How: A patch was made in Sync Modular, which fed single sample impulses into a modulated feedback delay, and some minor non-linear waveshaping and filtering. With various settings, twenty second chunks of sound were rendered. These were edited and mixed in Pro Tools LE. 

Why: I originally wrestled with a rather ill defined idea about maintaining the "integrity" of the impulse. That is to say, since the single sample impulse in digital sound is the smallest atomic unit of sound, it could, with the right plug-in, be shaped into any sound imaginable. But then, really, any sound could be transformed into any other sound. But wait a minute, that doesn't really make much sense. In fact, none of this really makes much sense. I mean, yeah, you could just make a million copies of the sample, and adjust each one just so, and come up with any sound you wanted. Likewise, you could adjust every subatomic particle in a chunk of lead, and come up with gold. 
In any case, by this point I was quite fascinated with what my machine was churning out. Not gold, but pretty neat. So I just started putting it all together and pretty soon I had this piece, a light hearted number that exposes my humble roots. It's weak on theory, but that's why I'm entering my first year at the School for The Contemporary Arts, at SFU. 
I hope you enjoy it anyway. I do. 

Galen