Some of our subscribers had questions about the “Sale.”  Please allow me to explain in more detail precisely what we are trying to accomplish.

On Saturday we will start our FUNDRAISER.  A fundraiser is very different from a Sale. If we simply wanted to sell the 9 Beet Stretch 2.0, we would have done it a long time ago. A couple of record labels and music organizations approached me as they really wanted to produce the project. What does that mean? it means that they would make a large donation but then they would take over the creative and financial control of the project.  NO WAY.  This is a collective project that will soon belong to everyone. I did not just want to accept a large donation, if that was the main goal of the project, it would have been done after the first offer was made.  A few projects were born at the same time as the 9 Beet Stretch 2.o, the fantastic SOLE box, Dinsdag, Ambisonic, the wonderful Permutations by Mykel Boyd, and Stereoscopic Poincaré by Reyes and Newton.  These projects WERE created to celebrate the launch of the 9 Beet Stretch 2.o WHEN we all were ready. So, they can be seen as the “other” part of this project.


The 9 Beet Stretch 2.0: Meta Tones is quite an ambitious project, it requires some financial resources to produce it, something difficult to do without a “Godfather” or sponsor. I did not want to surrender the creative control of the project to a record label or individual. Creative freedom has been the basis for this project all along.

We are lovingly inviting our subscribers to make a donation to make this project a reality. The main purpose of this project is to gather enough funds so we can produce the 9 Beet Stretch 2.0 at an affordable price.  Some subscribers from certain countries have said to me “I want to be a part of the dream, but I don’t have any money..” Your generous donations will help us cover the production expenses so we can offer this recording to everybody at a good price.


Everyone’s lives and careers were affected by COVID. The second purpose of this recording is to help the musicians involved. Much time was spent producing these recordings. I believe that this project could be fun and why not? beneficial for those involved. So, if you want to help those who have created really spectacular segments so we all can enjoy them, PLEASE BUY THEIR MERCHANDISE, any and every donation is very welcomed. Your kind donation will help our musicians to cover some of their time and for their energy bills, etc. This is the honest second purpose.. to buy our artists a very well deserved meal!


When you buy something, you want it NOW, right? so do I.  I HATE pre-sales because it means that while your product is “Assured” you just don’t know when it will be done.  The project was delayed a couple of times because our artists were working on the merchandise they plan to sell. Some of these guys are SO talented! This website and the fundraiser are a great platform for them to share their creative work with all of you. But creativity requires TIME.  I did not want to take people’s money and keep making excuses as to why they were not receiving their stuff. Once the recordings were completed, packaged, and READY to ship is when we can have a sale. I hope you will appreciate this and realize that this is not simply a sale, but a fundraiser to make the dream come true, to make it affordable, and to help our team.


In the simplest terms, the 9 Beet Stretch is Ludwig van Beethoven’s 9th symphony stretched to 24 hours, with no pitch distortions. The original 9 Beet Stretch was done in 2002 at NOTAM (Norwegian network for Technology, Acoustics, and Music) by Anders Vinjar, Kjetil Matheussen, Leif Inge, and Bjarne Kvinnesland. It was redone at NOTAM in 2004 by Leif Inge and Anders Vinjar, and the concert premiere took place from April 16 to 17, 2004, at Kupfer Ironworks, Madison, Wisconsin, under the production of Jeff Hunt of Table of the Elements.

The 9 Beet Stretch 2.0: Meta Tones is an exploration of the properties of time and acoustics. It is about the design and construction of sound structures built according to the law of chance. It is also about time transformation, musicology, and acoustics. It pushes existing boundaries and genre definitions. It is explained broadly by exploratory sensibilities radically opposed to, and questioning of, institutionalized compositional, performing, and aesthetic conventions. It contains elements of indeterminate music, in which the composers can introduce the elements of chance or unpredictability concerning their compositions. Artists approach a hybrid of diverse styles or incorporate unorthodox and unique elements without any rules beyond the taste or inclination of the musician(s) involved. [a]

The source recording for this version on stream is a Naxos recording conducted by Béla Drahos with the Nicolaus Esterházy Sinfonia and Chorus (Naxos 8.553478). Courtesy of Naxos of America. All rights reserved. © 1996.


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How do you envision the future of electronic music?

“There will be more AI,

it will be based on the idea of Muzak and more drone streaming. The bridges between “high” and “low” will be larger and only the future educated elite will have knowledge of and therefore access to new composed serious music (unless the education system changes in the world).”

Carl Michael von Hausswolff