Initially it was thought that a musically interested scheme would be to allow the brass player to use the switches to enter played notes into loops, and later trigger those loops. This proved a miserable failure, because of the mental concentration needed to keep track of which loop was where, what the loop contents were, syncing the recording, triggering, etc. Eventually a set of simple, nearly stateless interactions were devised. The switches were used to trigger pre-composed motifs, navigate forward and backward through sections, and capture pitch information from the horn, which was then used to seed fairly autonomous compositional algorithms.