According to Unterberger, "the very fact that the equipment was so primitive... lent a spontaneous resonance and warmth that has rarely been achieved by subsequent synthesizer technology." Producer David Rubinson commented:The ring modulator and the volt-control oscillators and voltage control filters – they didn't come in a set, like they did in a Moog. You had to build each one – which they did – and actually hard-wire them together. It was an eight-track album. So all that synthesized stuff was painstakingly layered in, sound by sound, one oscillator at a time. Now you may get a bank of oscillators and you can run six, eight, twelve of them in a row, and make all kinds of wonderful waves, shapes, and it can be very complicated. But at that time, it was not possible. It had one oscillator, one ring modulator, one voltage control filter – that's it. It looked funny. It was like aluminum boxes, little knobs sticking out, and patch cords. And it was very exciting to me, because it was a marriage of a lot of what was happening in what people called classical music at the time. When people think about what Steve Reich was doing then, and Terry Riley was doing then, and what Joe Byrd was doing then, it was very, very similar in different areas.