The PrrrrrrrrRt etc business is a mixture of overblowing, tongue slaps & flutter tongue-ing combined with various "false fingerings". The sax has a high number of harmonic "hot-spots" which produce a variety of interesting sonorities alongside the conventional ones - I guess the easiest one is by blowing an A and closing and opening the F and E (and D) holes on the right hand. Or try pushing the bell of your alto into your leg while blowing top-lung. Along with looking like a bit like an incontinent with anger management issues, you get to hear some of the truly unusual things the sax is capaple of. And that's before you start with the biting, the circular breathing, the tongue slaps. (Which all sounds a bit like foreplay, but that's sax for you . . .) Makes you realise how versatile the saxophone is - more than any other "orchestral" instrument, imho ( I think it's to do with its conical construction). And that's without any amplification. The guy that wrote in a few days a go with that big list of techniques sounds like a fellow who knows what he's talking about. What makes Zorn's technique interesting, for me, is that he really investigates these rich textural possibilities (the harmonics, the overtones, etc) that the sax will happily yield with a bit of imagination from the player. His detractors really overlook this element of his playing (timbre, in other words, which is a fundamental principle of music). To my mind Zorn has re-imagined sax technique a bit like how John Cage re-imagined the piano; just that Zorn uses his body to prepare his sax instead of twigs and stones. Long ago, when I first fell in love with Zorn's music, I spent a good while trying to do all that mad squeaky-bonk stuff before I realised that all I was going to do was sound like John Zorn. Every other sax player - it seems, so tediously often - is stuck in that increasingly barren land of "pure" tone and post-bop torturing of chord changes. Yawn. Pass the Charlie Parker omnibus. The trouble for those mere mortals who are looking for a way out of that cul-de-sac is that once you go down the squeaky-bonk route everybody goes "ahh, Zorn imitator". More important is to locate a style, or a voice, that is yours. But easier said than done... Squeaky-bonk a go-go. c