What occurs when a recorded sound, detached from its origin, undergoes alteration within a computer before being reintroduced audibly in proximity to its source? In “copia,” resonances extracted from a collection of historical instruments are processed using an array of software tools and filters. Diverging from conventional sound art practices, this endeavour refrains from decontextualising or stripping sound of its origin. Sound is not amalgamated into a new sound object and spatialised within the room. In “copia,” the audible is brought forth through and from the visible instruments. At times, these sounds resonate with familiarity, readily associable with their respective instruments. Occasionally, they may evoke a sense of foreignness or even transcend their original sources. Through this interplay of the known and the unknown, the composition endeavours to captivate the listener's auditory experience.