Caine did get excellent responses from both the learned bodies and the public, he did not get a satisfactory response from industry. Fortunately, a few people did eventually come into Le Caine's life to make him feel his efforts were of some value. One of these people was Israeli composer Josef Tal. In the summer of 1958, Tal had travelled to Ottawa under a UNESCO grant to visit major electronic music studios. Tal grew very excited about the instruments that Le Caine had built, but he did not realize what this meant to Le Caine until the following day when Le Caine, Tal, and several technicians were having lunch in a small restaurant. Tal noticed that not only had Le Caine been rather silent on this day, but on close inspection at the table, Le Caine had tears running down his cheeks and falling silently into his soup. When an opportunity arose, Tal delicately asked one of the technicians about this and was told that Le Caine had felt no composer in Canada had a use for his instruments and that Tal was the first composer who had shown any interest in his work. In 1962 Le Caine arrived in Jerusalem to install his Creative Tape Recorder in the Centre for Electronic Music in Israel, established by Josef Tal. Le Caine also collaborated in the development of pioneering electronic music studios at the University of Toronto in 1959 and at McGill University in 1964. Dripsody Though his composition output was small, Le Caine is remembered as one of the great pioneer composers of musique concrète, his best known work being Dripsody (1955), a piece of musique concrète based on the sound of a single drop of water that over the course of the piece is permuted and contorted into a variety of sounds. Le Caine used a metal wastebasket filled with two inches of water, held an eyedropper ten inches above the wastebasket, and tape-recorded the water drops for thirty minutes. After reviewing the resulting recording, Le Caine selected one of the water drops and spliced it onto a short tape loop. This allowed the water drop to repeat like a traditional ostinato figure. Le Caine wrote down rhythmic figures he felt stimulated the sound of water drops then he decided how loud to make each figure, writing down a corresponding decibel number. He correlated the time values of the