Venancio Mbande talking with the trees, he became convinced that any future for microtonality would have to involve first and foremost the development of microtonal fixed-pitch instruments (for example keyboard percussion instruments) and the adoption of satisfactory designs by commercial instrument builders. Following his own second prototype quartertone marimba extension the design was taken up by the Dutch company, Adams, who produce them on special order. But outside the realm of purely fixed-pitch instruments, Wood was also active in writing microtonal music for conventional instruments – this led to one of Wood’s largest-scale works, Oreion, for large orchestra. Commissioned by the BBC for the 1989 Proms (9 August), this 30-minute work was performed by the BBC Symphony Orchestra conducted by Wood himself. The work was subsequently selected for performance at the 1991 ISCM Festival in Zürich, performed this time by the Krakow Radio Orchestra, again conducted by the composer. This experience led to the idea of engaging in some kind of research and training programme for instrumentalists in microtonal performance, and so in 1990 Wood founded London's first Centre for Microtonal Music, and its ensemble, Critical Band. The purpose of the Microtonal Centre was to research instrumental microtonal playing techniques, to teach these to young musicians whilst at the same time educating composers in the historical, theoretical, emotional and practical implications of microtonality. The initiative involved the collaboration of the Society for the Promotion of New Music (SPNM), the Guildhall School of Music and Drama, and the Barbican Centre in London, which held a Weekend of Microtonal Music, 'In Tune?', in 1990, 1991 and 1992. Aside from its presence at the 'In Tune?' Festivals, the ensemble 'Critical Band' undertook several recordings, concerts and tours, including a CD of three of Wood's own compositions: Venancio Mbande talking with the Trees, Phainomena and Two men meet, each presuming the other to be from a distant planet. This latter work was also premiered by Critical Band at the 1995 BBC Proms (September 11). But after the late 1990s, both the Centre for Microtonal Music and Critical Band became disbanded through lack of funding. Ever conscious of the fact that electronic music provided a perfect medium in which to explore his love for both microtonality and new sounds, Wood decided to immerse himself more fully in this world, and in 1996 undertook a major project at IRCAM in Paris. He worked together with Carl