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"You got certain hours when you had access to the machines, and when your two-hour session was over, you'd have to rip down your synth patches and somebody else would take over," says Spiegel.
"They'd scramble your settings and you'd never get them back exactly the same. So you had to grab the sounds and get them on tape, and there you were limited in terms of multi-tracking.
It really was obstinate technology, and you had to work hard to get music out of it. " The early synths were also notoriously temperamental, responding to small fluctuations in room temperature or the proximity of other technology, like the refrigerator in Spiegel's apartment that kept interfering with the pitch of the oscillators during the making of "Sediment".
The random factor that today's analog synth fetishists prize (an escape from the grid logic of digital programs) was for Spiegel not a boon but a bane. Then, through various connections on the New York experimental scene, she got wind of what was being developed at Bell Labs over in New Jersey. In The President's Analyst, a 1967 satirical comedy that anticipates 70s conspiracy cinema but plays the paranoia strictly for laughs, Dr.
Sidney Schaefer is a shrink charged with reducing the stress and isolation of the P.only to find himself pursued by spies from rival nations eager to tap the secrets inside the presidential head.