There are, as mentioned above, important discourses relating to the development of new instruments and the commercial aspects of music technology. How does a new tool (con) form the music? How can we be critical and when should we be? The research on and invention of new musical instruments and interfaces in academia and art can be seen as contributors of new technology and ideas for the commercial industry, but also as a reaction towards standardisation in the field, exploring new ways of controlling and producing electronic sound. Moreover, there are ways of being critical by exploring and challenging the use of standardised equipment within the different genres (see Engum, 2012). In my artistic project I have chosen to use rather conventional equipment and also partly conventional techniques – but my outboard devices and the DAW I use were probably not produced with my kind of music in mind. My basic goal, regardless of tools and techniques, is to start from my musical motivation, not the technical possibilities involved. But as soon as a technique becomes a part of my vocabulary and musical thought, these things are not separated.