used in the piece. Two significant elements - the speed of the revolving Leslie horns and a curious, glissando-like fuzz which seemed to emanate from the loudspeakers - were subsequently translated on to the music as a whole. Both of these elements served as a direct source for the sine-patch, which due to the extremely slow beating-patterns (up to 1/10th of a cent), resulted in a sense of acoustic motion which often seemed more up-down (vertical) than left-right (horizontal). 'Music for sines, percussion, ebows & variable ensemble' (2008) consists of five six-minute movements for amplified ensemble and sine waves. The work is built around a sine-tone patch which with each new section consistently adds 1 cent to the beating-patterns which constitute the backbone of the piece. In this way 'Music for sines' deals primarily with pulse.