and patterns that came out of the circuits were unique and unpredictable because they were actually overloading the circuits until they burned out to create the sounds. The Barrons could never recreate the same sounds again, though they later tried very hard to recreate their signature sound from Forbidden Planet. Because of the unforeseen life span of the circuitry, the Barrons made a habit of recording everything. Most of the production was not scripted or notated in any way. The Barrons didn't even consider the process as music composition themselves. The circuit generated sound was not treated as notes, but instead as 'actors'. In future soundtrack composition, each circuit would be manipulated according to actions of the underlying character in the film. After recording the sounds, the couple manipulated the material by adding effects, such as reverb and tape delay. They also reversed and changed the speed of certain sounds. The mixing of multiple sounds was performed with at least three tape recorders. The outputs of two machines would be manually synchronized, and fed into an input of a third one, recording two separate sources simultaneously. The synchronization of future film work was accomplished by two 16 mm projectors that were tied into a 16 mm tape recorder, and thus ran at the same speed. While Louis spent most of his time building the circuits and was responsible for all of the recording, Bebe did the composing. She had to sort through many hours of tape. As she said, "it just sounded like dirty noise". Over time, she developed the ability to determine which sounds could become something of interest. Tape loop gave the Barrons' sounds rhythm. They mixed the sounds to create the otherworldly and strange electronic soundscapes required by Forbidden Planet. Recording studio Soon after relocation to New York, the Barrons opened a recording studio at 9 West 8th Street in Greenwich Village that catered to the avant-garde scene. This may have been the first electronic music studio in the United States. At the studio, the Barrons used a tape recorder to record everything and everyone. They recorded Henry Miller, Tennessee Williams, and Aldous Huxley reading their work in a form of early audiobook. In June 1949, Anaïs Nin recorded a full version of House of Incest and four other stories from Under a Glass Bell. These recordings were pressed on red vinyl and released on the Barrons'