Scot Gresham-Lancaster T +01 510-482-1110 scotgl @gmail.com http://scot.greshamlancaster.com

Education 2003-2007 Master of Arts Multimedia , CSUEastbay 2004-2006 Bachelor of Science Digital Audio Technology, Cogswell College

Profile He is dedicated to research and performance using the expanding capabilities of computer networks to create new environments for musical and cross discipline expression. For over two decades, he has worked with multimedia prototyping and user interface theory and its relationship to new markets as an independent consultant and at Interval Research, SEGA- USA, and Muse Comunications.

Experience Media Specialist in Emerging Technologies for Media Technology Services California State University East Bay Hayward Campus 2008 - present Adjunct Lecturer, San Jose State University, San Jose, CA — 2004-present ElectroAcoustic techniques for Film and Video Adjunct Lecturer, Cogswell Polytechnical College, Sunnyvale, CA — 2004-present Audio Recording, Studio technique, Game Audio, Visual programming for Audio and the web. Lecturer, Diablo Valley College Concord,CA— 2003-2006 Sound for film, Tracking, Mixing and Mastering DVD Authoring and Mastering, University of California, Center for New Music Audio Technology CNMAT — 2003-2005 Editing Live concert footage in Final Cut Pro and 5.1 mastering for DVD Lecturer in , Recordist, and Electronic Technician CSUHayward, Hayward, CA — 1986-2004 Responsible for all audio and inter media electronics on campus Audio Engineer and Composer Muse Corporation, San Mateo, CA — 1999-2001 Designing and implementing music, ambient sounds, and audio user interface cues for an interactive online 3d virtual world engine and associated community Game Audio Designer and Sound Track Composer, SEGA Foster City, CA — 2001 Designing and implementing music, ambient sounds, and audio user interface cues for an interactive online 3d virtual world engine and associated community Adjunct Lecturer, Ex'pressions Center for New Media Foster City, CA — 1999-2000 Teaching Audio Engineering, ProTools, DVD mastering, Music Theory Consultant Prototype Designer, Interval Research Palo Alto, CA — 1995-1998 Designing and implementing music, ambient sounds, and audio user interface cues for an interactive online 3d virtual world engine and associated community

Technical Director, Center for Contemporary Music Mills College Oakland, CA—1981-1986 Teaching and assisting graduate students with graduate thesis projects as a technical advisor.Managed eight graduate assistants in running and maintaining the studios and concert series.

Skills New Media, Sound Designer and Educator in Analog and Digital Media Techniques, Recording studio designer and engineer with 20 years of professional recording experience. ProTools certified and has worked professionally with Final Cut Pro, DVD Studio Pro,Nuendo, Logic, Cakewalk, Digital Performer, PD, /MSP.

Programming languages: C/C++, Smalltalk, Python, Actionscript, Max/MSP, , , Saol, Supercollider, Mac OS X/Classic, Windows, Unix, Linux system administration, Microsoft Offices Suite, Hardware: Circuit design and layout, fabrication in metal, wood, and plastic Published author and technical theorist Accomplished composer, pianist and guitarist

Chronology of work

2010

Remap (McCall.DEM) performed at Seconde Nature, during Sonification (what, where, how and why), a symposium sponsored by Locus Sonus, LAMES, CRISAP (LCC UAL) & Seconde Nature, Aix-en-Provence, March 4 & 5, 2010.

2009

Vineland: Toyoji's Song Data generated from Camalie Vineyard defines the musical gestures of this piece. In memory of our good friend Toyoji tomita

Cellphonia: 4 min 33 sec as part of the 2009 NIME conference at Carnegie Melon Univ. in Pittsburg PA, co-sponsored by Harvestworks, NY,NY here a recording of the ongoing performance here: http://cellphonia.org/433 Cellphonia: 4 min 33sec is a tribute to the concept embodied in John Cage's landmark piece, 4 min 33 sec. It is a structural and aesthetic construct that is a formal expansion of the piece. Technology is used to examine the sounds around us, but also to include those parts of our personal sound scape that are augmented by technology, by the addition of the cellphone to our acoustic world.

2008

Cellphonia: Tempo Variabile as part of the E.A.T. revisited conference at Stevens Institute in Hoboken, NJ, co-sponsored by Harvestworks, NY,NY see a video of the performance here: http://www.sittv.com/videos/eat-revisited-perfomance The audience was encouraged to call a special phone number with their and leave a message that became part of the performance audio. “Experiments in Art in Technology (E.A.T) Revisited,” examined and honored E.A.T.’s historic work in promoting collaborations between artists and engineers, and explore its influences on contemporary art and technology. The weekend included an exhibition, panel discussion, sound performance and film screening. Cellphonia was the sound performance with my cellphonia partner: Steve Bull accompanied by William Brooks, Phil Edelestien and Hans Tammer.

HUB retrospective 3 CD set called "Boundary Layer" on the Tzadik label

2007

Music Box 2 - Neural Network based working with Mark Holler and Forrest Warthman we are working to make an online sonic resource for sonic experimenters and educators that will give immediate realtime access to the ETANN (Electronically Trainable Analog Neural Net) Synthesizer develloped by Mark and Forrest for David Tudor in the 1990's

Video design for "Telemaitc Circle Concert" Nov. 2007 The SoundWIRE ensemble Course@Stanford performed a concert with Tintinnabulate at RPI (NY) and VistaMuse at UCSD. The program includes TeleCello Concerto, Water Naught and Three Ways.

Cellphonia: Wet with Steve Bull, Terese Svoboda at NIME 2007 a cellphone interactive sound/video installation. Visitors will experience a 6-minute 5-song looping vocals of naiads lamenting the loss of the world's fresh water with projected video accompaniment.

Published "Cellphonia: a framework for Open Source "cellphone opera" creation" in partial completion of MA in New Media at CSU Eastbay.

Progen Inc./Auraphoto working for Guy Coggins to develop new technologies for spiritual enrichment and entertainment, including opening new markets in autostereoscopic 3D for digital signage and entertainment with Progeny3D in collaboration with Enter Networks.

Music in the Global Village: Budapest, HU September. the HUB were featured performers Netbased collaboration in computer musics Utopia>Music in the Global Village researches technological and artistic domains that are made available in the interaction of humans and machines in networked systems. To this end, in 2005 the initiators Georg Hajdu (Hamburg, Germany) and Andrea Szigetvári (Budapest, Hungary) founded the EBE (European Bridges Ensemble) together, a platform for musical internet- and network-performances. Presented the paper: No there, there. The Deep Listening Convergence Concert Series June in the Hudson Valley, NY, USA Forty five musicians representing 11 countries are coming together at the Lifebridge Sanctuary in High Falls NY after a five month virtual residency online to perform three New York State concerts. technical director Scot Gresham-Lancaster, the three concerts are the proof of concept. Via the internet using Skype, musicians form new ensembles, improvise, plan and rehearse in audio conferences up to ten players at a time. The concerts will feature various world premieres and a wide array of compositions

2006

Hub Tour late spring 2006- Cuneo Italy at the "Consevatorio di Musica "Giorgio Federico Ghendini" with the students of Stefano Bassanese -> Padua June 5, 2006 at 9:00 p.m. “The Hub” in concert at the Auditorium “C. Pollini” Centro d'arte degli studenti dell'Università with artistic director and musicologist Veniero Rizzardi making instant criticism in Italian via the online chat that we use to coordinate our playing. -> IRCAM to present at the NIME 2006. Serge Tcherepnin kindly hosted us while in Paris. -> Köln/DE, Brückenmusik, inside Deutzer Rhine bridge curated by Hans Koch

Celllphonia:in the News working with Steve Bull and Tim Perkis we are developing a New York State Council for the Arts commision to create an Open Source Opera that uses the Asterisk PBX to prompt users to speak or sing specific cues that are then mixed with a precomposed score using csound. Perl is used to coordinate all the actions that link phone calls to a mySQL database and allow participants to retrieve the finished rendition of their "scene" via the web, podcast, or over their phone. Premiered at the Mobile Music conference 2006 in March at Brighton UK.

2005

HUB did a 6 day workshop at Tesla in Berlin with a concert on the evening of June 23, 2005. We focused our energy on getting oscgroups to work which enabled us to interconnect via TCP/IP using the OSC protocol. Then in November we did a Four city German tour playing in Dortmund (WDR

AB_TIME III @ NIME 2005 the conference was hosted at the University of British Columbia in Vancouver, Canada May 26th. All spaces are interconnected in "near" s'real time over the Internet with large-scale video projections in the performance areas. Dancers interact with the distortion of time and space created by aiming the video camera at the video projection of the other spaces. Screen inversion, network delay and dropout artifacts all add to the unique texture and dimension of the projection.Tomie Hahn will be a featured artist in this performance dancing to Scot Gresham-Lancaster's custom midi guitar with extended controllers.In Marseilles: Jean-Marc Montera will be playing guitar. In Troy, NY: Pauline Oliveros will be playing accordion and various other small instruments using her Expanded Instrument System (EIS).

AB_Time II Tri-location performance in Marseilles, FR, Troy, NY and, Oakland, CA

Jan. 25 and 26 - 19:00 UTC ( 8:00 PM FWT - 2:00 PM EST - 11:00 AM PST) with Pauline Oliveros, Skalen / artistic group in Marseilles

MICHÈLE RICOZZI Dancer, Choreographer

JEAN MARC MONTERA Musician

PATRICK LAFFONT Video artist

PAULINE OLIVEROS (Music)

TOMI HAHN (Dance and Shakahachi) at the iEar studios of the Rensselaer Polytechnical College in Troy, NY

SCOT GRESHAM-LANCASTER: (Music & Video)

HOLLY FURGASON of the Mills College Dance Department perform at Mills College in Oakland, CA

All spaces are interconnected in "near" real time over the Internet with large scale video projections in the performance areas.

Dancers interact with the distortion of time and space created by aiming the video camera at the video projection of the other spaces. Screen inversion, network delay and dropout artifacts all add to the unique texture and dimension of the projection.

The sounds of each space are mapped into the other spaces in a flawed and delayed manner. Creating unexpected discontinuities and delays that inform the interaction between the players and the dancers.

2004

November: The Hub was invited to play at the Dutch Electronic Arts Festival DEAF 2004"As a matter of fact, the pioneering networked music band The Hub have not performed together over the last 10 years. Deaf invited them for a reunion concert in their festival." Tim perkis implemented a flash based client that polled our text chat on AIM and projected it to the audience. We were connected on line to musicians in Tokyo, Montreal, and Marsielles and there video images were projected for the audience as we played in real time. February: Using ProTools and pluggo created VST plugins to exercise real time control over semi programatic playback for an excerpt from "The Martian Time Slip" and a reworking of the material from 1984's "Functions of Permanent Revolution"

2003

AB_TIME Coordinated Live Internet Performance with the Montevideo Center in Marseilles and the Center for Immersive Technology (iCIM) at California State University, Hayward. Using iChat and recursive video projections on both ends had the camera pointing at the screen. A "house of mirror" effect that included the internet time delay on each new frame. The dancers image flipped left to right from the center on each return from the distant site. The choreographers worked with this unique environment (November 2003)

STEIM Amsterdam working with Jorgen Brinkman created the third prototype of the tensegrity harp. In this version we used two hacked Logitech rumble pad wireless joysticks. The strings of the harp define an octahedron. three struts in the center define the XYZ axis.

Peerings A collaborative Internet2 performance between vocalists, musicians, dancers, designers,and audience members exploring the mediated space of live internet performance. Performers from Rensselaer Polytechnic Institute in Troy, NY and Mills College in Oakland,CA will perform in a common visual and acoustic space by virtue of the high-speed internet, the Synthetic Space Environment, a research project of Rensselaer Polytechnic Institute, and the interdisciplinary Center for Immersive Technology (iCIM) at California State University, Hayward.

2002

Two pieces were presented at CSUH to inaugurate the newly-formed interdisciplinary Center for Immersive Media (iCIM) and CSUH's presence on Internet2. The first, Exposition: Calpurnia's Dream Obscured by Movement, was a part of Internet2's Fall Member Meeting at the USC's Bing Theatre. The evening at USC consisted of a number of performances, all using features of Internet2.

"New Journey for Four," at CSUH used a live audio and video connection with the iEAR Studios at Rensselaer Polytechnic Institute in Troy, New York. Performing in this piece were: Pauline Oliveros (Accordion), June Watanabe (Dancer), Jay Rizzetto (Trumpet), and Scot Gresham-Lancaster (electronics).journey;

2000

Integrated Roland G2-K1 on a Traveler guitar Midi played a Emu Proteus 2000 and using boomerang and DJ style sample delay created versatile interactive, analog signal from guitar was mixed and all were put through zvex fuzz factory and vintage Vox wah wah pedal. This combination was the instrument I played with fuzzybunny

1999

As part of STEIM residency Tensegrity Harp using the PIC 16C77 embedded processor and Conductive Silicon Elastomers read the stretching of the structure and in that way create a dynamic vector model that can be remapped to abstract parameters associated with one or many DSP algorithms that are generating, delaying, filtering or in some other way modifying sonic material. Used in the execution of

" in the unlikely event of a water landing" for cello quartet and electronics.

Developed interactive algorithms for mia Masaoka's Bee Show, that included a Pro Tools based 5.1 surround mix of bee sounds and modified koto sample.

1998

Refined the ongoing ( since 1994 ) set of pieces "5 tones for Slonimsky" using Yamaha Disclavier, Mac powerbook running max, the software interacted with the players keyboard gestures to augment the playing.

1997

Last Hub performances at Mills College, Cal Arts in Valencia, and Arizona State University. Developed abstract Level Control

Systems "space maps" for Naut Humon's Sound Traffic Control Project. Used the geometric configuration of Tantric yantra as means of organizing the configuration of the panning in a sixteen channel surround mix environment.

"Giest Incidental Music" for string quartet and percussion

1996

Worked as a researcher at Interval research in Palo Alto developing product prototypes for potential production. Most interesting project "Smart Music Blox" with Tim Perkis. Musical vocabulary based on the interconnection of various block that created a syntax for the musical structure. The blox were interactive to squeezing as well as light and external audio. PAULINE OLIVEROS (http://www.deeplistening.org/ ) PERFORMED MOON DAZZLE on Sept. 26, the night of the lunar eclipse, at California State University, Hayward. "The lunar eclipse from the Hayward Amphitheater was gorgeous," she writes by email. "The night was clear and she rose above the trees an orange mistiness. As she climbed the sky the bright sliver emerged slowly from the black shadow - crystal clear."

Oliveros says that "The set up for Echoes From the Moon involved Mark Gummer - a ham radio operator in Syracuse NY. Mark was standing by with a 48 foot dish in his back yard. I sent sounds from my microphone via telephone line in Hayward to Mark and he keyed them to the moon with his Ham Radio rig and dish and returned the echo from the moon. The return was 2 & 1/2 seconds."

Scot Gresham-Lancaster was the engineer and organizer. Gresham-Lancaster also arranged the contact with Ham Radio operator Dave Olean in 1987 when Pauline did the first version of ECHOES FROM THE MOON in Maine.

Using Mike Berry's Grainwave to realize older Hub pieces for unified user interface. Chris Brown and I used Matt Wright's otudp object in MAX to use tcp/ip to interact over the internet between remote sites. Worked with Mark Holler on David Tudor's neural synthesis electronically trainable analog neural net (ETANN) , obsolete technology thrown out by nation semiconductor.

"The heart that wandered" for string quartet

1995 integrated the use of analog video feedback as a means of heuristically controlling controlling the mix of 6 CD-Rom players using opcode max and and photo detectors. Used to mix Times Remembered" for New American Radio.

Finished String orchestra version of "machine" based on neural net selection of pitch classes derived from drum machine rhythms and allocated to pitch space by remapping drum map to pitch map. Procedure for editing based on always using machine to make even the smallest changes, no human intervention. Djerassi artist residency.

1994

CSUHayward... Exploratorium installation of "Terrain Reader" for computer music instruments, slides, and whackers fully integrated X Windows version in development WWW Hypertext markup version in development http://www.cs.mcs.csuhayward.edu/~tebo/Web/terrain.html Audience participation with Home Infrared remote control multiple infrared transistors summed from locations in audience vocabulary established from controllers brought by participants flexible and user (i.e. artist) extensible development to be finished this June at STEIM

"Whirlpool of Blood" for voice long tube and electronics

1993

CSUHayward Internet "radio" feedback experiments with Bill Thibault used 8-bit uLaw .au format TCPlay utility provided use of satellite Macs used between "distance learning" sites at remote Contra Costa campus

CSUH Disclavier "Chaos" pieces written in Max use mechanism to dampen MIDI feedback "VEX" with Alvin Curran performed in Berlin 6-93 see Wreckin' Ball 2nd HUB CD

"A wind blows through my soul" an elegy for Catherine Lancaster for String Orchestra

1992

CSUHayward Interface for multiple Uforce to MIDI controller 8 discrete channels of proximity detection New Micros 2x4 SBD converts 8 synchronous serial to MIDI developed at STEIM in Amsterdam Songlines.DEM installation at ICMC San Jose Integrated Uforce instrument with earlier software added real time projection of SGI Indigo graphics investigation of trance states with 4 day continuous performance

String Quartets in Baroque Forms

1991

CSUHayward Developed "HUB 2" MIDI interactive computer music network hardware based around Op Code Studio 5, 68000 based 16 port MIDI interface allows discrete remapping of MIDI information to individual ports port 2 ch 7 in arrives at port 7 as ch 2 developed as part of an Artist residency at Mills College

1990

CSUHayward Multi-dimensional parameter controller using tensegrity objects based on Buckminster Fuller tetrahedral tensegrity strain gauges at all 12 vectors scaled into 12 ch ADC New Micros 2x4 SBD converts force scaling to MIDI based on ideas present in the WEB instrument at STEIM. http://isis.csuhayward.edu/ALSS/music/tensegrity.html computer assisted composition using forth and max"Human/Nature" 4 movements for piano

1989

CSUHayward McCall.DEM (terrain reader) with William Thibault based on notions put forth by Rich Gold see "Foundations of Computer Music" MIT press USGS digital elevation models used as compositional determinate pitched particles bounce on terrain (NeXT objective C) travelers define just intoned paths that sing the elevations (Amiga and NeXT) MIDI travelers reflect path in parameter changes whackers represent texture as changing rhythmic structure see detailed technical description in ICMC proceedings 1992 Premiere performance at Experimental Intermedia Foundation NY, NY as part of New Music America '89.

1988

CSUHayward Designed and built "whackers" 64 channel percussion robot 1 Amp per solenoid channel with Robert Marsanyi HMSL based instruments remaps midi note events to solenoid note num. = whacker # vel=period and intensity of hit The HUB CD on artifact cut 5 "whackers"

Consulted on the development of Uforce controller for Broderbund Infrared based 8 channel proximity detector 8051 micro controller with synchronous serial interface failed as Nintendo game controller

1987

CSUHayward FORTH based interactive music instrument with Chris Brown real time capture of parameters multiple controllers used to control loop starts and endpoints for each parameter remapping and scaling of control parameters Developed 4 year planned curriculum in Music Technology Digital and Analog recording techniques MIDI concepts including sequencing and algorithmic design Music Notation Software

1986

Mills College Helped Phil Stone and Tim Perkis in the development of the 1st "HUB" 2 SYM single board computers linkable by modem allowed linked performance between two concert sites created a new genre of "Interactive live computer network music"

Technical Liaison for Pauline Oliveros' "Echoes from the Moon" project developed technical requirements to bounce radio signals off the moon with the cooperation of SRI in Menlo Park, CA worked up detailed plan for using Mars mapping telescope on the Stanford campus .Coordinated contact with Ham radio operator David Ole an in Maine that was eventually used via telephone for performance in New York

1985

Mills College Designed and built custom microphone system for George Coates Performance Group design optimized the use of low cost electrolytic mica computer controlled gating sought feedback squeal

Developed "Food Chain" with Richard Zvonar premiere use of commercial MIDI software in interactive network environment early use of real time sampling in a live performance environment

"Food Chain" with Richard Zvonar for 4 Macintosh, commercial and sequencers

1984

Mills College Designed and built Apple II based "Listener" circuit Hardware band pass filter bank Hardware envelope followers Forth based software statistical analysis of instantaneous spectrum Forth based software control of 4 ch. DAC to control analog synthesizer used to control guitar feedback in:

"Interlok" for 4 guitarists and electronics

"Sexus" with Kathryn Gresham-Lancaster for tape, percussion, electronics,actor, and slides.

Macintosh based software development for just intoned guide tones included with Lou Harrison's "At the tomb of Charles Ives" (Schirmer) Used by Rosenboom in the recording of "In the Beginning" on the "Music at Mills" lp set detailed technical notes published in the proceedings of the ICMC in Vancouver Macintosh based software development for "Morphological Filter" detailed technical notes published in the proceedings of the ICMC in Vancouver see "Macintosh as Interactive Composer's Tool"

1983

Mills College Collaborated in the development of BIRD the first prototype of what became HMSL integrated ideas of Hierarchy and user extensibility specifically for real time interactive performance Main

Technical Advisor for David Cope's "Pleiades Project" prospectus Budget for building the 2nd largest radio telescope in the world facility planned to be full scale music research facility Integrated design of both scientific and artistic computing see Pleiades Project Prospectus, Cope, University of Calif. Press.

1982

" Allegory of the Beached Whale" for Eb bass clarinet, tenor sax, and electronics.

Mills College helped Phil Stone and Jim McKee with the design and development of Hang Glider based musical instrument NASA created instrumentation to detect ionization above wing tips and nose Tim Perkis's Casio hack (pre-MIDI) on keyboard switch array Hercules wireless mic transmitter (weak point of instrument) performed three times twice at Fort Funston (San Francisco) once at Torey Pines (CME 1983) Rebuilt the Center for Contemporary Music Studios rebuilt failed 12 ch Sculley 1 inch based recording studio poorly maintained facility upgraded Designed and built

Gesture mapping glove based on the work of Dean Sandine and associates at Univ. Illinois uses light pipe technology still used in VPL data glove

1981

Mills College built interface for Buchla Multiple Arbitrary Random Function Generator MARF designed custom board to control MARF from standard Centronics Port specified and constructed of ERG box 68000 based S100 system with FORTH in ROM

Michelangelo monochrome display 640X480 Data Acquisitions Inc. 32 ch DAC/ADC

1980

Marin County Audio Images Apple II based computer synthesis system used 6522 and General Instruments synthesizer chip programmed in Forth Professional Audio Equipment repair and studio design on call to area studios to repair problems with consoles and tape recorders worked daily on the repair of electronic music instruments maintained and calibrated analog tape machines

"Fluoride" for Serge Modular Synthesizer

1979

Los Angeles Oberheim Electronics Production technician reworked Dave Rossum's polyphonic keyboard electronics designed automated testing system for analog electronics on z80 based S-bus system worked with Jim Cooper on the original Xpander project 6809 based S-bus system encoder knob circuitry reworked failed units from production line Los Angeles Institute for Contemporary Improvised Music first live interactive performances with electronics and musicians the Eye Gallery on Wilshire Blvd.

Sym/Serge controlled guitar feedback in "Interlock" interactive installation at the Otis Art Institute patron's triggered changes in ambient mix in gallery

Ice House Dseq controlled rhythmic structure of live music used early prototype of OBXa Serge signal processing of other players

"Interlok" for 4 guitarists and electronics.

1978

Los Angeles Serge Modular Music systems developed z80 based cv sequencer worked with Darryl Johansen on Synertek Sym SBD Dseq trigger programming language construction of large modular music systems

Rho Sigma Solar Energy Control system Programming in Forth on AIM 65 computer system Federally funded heat pump and pyrometer project design of analog/digital hybrid system for measuring BTU's repair of analog thermal switch array

1977

University of California at Santa Cruz worked with David Cope exchanged composition for computer lessons He used my 12 tone Basic program in "New Directions in Music" Wm Brown pub.

Used Basic on pdp 11 to generate stochastic pitch classes for

"Styx" for percussion quartet and electronics

1976

Virginia Commonwealth University built IMSAI 8080 s100 bus system with Cromemco 8 ch dac/adc built 10 panel Tcherepnin (later Serge system) first phone contact with Serge wrote op code based assembly language program for interface switch based input used analog cv mixers to route dac outputs experimented with video delay systems

"Be Normal" and "Bozo's face makes a waltz" for mixed instrumentalists, tape and actors

1975

Computers in the Arts and Humanities at SF State University FORTRAN Programming with overnight batch processing Music 5 Graphic design on Cal Comp plotters Basic Programming for stochastic pitch classes

1974

Stanford Summer program in Computer studied with early FM on Samson Box

SAIL system first versions of SCORE

Ravenswood Experimental High School in East Palo Alto attended

Mills College graduate program studied with Bob Ashley, Terry Riley, Bob Sheff AKA "Blue Gene" Tyranny, and William Miraldo

Supervised the installation of modest Moog based studio

1969

Lenkurt Scholarship in Electronics

Built Theremin from 1965 article by Robert Moog in "Popular Electronics" for Tierra Linda Junior High School Science Fair Project, San Carlos, CA