Contemporary thinking and research on timbre and its use as a dynamic, structural component in music performance have been profoundly influenced by the insights and insounds of David Wessel. His intrepid and creative approach opened up vistas of timbre spaces navigable through multidimensional trajectories. Wessel’s experiments with timbre streaming [Computer Music J. 3, 4552, (1979)] inspired my own work on perceptual organization of complex-tone sequences [Singh, J. Acoust. Soc. Am. 82, 886-899 (1987)]. The finding of a timbre “interva” akin to a pitch interval as a threshold for streaming reinforced Wessel’s notion of timbral analogies [Ehresman and Wessel, IRCAM Rep 13/78, (1978)]. Later work on measuring timbre differences through FO thresholds for streaming (Singh and Bregman, J. Acoust. Soc. Am. 102(4), 1943-1952, (1997)) also lent support to the idea of intervallic relationship between timbres. More recently, my work relating Auditory Scene Analysis to Hindustani rhythms brought us together again, presenting and drumming in a multicultural percussion session at the ASA meeting in San Francisco in 2013. For a person so into timing and timbre, David’s untimely departure dealt a discordant blow that can be partially assuaged through such tributes that review, extend, and honor his work.