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Other inventions had their influences on experimental music. There were for instance the gramophone record (1906), radio broadcast of records (1928), the magnetic tape recorder (1928), stereo sound (1931) and the long play record (1931).
Leon Theremin, together with Joseph Schillinger build a new instrument for Henry Cowell, the Rhythmicon or Polyrhythmophone (1931). It could play 16 different base rhythms and 15 more faster rhythms. The rhythms could be used individualy or in any combination.
Around 1932 Yevgeny Alexandrovitch developed his Variophone. It used sound waves  drawn on 35 mm film to control the generation of sounds via photo-electric cells.

Laurens Hammond (1895-1973)  developed the Hammond Organ (1943). First though he made the so called Novachord. It had presets and a lots electronic circuits to generate sounds. Unfortunately it proved unstable. The Hammond Organ used mechanical tone wheels to create waveform sounds from an electromagnetic pick-up. The component waveform ratios were mixed by sliding drawbars mounted above the two keyboards. It was a success. Even nowadays the further developed Hammond organ is used in all kinds of music.

In Germany Harald Bode (1909-1987) created the  (semi- ) polyphonic (4 voice) Warbo Formant Organ in 1937 followed by the Melodium, a monophonic touch sensitive keyboard in the next year. The Warbo organ went into commercial production. The Melodium had all ingredients for the later developed Melochord.

Subesequently as a result there was music, made with all the latest musical inventions. To name a few: Paul Hindemith and Ernst Toch composed Grammophonmusik (1929), using gramophones. All three compositions are lost.
Rouben Mamoulian used electro acoustic sound moments in the soundtrack of his movie Jeckyll & Hyde (1931). Edgard Varèse composed Ionisation (1931). Max Steiner uses a Teremin in the movie King Kong. And John Cage performs Imaginairy Landscapes No. 1, using live electronics (1939); two variable speed phonograph turntables with amplifiers. It was one of the earliest electro acoustic works ever produced.

Most musical developments were halted in war time, but other necessary inventions like the high quality stereo magnetic tape recorder (Germany, 1943) and the first programmable electronic calculator, The Colossos (England, 1943) proved to be good contributions to the future of electronic music. However the war didn't stop Egyptian Halim El-Dabh from composing his Ta'abir al-Zaar for wire recorder.

After publishing his 'Free Music Statement" in 1938, Australian composer Percy Grainger (1882-1961) together with Burnett Cross developed the Grainger-Cross Free Music Machine (1948). The polyphonic machine used eight oscillators and synchronizing equipment together with photo-sensitive paper to turn drawn lines into sound. It could produce long  sustained sounds and glissandos. During his lifetime Grainger continued innovating with his machine. The second version was named the Kangaroo Pouch Machine. It worked with rolls. His last machine (1961) was made of clear plastic. It worked with plastic rolls and black ink. Grainger worked with chance music, tone clusters and unplayable piano rolls years before Cage, Cowell and Nancarrow. Little music has survived the times and mostly it's just experimental and unfinished. Grainger took other paths as well, for instance he also invented the prototype of the sports bra.

Raymond Scott (1909-1994) developed a large, and that is very large, electronic synthesizer in New York, 1946. The analogue machine coul also be used as sequencer. He received the patent for an electronic 'orchestra machine'. Scott established Manhattan Research Inc. for "the creation of electronic music and musique concrete". Scott often described Manhattan Research Inc. as "More than a think factory - a dream center where the excitement of tomorrow is made available today." Scott invented the Clavivox (keyboard synthesizer and sequencer) and Electronium  (sort of self-composing synthesizer). In his house eight rooms were devoted to electronic experiments. Scott scored music for commercials, cartoons (adapted by Carl Stelling in Bugs Bunny and other Looney Tunes), baby sounds, big band jazz, With his inventions and music Scott has influenced lots of other people and groups. Bob Moog (inventor of the Moog synthesizer) frequently helped Scott building his machines. The Soothing sounds for baby's must have influenced Brain Eno and the use of sequencers predate the use of them by Tangerine Dream.

The Rhythmicon and co-developer  Joseph Schillinger

John Cage (left) in performance

Percy Grainger and Burnett Cross
with their Free Music Machine

Raymond Scott in a part of his Studio