Over the past 20 years I have composed some 30 works of acousmatic music. I use different sounds, different microphones, different studios, different rationales and motivations, and different tools (though there hasn’t been much change in tool design over the years). I’ve grown up (a little). I’ve certainly more experience and I would hope that my experience helps me develop new skills. I would like to reflect upon my personal language and suggest that it’s not that personal. In so doing I’d like to question generalities of method. Whilst my music and that of my colleague Adam Stanović could not be more different I have often heard him say of my work ‘it’s very ‘you’’. Furthermore, Francis Dhomont once commented upon music from The University of Birmingham as having ‘le son Birmingham’. This is not just because the studios had a certain reverb unit or a Publison Dhm89 but because all the composers shared their music and their thoughts, and - notably - performed their music over the BEAST system. Reflecting upon Monty Adkins’ writings after Steven Jan and the potential of musical memes not only to pervade one’s own musical lineage but to transfer through text, technology and music to others, I will present core methods and techniques that have helped shape my music over the past 20 years and suggest that plus ça change, plus c'est la même chose.