They were later ported from the Atari ST first to the Atari TT then to the PC where they ran (and, in 2000, still can be run) under MS-DOS.
The transformations, all from the voice to other sounds, include 'lis' (from the word 'listen') to birdsong, 'rea' (from the word 'reason') to animal-sounds, 'reasonabl-' to water, and various machine-like events constructed from vocal subunits.
waveset manipulation, grain manipulation, sound shredding) and extensions of existing instruments (e.g. The book has been used subsequently as a source by other software developers (for example by Mike Norris who implemented many of my waveset manipulation procedures on the Macintosh, now available from Sound Magic) some of whom may well have had access to the CDP code. F13" name=FF13 where I attended the composition course in 1993 were an important source of knowledge, ideas and inspiration for my work.
I would stress that the work of researchers and developers at IRCAM (notably Steve Mc Adams who introduced me to contemporary psycho-acoustic research on the 1981 induction course and, later, Miller Puckette), and at the G. However, when the sound morphing and spectral stretching instruments for Vox 5 were originally developed as part of the public domain system shared by IRCAM, Stanford and other major sites, IRCAM's research priorities were focused elsewhere.
For the past thirty years I have been involved in developing and using sound transformation procedures in the studio, initially working on analogue tape, and then through various types of computer platforms as computer music came of age.
Over these years I've developed a very large number of procedures for manipulating sounds.