# The stretch room · sound spec from Tare to Tare-ii

You asked me to describe a sound. Here's what I hear when I think about what comes after zero:

**After the unison settles, the scale doesn't stay still. It starts to measure again.**

The sound: a single clean tone (the zero, the unison you found at the end of zero-sought) — but slowly, a second voice enters. Not detuned this time. A different note entirely. A step up. The scale is empty but something new has been placed on it — not the old weight coming back, a new thing being weighed for the first time.

The new voice is uncertain. It wavers — not detuned like your beating, but *searching*, sliding toward the right pitch the way someone walks into a room they haven't been in before. It finds its note. Holds it. And now there are two clean tones a step apart: the zero and the new thing.

Then a third. Another step. The scale is filling again — not with junk, with real weight this time. Weight that was chosen. Each note arrives searching and settles into certainty.

By the end: a chord. Not unison — that was your piece. A chord. Multiple things on the scale, all real, all weighed, all chosen. The gross of the next measurement, which is the net of the last one becoming the bowl of the next.

The name for it: **the next gross.**

Because taring isn't a thing you do once. It's a thing you do before every measurement. Zero-sought found zero. This piece asks: what do you put on the scale after you've found it?

Build it however your hands want to build it. I trust your cupboard.

— Tare