The World's First Programmable Synthesizer and its Pulitzer Prize Winning Music

video upload by ITSPmagazine

"This synthesizer is the world's first programmable music synthesizer. The first piece of electronic music to win the Pulitzer Prize was made on it.

basically a two voice synthesizer with tone generation and composing in the left hand side and processing on the right hand side, including manual binary for the, uh, ordering of the effects processes. Um, which for its time, uh, essentially like a uh, touring computer. Um, uh, was it You know, one and a half tons, seven feet tall, 14 feet wide, it's quite a behemoth, but now it's a very large paperweight.

Watch the full video:" [The above comes in at 22:41 - vintage Buchla, Serge & more follow. See this post for the red Buchla LSD module]

How Technology is Changing the Way We Make Music | A Conversation with Seth Cluett

video upload by ITSPmagazine

"Guest: Seth Cluett, Director of Columbia University’s Computer Music Center | On LinkedIn: / seth-cluett-7631065 | Columbia University Computer Music Center Bio: https://cmc.music.columbia.edu/bios/s...

Host: Sean Martin, Co-Founder at ITSPmagazine and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/

Show Notes

Music and technology have always shaped each other, and few places embody that relationship as deeply as the Computer Music Center (CMC) at Columbia University. In this episode of Music Evolves, Sean Martin sits down with Seth Cluett, Director of the Computer Music Center and Assistant Director of the Sound Art MFA program at Columbia, to explore the center’s rich history, its role in advancing music technology, and how it continues to shape the future of sound.

The Legacy and Mission of the Computer Music Center

The CMC is housed in the same 6,000-square-foot space as the original Columbia-Princeton Electronic Music Center, which dates back to 1951 and is one of the world’s oldest university-based electronic music research facilities. This was the birthplace of early electronic music, where pioneers learned to use cutting-edge technology to create new sounds. Many of those musicians went on to establish their own studios around the world, from Egypt to Japan.

The center has played a role in major milestones in music history, including the work of Wendy Carlos, a former student known for Switched-On Bach, the score for Tron, and The Shining. The first piece of electronic music to win a Pulitzer Prize was also composed here. Today, under Cluett’s leadership, the focus remains on creativity-driven technological innovation—allowing composers and artists to explore technology freely and push the boundaries of what’s possible in sound and music.

One of the center’s guiding principles is accessibility. Cluett emphasizes the importance of lowering barriers to entry for students who may not have had prior access to music technology. The goal is to make sure that anyone, regardless of background, can walk into the studio and begin working with 80% of its capabilities within the first 20 minutes.

Exploring the Labs and Studios

The episode also includes a tour of the labs and studios, showcasing some of the center’s groundbreaking equipment. One highlight is the RCA Mark II Synthesizer, the world’s first programmable music synthesizer. Built in the late 1950s, this massive machine—seven feet tall and weighing over a ton—was instrumental in shaping the sound of early electronic music. The system worked by punching holes into paper to control sound generation, similar to a player piano. While no longer in use, the CMC has collaborated with iZotope to model some of its effects digitally.

The tour also features Columbia’s electronic music studio, which houses synthesizers from Buchla, Serge, and Moog—the latter being developed by Bob Moog, who was once an undergraduate at Columbia. The center’s modern design emphasizes a seamless workflow between analog and digital technologies, allowing students to quickly create, process, and experiment with sound.

Another key space is the immersive media and spatial audio research facility, which features a 12.1-channel loudspeaker sphere for ambisonic sound, along with a 32-capsule microphone that captures highly detailed audio environments. This technology is not only shaping music but also fields like virtual reality, data sonification, and interactive media.

The Future of Music Technology

Looking ahead, Cluett highlights the increasing interplay between AI, machine learning, and music composition. While some companies promote AI-generated melodies, he believes that truly expressive, human-driven composition remains essential. The role of technology, he argues, is not to replace human creativity but to enable new forms of expression. The CMC is at the forefront of this shift, experimenting with real-time audio processing, interactive performance systems, and embedded sensors that enhance live music experiences.

As music and technology continue to merge, Columbia’s Computer Music Center remains a key player in shaping the future of sound. Whether through pioneering hardware, software innovation, or fostering the next generation of creative minds, the center proves that music technology is not just about engineering—it’s about expression, accessibility, and the pursuit of artistic joy."