Computer-controlled organs in the twentieth century
In this article, I provide examples of innovative, computer-controlled organs built by artists who have been active since the 1980s. In the final decades of the twentieth century, artists laid the groundwork for what would later become “hyperorgans” (computer-controlled organs) and sound installations featuring organs. They devised highly inventive and creative new organ-like instruments and sound installations. These are inspiring examples of what new mechatronic organs and other wind instruments might become in the 21st century.
Sound Machine by Martin Riches
I believe Sound Machine (1982) is one of the very first computer-controlled organs. The English sound artist Riches moved to Berlin in 1969 and began creating kinetic (sound) installations there. In 1982, he built this mechatronic organ together with composer Roland Pfrengle. In addition to these two, other composers—such as the minimalist Tom Johnson—also wrote works for this Sound Machine. There are no videos or photos of this organ available on the internet, only this blurry photo (from Pfrengle’s website) showing the Sound Machine, consisting of two modules, set up in the center and on the right side of the stage. On the left, you can also see an older mechanical organ installation by Riches: Sound Box (1981), a “mini-organ” played live by a flutist using a pedal.
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Die Zauberfloete van Stephan von Huene (foto: Doris Wild)
Stephan von Huene is less well known outside Germany; he is a multimedia artist who has incorporated sound and instruments into his installations since the 1960s. His Totem Tones (1970) are highly original and skillfully crafted; the automaton is controlled using optical techniques. In his work, sound, image, and sculpture are often linked to extra-musical meanings or experiences. Starting in the 1980s, he also created computer-controlled installations. His Magic Flute installation (1985)—featuring two computer-controlled organ and percussion modules—references the libretto, vocals, and magical instruments in Mozart’s opera.
On this page, you’ll find a description and a video of Magic Flute.
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PHFFFT van Trimpin (photo: Mary Levin)
Trimpin is known for his many inventive, often spatial sound installations, nearly all of which are computer-controlled. In the early 1990s, he built PHFFFT (sometimes also called PHFFFT-ARRRGH). This installation consists of modules based on wind instruments, reed instruments, and organs. Among other things, you can see a rotating organ register and organ pipes suspended from “trees.” The computer control allows Trimpin to compose detailed melodic and rhythmic patterns that make full use of the spatial environment. The rhythms and patterns reach the visitor from different directions.
Here is a video of PHFFFT.
FireOrgan by Trimpin (photo: otherminds.org)
For another organ, Trimpin combined fire and air. He wrote in 1993: “For years I have been thinking about building a huge setup with computer-controlled flame valves. Now, finally, this year it will be built. I was invited as an artist-in-residence this summer at the Pilchuk School of Glass, where all the colorful Pyrex glass in various shapes and forms will be blown.” FireOrgan is an organ in which the organ’s air currents and frequency vibrations influence the flames. You can find an explanation on this webpage from the Exploratorium in San Francisco, where the installation was exhibited in 1996.
Here is a video of FireOrgan.
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Puff by Godfried-Willem Raes
Godfried-Willem Raes began building computer-controlled instruments in the late 1980s. More than three decades later, this has culminated in an orchestra of musical robots, including more than 20 mechatronic organs and harmoniums (reed organs). They are listed here, each accompanied by a photo. Compared to the other “organs” and installations in this article, these music robots are conceived more as musical instruments, intended for making music and composing. There is now a wide repertoire of compositions and productions originally conceived for this Logos robot orchestra. Puff (2004)—see photo—is a unique organ: the air supply can be controlled per pitch, and each (metal) pipe has its own air reservoir in a Pyrex tube with a piston. The air supply per pipe is limited, causing it to produce short “puff” sounds.
Hybrlo (bass version of Hybr) by Godfried-Willem Raes
Later in 2014, Raes also devised computer-controlled organs (such as the Hybr) that no longer use air. A membrane transducer (a type of speaker) produces sound in each organ pipe, and that sound resonates with the length of the pipe.
In the video here, you can hear Study 16 by Kristof Lauwers for this Hybr organ.
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Concertomatique N°2 by Jacques Rémus
Throughout his career, Jacques Rémus designed many playful, kinetic sound installations. In the first half of the 1990s, he created his Concertomatique N°1 and Concertomatique N°2, ensembles of various computer-controlled instruments, including several organ-like instruments. The connections, cables, hoses, and mechanical structure are largely visible and form a large, resonant machine room.
In this video, you can see Concertomatique N°2 in action.
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M-Pipes by Christof Schlaeger
For decades, Christof Schlaeger has also been creating computer-controlled sound sculptures that generally produce noise and machine-like sounds. Some of these are based on air being blown into tubes or pipes.
On this page, you’ll find an explanation and a video of his Rauscher (1994) (literally: the “Noiser”).
And this is his M-Pipes (2010) sound instrument, in which short bursts of air produce a percussion-like sound—a principle somewhat comparable to Raes’s Puff organ mentioned above.
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(version: June 13, 2026, Hans Roels)