Together with composition for traditional instruments the core of his activity is a search for new acoustic sounds that overlap with the digital world. Using unconventional techniques and sonic resources, these materials are developed by way of both scientific approach and very informal experimentation.
This research combined with extensive work as a percussionist in new music and the experienced study of musical cultures around the world, results in the broadest sonic palette. As a desegregated approach to material, method and function, his work shares much with visual arts practices.
Recent projects have involved the modification of deconstructed pianos with found objects to create materials that deny any trace of traditional piano sound. These elements range from the purely musical to a kind of ‘noise’ aesthetic.
When performing his own scores for text based works Simon mixes composition and Live Sound Design in ways that access meaning at many levels. Morphing through the spectrum of musical and noise based materials, embracing naturalism and abstraction, this practice negotiates the space between live and pre-recorded sonic elements, interpolating seamlessly. In narrative settings, this technique functions with a level of textual awareness and flex that reflects an actor's live process. Developed in part through free improvised rehearsal processes, the resulting work defies classification.