I started programming in Max around 1999, and from 2001 on combining it with my experimental guitar practice to a hybrid interactive instrument, the Endangered Guitar. Originally solely used to process my own guitar sounds in realtime, over the years the software has been extended to incorporate a variety of other approaches. Multichannel capabilities were added in 2002. Prozesshansl is my term for processing other instruments than my own, starting around 2011. Synthesis (as well as data from my own DNA for control purposes) was introduced for the Conflict of Interest project 2017/18. The processing of samples (implemented when I worked on Steve Bull’s Cellphonia 2008) allows for a wide range of compositional approaches using prerecorded material, so this is currently my go-to software for all things computer-electronics. See detailed description of its history here.