Writing in 1626, Francis Bacon described “…sound-houses, where we practise and demonstrate all sounds and their generation… we make divers tremblings and warblings of sounds… We have all means to convey sounds in trunks and pipes, in strange lines and distances.” (The New Atlantis).The manipulation of sounds, found or manufactured, into the futuristic and new is an impulse that has accompanied the musical urge, it would seem, for hundreds of years. It motivated Luigi Russolo to build his intonarumori at the turn of the last century: these were huge horns attached to boxes, the full set of which would fill a large room. In performances with classical orchestras after the first World War, Russolo elevated his mechanical tinkering into something that might have been the first true electronic music. Around the same time, Igor Stravinsky released his “Le Sacre Du Printemps,” a piece widely thought to be a cornerstone in musicological development.