Harrison's inspiration for Electronic Sound appears to have been "another BBC institution of their formative years: the Radiophonic Workshop". According to Williams, the album conveys "the joy of a boy with a new toy" and "sounds like what you might get if you taped a contact microphone to the stomach of a digestively challenged robot". Scott Elingburg of PopMatters welcomed its Apple Years reissue and described the album as the artist's "most 'experimental' work" and, like the remastered Wonderwall Music, "raw and gorgeous, alive and capable of sparking ingenuity". He said that while Harrison was not a synthesizer innovator in the mould of Brian Eno or Jeff Lynne, "the intention behind Electronic Sound is one of exploration and discovery, an artist limbering up his musical mind to discover how far the boundaries of modern instrumentation could take him. Out of context, Electronic Sound would sound maudlin, even dull. Here, as a key step in the progression of Harrison the solo artist, it sounds audacious in its primitiveness ..." Influence and legacy Electronic Sound was one of the first electronic music albums made by a rock musician. Oregano Rathbone of Record Collector called it "intriguingly indulgent, avant-Moog" and said that, as with Wonderwall Music, "The example set by the [Beatles] – that there's room for everything under the pop umbrella – legitimised and enabled an infinite variety of music from everyone's subsequent favourite bands." In his book Electronic and Experimental Music, Thom Holmes discusses Electronic Sound in terms of its influence on the Beatles' Abbey Road and, with that album, their standing as "one of the first groups to effectively integrate the sounds of the Moog into their music". Once installed at EMI Studios in August 1969, where Mike Vickers of the band Manfred Mann assisted in programming the system, Harrison's Moog proved to be an important addition to the Beatles' final recording project. With Harrison, Lennon and Paul McCartney each playing the instrument, the band incorporated white noise and other Moog sound effects, together with melodic elements played via the ribbon controller. In January 1970, Robert Moog announced the launch of his company's Mini-Moog, a synthesizer that simplified the 3P system for easy operation as a performance instrument. In their book on the history and legacy of the Moog synthesizer, Trevor Pinch and Frank Trocco cite Harrison's use of Krause's studio demonstration as an example of the difficulties faced by