AAJ: Which are the implied rhythms, right?
SM: Right, the rhythm is in the sound and not in the beat. Because the beat in itself, when you study sensation of tones, a beat in itself has a certain resonance, it depends on where you make the beat at. For instance, in certain materials, the beat has a longer resonance and is equal to a tone.
AAJ: So it is, in a sense, like the way they measure communication of whales in water.
SM: [laughing] Well, that's one explanation. Here's another example. Once every so many years, in Europe, they have a conference of acoustical professors and composers to decide should the pitch and interval of instruments remain [the same], such as the piano, the bass, the guitar, which it seems there's a social, audible level that they agree instruments should be made. In other words, you can play an instrument, and there's a certain audible level at which you can reach people. Some people have a low audible level, and some people have a high audible level. So they don't want to make a saxophone in 312 or a piano in 4. They could do that eventually, we'd have a whole new world and universe of music. They don't do that because of the requirements of selling music and the requirements necessary to make music likable to this general audible level. Another good example is like, say your grandma is listening to the radio in the kitchen, and she has it kind of below the audible level. And you say, 'Damn, grandma, can you hear that?' And she says, 'Of course, son, I can hear it.' And you go upstairs and you play your shit blasting, and it just makes her crazy, because it's above her audible level. She says 'I don't know, these kids listen to the stuff way up there.' This is what's been happening for quite a few years in the acoustical area, and for me it was food for thought, and I found some wonderful things there, some wonderful experiments, some wonderful possibilities for the trap set, which is basically the newest instrument created, I guess you could say, in terms of new instruments. We had all those violins, the piano, which were first classical instruments. Going back further than that, we had the basic conga or bongo or something like that, but the change in having those basic instruments, they were limited. So throughout history, coming back from the 20s, the drum set was slowly augmented and put together. The snare from the regimental concept, the tom-toms, etc. Papa Joe Jones elongated the sock cymbal, before that it was considered a foot cymbal. And Joe Jones elongated it to where it is today, the sock we see today.