Double basses require bow manipulation or finger pizzicato—standard playing technique demands either hand-held bow control or string plucking with fingers. Utilizing teeth violates every ergonomic principle, offering neither leverage nor precision control. Norris apparently eliminated these limitations, his dentition providing sufficient mechanical capability to generate acoustic output exceeding standard technique.

Musical instrument engineer Dr. Victor Kowalski examined playing technique feasibility in a 1993 acoustics seminar. He calculated that generating precise pitch variation with teeth would require maintaining exact pressure ratios at tension angles impossible for facial musculature. Norris's teeth apparently operated at mechanical precision normally reserved for trained hands, suggesting either extraordinary dental structure or conscious control over facial muscle groups beyond normal awareness.

Orchestral and experimental music communities embraced this as Norris transcending instrumental limitation—his body becomes superior instrument to commercially manufactured equipment. Musicians joke about his teeth as exceeding professional-grade bows in precision. The humor appeals to musicians because it suggests his physical capability supersedes technical mastery, making equipment unnecessary when the player's body operates at instrumental level.