Editing Wendy Carlos (section)

== Career ==

=== 1960s ===
In 1965, Carlos graduated from [[Columbia University]] with a [[master's degree]] in music composition, and assisted [[Leonard Bernstein]] in presenting an evening of electronic music at the [[David Geffen Hall|Philharmonic Hall]].<ref name=sonicseasoningssleeve /> Carlos studied with [[Vladimir Ussachevsky]] and [[Otto Luening]], two pioneers of electronic music in the 1960s. They were based in the [[Computer Music Center|Columbia–Princeton Electronic Music Center]] in [[New York City]], the first of its kind in the United States. After Ussachevsky suggested to Carlos that she work in a recording studio to support herself, Carlos began working as a recording and [[Audio mastering|mastering]] engineer at Gotham Recording Studios in New York City; she worked in this position until 1968.<ref name=playboy1979 /><ref name=sonicseasoningssleeve>{{Cite AV media notes|title=Sonic Seasonings|publisher=Columbia Records|id=KG 31234|year=1972}}</ref><ref name=goldmine2004>{{Cite magazine|url=http://www.wendycarlos.com/other/PDF-Files/goldmine-miller.pdf|magazine=Goldmine|date=January 23, 2004|access-date=February 12, 2016|first=Chuck|last=Miller|title=Wendy Carlos: In the Moog|pages=47–48|edition=613|archive-date=March 28, 2016|archive-url=https://web.archive.org/web/20160328095452/http://www.wendycarlos.com/other/PDF-Files/goldmine-miller.pdf|url-status=live}}</ref> She called it "a really lovely occupation" and found it a useful learning experience.<ref name=goldmine2004 />

During her time at Columbia, Carlos met [[Robert Moog]] at the 1964 [[Audio Engineering Society]] show,<ref name=WholeEarth /> which began a partnership. Carlos ordered custom-designed synthesizer modules from Moog, and gave him extensive advice and technical assistance in the development of what became the [[Moog synthesizer]], Moog's new electronic instrument.{{sfn|Sewell|2022|p=30–31}} She convinced Moog to add a touch-sensitive keyboard for greater musical dynamics, among other improvements.<ref>{{cite book |author=Holmes, Thom |url=https://books.google.com/books?id=hCthQ-bec-QC&pg=PA218 |title=Electronic and Experimental Music: Technology, Music, and Culture |location=New York |publisher=Routledge |date=2008 |page=218 |isbn=9780203929599 |access-date=March 29, 2016 |archive-date=June 27, 2014 |archive-url=https://web.archive.org/web/20140627194940/http://books.google.com/books?id=hCthQ-bec-QC&pg=PA218 |url-status=live }}</ref> Moog recounted that Carlos gave extensive and very detailed constructive criticism about his equipment, presenting him with suggestions for improvements to every module, including the shapes and dimensions of the cases. Moog credited Carlos with originating many features of his synthesizer, and that many features that became part of the final production model of the Moog synthesizer originated with the custom modules he created for her, including the touch-sensitive keyboard, a [[portamento]] control, a fixed filter bank, and a 49-oscillator polyphonic generator bank that could create chords and arpeggios.{{sfn|Sewell|2022|p=30–31}}

By 1966 Carlos owned a small Moog synthesizer, which she used to record sound effects and jingles for television commercials, which earned her "anywhere from $100 to $1000".<ref name=playboy1979 /> In 1967, Carlos met and befriended fellow Gotham Recorders employee [[Rachel Elkind]], a former singer<ref name=playboy1979 /> who had a jazz and musical theatre background and had worked as a secretary for [[Goddard Lieberson]], then-president of [[Columbia Records]]. Although their initial meetings were somewhat confrontational (Elkind initially found Carlos "arrogant"), they eventually became friends and began sharing a home, studio, and business premises in a [[brownstone|brownstone building]] in the [[West Side (Manhattan)|West Side]] of [[Manhattan]] in New York City.<ref name=keyboardmagazine1982>{{Cite journal|url=http://www.wendycarlos.com/other/PDF-Files/KbdInterview-82*.pdf|title=Wendy Carlos: New Directions for a Synthesizer Pioneer|journal=Keyboard|date=November 1982|first=Robert|last=Moog|pages=51–52, 58–63|access-date=February 14, 2016|archive-date=March 14, 2016|archive-url=https://web.archive.org/web/20160314051849/http://www.wendycarlos.com/other/PDF-Files/KbdInterview-82*.pdf|url-status=live}}</ref>

Carlos recorded several compositions in the 1960s as a student at the Columbia-Princeton Electronic Music Center. Two of them were re-recorded and released on ''By Request'' (1975), ''Dialogues for Piano and Two Loudspeakers'' (1963) and ''Episodes for Piano and Electronic Sound'' (1964), both featuring [[Phillip Ramey]] on piano. A third, ''Variations for Flute and Electronic Sounds'' (1964, featuring John Heiss on flute) was recorded and released in 1965 on a Turnabout Records "Electronic Music" compilation. Other known, but unreleased student compositions include "Episodes for Piano and Tape" (1964), "Pomposities for Narrator and Tape" (1965), and "Noah" (1965), a two-hour opera blending electronics with an orchestra. Carlos's first commercial release was ''Moog 900 Series&nbsp;– Electronic Music Systems'' (1967), an introduction to the technical aspects of the Moog synthesizer released as a nine-minute single-sided mono LP and narrated by Ed Stokes.<ref name="carlos_moog">{{cite web |title=Walter Carlos – Moog 900 Series – Electronic Music Systems |year=1967 |publisher=discogs.com |url=http://www.discogs.com/Walter-Carlos-Moog-900-Series-Electronic-Music-Systems/release/1820482 |access-date=January 19, 2010 |archive-date=January 11, 2011 |archive-url=https://web.archive.org/web/20110111084833/http://www.discogs.com/Walter-Carlos-Moog-900-Series-Electronic-Music-Systems/release/1820482 |url-status=live }}</ref>

Part of her compensation for making the recording was in Moog equipment, and in part payment for her various other contributions to Moog's product development, and for articles she wrote for his short-lived electronic music periodical, she was able to acquire additional Moog equipment at a discount, most of it custom-designed to her specific requirements.<ref name=WholeEarth /> By the time Carlos began recording ''Switched On Bach'' she had built a home studio valued at around US$12,000 (approx. $100,000 in 2023){{sfn|Sewell|2022|p=46}} (although, given the unique nature of most of the modules, and their provenance, the 2023 value of her studio equipment would likely be far higher).

Her home studio, crucially, included an eight-track recorder that Carlos had built herself (because she was unable to afford a factory-made machine), using parts from Ampex and EMI recorders, with the addition of Ampex's patented "Sel-Sync" system, which enabled recorded signals to be monitored via the record head, rather than the playback head, thus permitting multiple tracks to be kept in perfect synchronisation. Carlos was also one of the earliest adopters of the [[Dolby]] noise reduction system, which she used for her final two-track masters.{{sfn|Sewell|2022|p=47}}

====''Switched-On Bach''====

In 1968, Carlos released ''[[Switched-On Bach]]'', an album formed of several pieces by [[Johann Sebastian Bach]] performed on a [[Moog modular synthesizer]]. Carlos had originally wanted to record an album of her own music, but Elkind suggested that they use music that was more familiar to the general listener in order to introduce the synthesizer as a credible new instrument. The idea for an album of Bach's music performed on the Moog began to crystallize during 1967, after Carlos asked Elkind to listen to some recordings by Carlos and musicologist Benjamin Folkman made up to ten years prior at the Electronic Music Center, one of them being Bach's [[Inventions and Sinfonias (Bach)|Two-Part Invention in F major]], which Elkind took a liking to. Plans for an album of several Bach compositions developed from there.

From her experience working in the music industry, Elkind knew that a major label would be unlikely to accept a pitch from a woman, so she approached her friend, the musician, conductor and producer [[Ettore Stratta]], who was then a producer working in the A&R division at [[Columbia Records]]. He successfully pitched the project to the label on their behalf, leading to a two-album recording contract with [[Columbia Masterworks Records|Columbia Masterworks]], a deal that lasted until 1986. Crucially, it gave Carlos and Elkind ownership of their recording masters, and Elkind was able to negotiate what she described as "a very nice royalty", possibly because the label did not have to invest a large sum up-front and did not expect the album to sell many copies.{{sfn|Sewell|2022|p=50}}

Columbia had launched an album sales campaign named "Bach to Rock", though it had no album of Bach's works in a contemporary context in its catalogue.<ref name=playboy1979 /> They were given a small advance from the label; Elkind recalled they were offered $1000, Carlos told an interviewer they were given about $2500,{{sfn|Sewell|2022|p=50}} a relatively modest sum, given that the average recording budget for a major pop album at this time was about $10,000. Columbia granted Carlos and Elkind artistic freedom to produce and release the album. Carlos performs with additional synthesizers played by Folkman and with Elkind as producer.

The recording process was long and complex, because the monophonic Moog could only play [[monophony|one note at a time]].<ref name=SeattlePI /> Due to the limitations of her equipment, every instrumental part in each score had to be recorded separately, and then each successive part was layered over the previously recorded parts on Carlos' eight-track recorder. All the parts were coordinated by recording each one in time with a [[click track]], which was eventually erased. Biographer Amanda Sewell reports that Carlos only rarely wrote down the complex combination of control knob settings and cable connections (or "patches") used to create specific sounds on the Moog, and that she was able to memorize and recall nearly her entire "library" of patches at will.{{sfn|Sewell|2022|p=46}}

This tortuous recording process was made even more difficult by the tendency of the early Moog oscillators to drift out of tune—by her own account, Carlos was often only able to record one or two measures of each part before the Moog went out of tune, and she claimed she sometimes even had to bang on the casing with a hammer to get it back into tune. This issue also meant that she had to meticulously review each segment for consistency once it had been recorded, because if one line was out of tune the entire section would be ruined.{{sfn|Sewell|2022|p=47}}

Carlos later recalled that she worked on the recording of the album for eight hours a day, five days a week, for five months, on top of her regular 40-hour-per-week day job at Gotham Studios.{{sfn|Sewell|2022|p=46}} Although ''Switched-On Bach'' was extremely costly in terms of person-hours expended, her high-quality home studio, her proficiency as a programmer and performer on the Moog, and her ability as a recording engineer enabled Carlos and her colleagues to record and produce the album completely independently, thereby avoiding the need to use expensive commercial recording studios. As well as the consideration that repeatedly taking the bulky, complex and delicate Moog system to and from a studio for each session would have been almost impossible, given Carlos' own reckoning that the project took over 1100 hours to complete, using commercial studios would have made the recording prohibitively expensive, and would likely have cost upwards of US$100,000 in 1968. By comparison, [[The Beatles]]' 1967 album ''[[Sgt. Pepper's Lonely Hearts Club Band]]'' took over 700 hours to record and cost a reported UK£25,000, or about US$60,000 at the 1968 exchange rate. Additionally, although the recording was extremely labour-intensive, the combination of the Moog and the multitrack recorder gave Carlos and Elkind unprecedented control over every facet of the timbral, expressive and environmental qualities of every single note they recorded, enabling them to create a new level of clarity for each "voice" in the compositions—a key concern for Elkind, who was critical of what she called the "soggy" audio quality of contemporary classical recordings.{{sfn|Sewell|2022|p=44}}

Released in October 1968,<ref>{{cite web |last1=Dayal |first1=Geeta |title=Doug McKechnie |url=https://4columns.org/dayal-geeta/doug-mckechnie |publisher=4 Columns |access-date=November 6, 2020 |archive-date=November 6, 2020 |archive-url=https://web.archive.org/web/20201106165513/https://4columns.org/dayal-geeta/doug-mckechnie |url-status=live }}</ref> ''Switched-On Bach'' became an unexpected commercial and critical hit, with [[Glenn Gould]] calling it "the album of the decade",{{sfn|Sewell|2022|p=51}} and it helped to draw attention to the synthesizer as a genuine musical instrument.<ref name=SeattlePI>{{cite news |last=Barbrick |first=Greg |title=Book Review: Keyboard Presents Synth Gods |newspaper=Seattle Post-Intelligencer |date=March 23, 2011 |url=http://www.seattlepi.com/lifestyle/blogcritics/article/Book-Review-Keyboard-Presents-Synth-Gods-Edited-1306589.php |publisher=Seattle Post-Intellegencer |access-date=July 25, 2012 |quote=''Switched-On Bach'' almost single-handedly revolutionized the public's perception of synthesizers&nbsp;... |archive-date=March 8, 2014 |archive-url=https://web.archive.org/web/20140308220438/http://www.seattlepi.com/lifestyle/blogcritics/article/Book-Review-Keyboard-Presents-Synth-Gods-Edited-1306589.php |url-status=live }}</ref><ref name=NYTMockBach>{{cite news |last=Henahan |first=Donal |title=Switching On to Mock Bach |page=D26 |url=https://www.nytimes.com/1968/11/03/archives/switching-on-to-mock-bach.html |access-date=July 25, 2012 |newspaper=The New York Times |date=November 3, 1968 |quote=...&nbsp;possibly one of the year's more significant records |archive-date=April 11, 2018 |archive-url=https://web.archive.org/web/20180411111551/https://www.nytimes.com/1968/11/03/archives/switching-on-to-mock-bach.html |url-status=live }}</ref> A [[CBC Radio|Canadian Broadcasting Corporation]] program in November 1968, called CBC AM, secured a rare interview with Carlos about the selection and use of Moog.<ref>{{Cite AV media |date=November 1968 |title=CBC AM- Glenn Gould on the Moog synthesizer |url=https://archive.org/details/cbc-glenn-gould-on-the-moog-synthesizer-1968 |website=The Internet Archive |at=05:04 – introduction just before the interview with Walter Carlos}}</ref> Biographer Amanda Sewell observes, it is notable that Carlos is not pictured anywhere on the album, and is only mentioned by name (as Walter Carlos) in the rear sleeve notes of the original cover. ''[[Newsweek]]'' dedicated a full page to Carlos with the caption "Plugging into the [[Steinway]] of the future".<ref name=playboy1979 /> It peaked at No. 10 on the US [[Billboard 200|''Billboard'' 200]] chart and was No. 1 on its Classical Albums chart from January 1969 to January 1972. It was the second classical album to sell over one million copies and was certified [[RIAA certification|Gold]] in 1969 and Platinum in 1986 by the [[Recording Industry Association of America]].<ref>{{cite web |url=https://www.riaa.com/gold-platinum/?tab_active=default-award&se=Wendy+Carlos#search_section |title=Gold & Platinum |website=[[RIAA]] |access-date=September 18, 2017 |archive-date=December 31, 2023 |archive-url=https://web.archive.org/web/20231231172731/https://www.riaa.com/gold-platinum/?tab_active=default-award&se=Wendy+Carlos#search_section |url-status=live }}<!--Unfortunately a search will have to do, because the share links are broken--></ref><ref name="TimeMusic">{{cite magazine |url=http://www.time.com/time/magazine/article/0,9171,903305,00.html |magazine=Time |title=Music: Switched-Off Bach |date=February 14, 1972 |access-date=2013-04-15 |archive-date=July 6, 2012 |archive-url=https://web.archive.org/web/20120706065315/http://www.time.com/time/magazine/article/0,9171,903305,00.html |url-status=dead }}</ref> Carlos performed selections from the album on stage with a synthesizer with the [[St. Louis Symphony Orchestra]].

The massive and unexpected success of ''Switched-On Bach'' put great pressure on Carlos. She was by this time well into her gender confirmation process, and she was fearful of both personal ridicule and physical attack, and of the negative impact that her status as a transitioning person could have on her music career. Biographer Amanda Sewell records that the St. Louis appearance was extremely difficult for her—she hated having to disguise herself as Walter, for which she had to affect a deeper voice, use makeup to simulate a five o'clock shadow, and don a wig and pasted-on fake sideburns. Her childhood experiences of being bullied and assaulted made her so fearful of appearing in public that she reportedly even contemplated taking her own life before the event and cried all the way to St. Louis.{{sfn|Sewell|2022|p=61}}
This was to be one of only two live performances Carlos made following her days as a student, the other being with the Kurzweil Baroque Ensemble for "Bach at the Beacon" in 1997.<ref>{{cite news|url=https://www.nytimes.com/1997/04/02/arts/play-it-jazzy-switched-on-or-straight-it-s-bach.html|title=Play It Jazzy, Switched On Or Straight, It's Bach|first=James R.|last=Oestreich|newspaper=The New York Times|date=April 2, 1997|access-date=February 26, 2018|archive-date=January 29, 2018|archive-url=https://web.archive.org/web/20180129004627/http://www.nytimes.com/1997/04/02/arts/play-it-jazzy-switched-on-or-straight-it-s-bach.html|url-status=live}}</ref><ref name=people1985>{{Cite magazine|url=http://www.people.com/people/archive/article/0,,20091206,00.html|title=After a Sex Change and Several Eclipses, Wendy Carlos Treads a New Digital Moonscape|date=July 1, 1985|magazine=People|first=Susan|last=Reed|volume=24|edition=1|access-date=February 15, 2015|archive-date=December 1, 2014|archive-url=https://web.archive.org/web/20141201061203/http://www.people.com/people/archive/article/0,,20091206,00.html|url-status=dead}}</ref>

In 1970, the album won a [[Grammy Award]] for [[Grammy Award for Best Classical Album|Best Classical Album]], [[Grammy Award for Best Classical Performance – Instrumental Soloist or Soloists (with or without orchestra)|Best Classical Performance – Instrumental Soloist or Soloists (With or Without Orchestra)]], and [[Grammy Award for Best Engineered Album, Classical|Best Engineered Classical Recording]]. Carlos released a follow-up, ''[[The Well-Tempered Synthesizer]]'', with synthesized pieces from multiple composers. Released in November 1969, the album reached No. 199 on the ''Billboard'' 200 and received two Grammy nominations. The success of both albums allowed Carlos to move into Elkind's more spacious New York City home in 1971.<ref name=playboy1979 />

Carlos considers Elkind's contribution to her work, and specifically ''Switched-On Bach'', to be underappreciated, calling her "a 'silent' partner" and her work "critical to my success".<ref>{{cite web|url=https://www.wendycarlos.com/rachel.html|last=Carlos|first=Wendy|title=Rachel Elkind-Tourre|website=WendyCarlos.com|date=17 January 2001|access-date=2023-02-14}}</ref>

=== 1970s ===
After the release of ''Switched-On Bach'', Carlos was invited to compose the soundtrack of two science fiction films, ''[[Marooned (1969 film)|Marooned]]'' (1969), directed by [[John Sturges]], and ''[[A Clockwork Orange (film)|A Clockwork Orange]]'' (1971), directed by [[Stanley Kubrick]]. When the directors of ''Marooned'' changed their minds about including a soundtrack, Carlos chose to work with Kubrick, as she and Elkind were fans of his previous films, adding: "We finally wound up talking with someone who had a close connection to Stanley Kubrick's lawyer. We suddenly got an invitation to fly to London."<ref name=filmscoremonthly>{{Cite journal|url=http://www.wendycarlos.com/other/PDF-Files/FSM-Interview*.pdf|journal=Winter Score Monthly|date=March 1999|first=Jeff|last=Bond|pages=18–23|title=A Clockwork Composer|access-date=February 15, 2016|archive-date=March 28, 2016|archive-url=https://web.archive.org/web/20160328100411/http://www.wendycarlos.com/other/PDF-Files/FSM-Interview*.pdf|url-status=live}}</ref> Before Carlos knew about the offer, she read the book and began writing a piece based on it named "Timesteps". A soundtrack containing only the film cuts of the score was released as ''[[A Clockwork Orange (soundtrack)|Stanley Kubrick's Clockwork Orange]]'' in 1972, combining synthesized and classical music by [[Henry Purcell]], [[Beethoven]] and [[Gioacchino Rossini]] with an early use of a [[vocoder]]. Later that year, Carlos released an album of music not included in the final score titled ''[[Walter Carlos' Clockwork Orange]]'', which peaked on the ''Billboard'' 200 chart at No. 146.<ref>[http://www.allmusic.com/album/wendy-carlos-clockwork-orange-mw0000046193/awards "Wendy Carlos: Clockwork Orange"]. ''AllMusic''. {{Webarchive|url=https://web.archive.org/web/20160311015948/http://www.allmusic.com/album/wendy-carlos-clockwork-orange-mw0000046193/awards |date=March 11, 2016 }}.</ref><ref name="Whitburn1996">{{cite book|last=Whitburn|first=Joel|p=131|title=Joel Whitburn's Top Pop albums, 1955-1996|date=1996|ISBN=9780898201178|publisher=Record Research Inc.|location=Menomonee Falls, WI, U.S.}}</ref> Carlos later described the project as "a lot of fun&nbsp;... a pleasurable venture".<ref name=filmscoremonthly />

Carlos experimented with [[ambient music]] on her third studio album ''[[Sonic Seasonings]]'', released as a [[double album]] in 1972, with one side-long track dedicated to each of the [[Season|four seasons]]. Recorded as early as 1970 and finished in mid-1971, before the ''A Clockwork Orange'' project was complete, Carlos wished to produce music that did not require "lengthy concentrated listening", but more than a collection of ambient noises to portray an environment.<ref name=newmusicbox2007>{{cite web | last=Oterion | first=Frank J. | title=Wendy's World | website=NewMusicBox | date=2007-04-01 | url=https://nmbx.newmusicusa.org/wendys-world/ | access-date=2019-07-23 | archive-date=July 23, 2019 | archive-url=https://web.archive.org/web/20190723192801/https://nmbx.newmusicusa.org/wendys-world/ | url-status=live }}</ref> It combined [[field recording]]s of animals and nature with synthesized sounds, occasionally employing melodies, to create [[soundscape]]s. It reached No. 168 in the ''Billboard'' 200 and influenced other artists who went on to pursue the ambient and [[New-age music|new-age]] genres in later years.<ref name="Whitburn1996"/><ref>{{cite web |url=http://www.allmusic.com/album/sonic-seasonings-r208076 |title=Sonic Seasonings |publisher=All Music |first=John |last=Bush |access-date=January 20, 2012 |archive-date=September 2, 2011 |archive-url=https://web.archive.org/web/20110902140152/http://allmusic.com/album/sonic-seasonings-r208076 |url-status=live }}</ref>

By 1973, Columbia/[[CBS Records International|CBS Records]] had received a considerable number of requests for Carlos to produce another album of synthesized classical music. She agreed to the request, opting to produce a sequel to ''Switched-On Bach'', which began with her and Elkind seeking compositions that were most suitable for the synthesizer; the two picked selections from [[Orchestral suites (Bach)|Suite No. 2 in B minor]], [[Inventions and Sinfonias (Bach)|Two-Part Inventions in A minor and major]], Suite from [[Notebook for Anna Magdalena Bach]], and [[Brandenburg Concertos|Brandenburg Concerto No. 5 in D major]]. The latter features a [[Yamaha Corporation|Yamaha]] [[Electone|E-5 Electone organ]] for certain passages, as a reliable [[polyphony|polyphonic]] keyboard had not been developed. The result, ''[[Switched-On Bach II]]'', was released in 1973 and sold over 70,000 copies in the US during the first five weeks of its release.<ref>{{cite magazine |url=https://books.google.com/books?id=vQcEAAAAMBAJ&dq=%22sonic+seasonings%22&pg=PA27 |first=Robert |last=Sobel |title=How 'Switched-On' Was Turned On |date=16 February 1974 |magazine=Billboard |page=27}}</ref>

Following ''Switched-On Bach II'', Carlos changed musical directions once more. In 1971, she and Elkind had asked Columbia Records to attach a pre-paid business reply card in each new pressing of her albums, which resulted in a considerable amount of suggestions from the public regarding the subject of her future releases.<ref name=byrequest1975>{{Cite AV media notes|title=By Request|publisher=Columbia Masterworks Records|id=M 32088|year=1975}}</ref> The ideas received were divided; some asked for more classical adaptations, while others wanted more of Carlos's original compositions. Carlos decided, "If I was going to spend months for mere minutes of music, I certainly wasn't going to be pigeonholed into only retreading existing music", and so began a process of "re-directing new ideas, reworking old ones". By mid-1974, Carlos and Elkind had selected tracks of varying styles to record on the Moog synthesizer, which Carlos found liberating, as it demonstrated the flexibility of the instrument.<ref name=byrequest2003>{{Cite AV media notes|title=By Request (Reissue)|publisher=East Side Digital|id=ESD 81692|year=2003}}</ref> Released as ''By Request'' in 1975, the album includes pieces from Bach, [[Wagner]], [[Tchaikovsky]], two of Carlos's compositions from the 1960s, and renditions of "[[Eleanor Rigby]]" by [[The Beatles]] and "[[What's New Pussycat? (song)|What's New Pussycat?]]", originally sung by [[Tom Jones (singer)|Tom Jones]].<ref name=byrequest1975 /> The latter track, featuring some 40 tracks of overdubbed synthesiser, was one of the pieces that Carlos had unsuccessfully presented to Elkind in 1967 when they were planning what became ''Switched-On Bach''.{{sfn|Sewell|2022|p=44}} The final track, entitled "Pompous Circumstances", a "witty and serious" set of variations based on themes by [[Edward Elgar]] (see "[[Pomp and Circumstance]]"), was replaced by CBS with tracks from ''The Well-Tempered Synthesizer'' on UK pressings after members of Elgar's estate refused to have his music presented in this style, which "devastated" Carlos.<ref name=byrequest2003 /> Between 1974 and 1980 she scored several short films for producer Dick Young for [[UNICEF]] (seven of which were released in 2005 on ''Rediscovering Lost Scores, Vol.1'').<ref name=filmscoremonthly /><ref>''Rediscovering Lost Scores, Vol. 1'' liner notes</ref>

''By Request'' was followed by ''[[Switched-On Brandenburgs]]'', a double album containing all six of Bach's ''[[Brandenburg Concertos]]'' played on a synthesizer, in 1980.<ref>{{cite web | url = https://i.imgur.com/SgzBrfO.png | title = Advert in April 1980 edition of Stereo Review | access-date = August 4, 2019 | archive-date = February 14, 2021 | archive-url = https://web.archive.org/web/20210214170933/https://i.imgur.com/SgzBrfO.png | url-status = live }}</ref>{{user-generated inline|certain=y|date=December 2023}}

=== 1980s ===
Carlos reunited with Kubrick to compose the score for his psychological horror film ''[[The Shining (film)|The Shining]]'' (1980). Before filming began, Carlos and Elkind read the [[The Shining (novel)|book]], as per Kubrick's suggestion, for musical inspiration. Carlos recorded a complete electronic score for the film, but Kubrick ended up using mostly existing recordings by several [[avant-garde]] composers, tracks that he had used as guide tracks during editing. Carlos and Elkind did not discover this until they were invited to a screening of the film in May 1980, and they were reportedly furious about Kubrick's actions. Their experience closely mirrored that of composer [[Alex North]], who had written and recorded a complete orchestral soundtrack for Kubrick's ''2001: A Space Odyssey'', but discovered at the film's world premiere that Kubrick had jettisoned the entire score in favour of the guide tracks he had used while editing the movie.

''The Shining (Original Motion Picture Soundtrack)'', released in 1980 on [[Warner Bros. Records]], featured only two tracks credited to Carlos and Elkind: the main title theme and "Rocky Mountains", the former a reinterpretation of the "Dies Irae" section of ''[[Symphonie fantastique]]'' by [[Hector Berlioz]]. Biographer Amanda Sewell discovered that Carlos and Elkind's agent [[Lucy Kroll]] had written a note in her files indicating that the duo had initially considered suing Kubrick, but Sewell found that, several pages further on, Kroll had written another note that read "No signed contract"—Carlos and Elkind had made the deal with Kubrick "on a handshake", and thus had no legal recourse.{{sfn|Sewell|2022|p=132}} Some of Carlos's music had some legal issues regarding its release, but much of it was made available in 2005 as part of her two-volume compilation album ''Rediscovering Lost Scores''.<ref>{{Cite web |last=Villalba |first=Juanjo |date=2022-12-12 |title=Wendy Carlos: The brilliant but lonely life of an electronic music pioneer |url=https://english.elpais.com/culture/2022-12-12/wendy-carlos-the-brilliant-but-lonely-life-of-an-electronic-music-pioneer.html |access-date=2024-06-12 |website=EL PAÍS English |language=en-us}}</ref>

With work on ''The Shining'' complete, Elkind ended her long-time collaboration with Carlos when she moved to [[France]] with her husband in 1980. Carlos remained in New York City, sharing a converted loft in [[Greenwich Village]] with her new business partner Annemarie Franklin. It housed her new, remodeled studio, which was enclosed in a [[Faraday cage]] to shield the equipment from interference by radio, television and AC power-line signals.<ref name="carlos_photos_page">{{cite web |last=Carlos |first=Wendy |title=Studio Collection |url=http://www.wendycarlos.com/photos.html#studios |publisher=WendyCarlos.com |access-date=June 27, 2008 |archive-date=July 1, 2008 |archive-url=https://web.archive.org/web/20080701225709/http://www.wendycarlos.com/photos.html#studios |url-status=live }}</ref>

Carlos's first project with Franklin began around 1980, when [[The Walt Disney Company]] asked her to record the soundtrack to its science fiction feature ''[[Tron]]'' (1982). Carlos agreed, but was not interested in composing solely with electronic music, as she wished to incorporate an orchestra with her musical ideas. She recalled their demands were "tightly specified&nbsp;... there wasn't a lot of elbow room, and that made it fun".<ref name=filmscoremonthly /> The score incorporated Carlos's analog and [[digital synthesizers]] with the [[London Philharmonic Orchestra]], the UCLA Chorus, and the [[Royal Albert Hall Organ]].<ref>{{Cite web|url=https://www.discogs.com/Wendy-Carlos-Tron-Original-Motion-Picture-Soundtrack/release/12933631|title=Wendy Carlos – Tron (Original Motion Picture Soundtrack)|website=Discogs|year=1982 |language=en|access-date=2019-11-05|archive-date=January 22, 2020|archive-url=https://web.archive.org/web/20200122074523/https://www.discogs.com/Wendy-Carlos-Tron-Original-Motion-Picture-Soundtrack/release/12933631|url-status=live}}</ref> ''[[Tron (soundtrack)|Tron: Original Motion Picture Soundtrack]]'' was released in 1982 and reached No. 135 on the ''Billboard'' 200. Carlos intended to release her scores on her own album, but Columbia/CBS showed a lack of interest in the prospect.<ref name=filmscoremonthly />

Three studio albums from Carlos were released in the 1980s. The first was ''[[Digital Moonscapes]]'' in 1984, Carlos's first to only feature digital synthesizers. She wrote the album's tracks for orchestra "or orchestra replica", inspired by various astronomical subjects, which used some leftover material from her score to ''Tron''. Soon after, Carlos secured a deal with Audion Records, a smaller label, as she wished to "get away from that kind of big, monolithic government-like aspect that [she] had dealt with for so many years".<ref name=goldmine2004 /> In 1986, Audion released ''[[Beauty in the Beast]]'', which saw Carlos experiment with [[just intonation]], [[Bali]]nese scales, and four new [[microtonal]] scales she devised for the album: [[Harmonic scale|harmonic]], [[Alpha scale|alpha]], [[beta scale|beta]], and [[Gamma scale|gamma]].<ref>{{cite journal |last1=Carlos |first1=Wendy |title=Tuning: At the Crossroads |journal=Computer Music Journal |date=1986 |volume=11 |issue=1 |pages=29–43 |doi=10.2307/3680176 |jstor=3680176}}</ref> The album features the first instance of a 35-note [[octave]].<ref name=goldmine2004 /> Carlos considers the album as the most important of her career. She followed the album with ''Secrets of Synthesis'' in 1987, her final album for CBS/Columbia, featuring several introductions and demonstrations of synthesized music from Carlos with audio examples from her previous albums.<ref>{{Cite web |title=Art Of Moog |url=https://www.soundonsound.com/techniques/art-of-moog |access-date=2024-06-12 |website=www.soundonsound.com}}</ref>

In 1988, CBS Records asked Carlos to collaborate with comical musician [["Weird Al" Yankovic]] to release a parody of ''[[Peter and the Wolf]]'' by [[Sergei Prokofiev]]. Carlos agreed to the project, as she felt it presented a chance "to let your sense of humor out of the cage".<ref name=goldmine2004 /> Yankovic adapted and narrated its story, while Carlos rearranged the music with a "[[MIDI]] orchestra", her first venture using the digital interface.<ref name=goldmine2004 /> The album's second side also contains a humorous adaptation of ''[[The Carnival of the Animals]]'' by [[Camille Saint-Saëns]] titled "The Carnival of the Animals—Part II", with Yankovic providing funny poems for each of the featured animals in the style of poet [[Ogden Nash]], who did similar for the original.<ref>[https://www.chicagotribune.com/1989/07/25/weirdly-normal/ "Weirdly Normal: Pop-tune Buster Al Yankovic Saves Worst Wackiness For The Screen"]. [https://www.chicagotribune.com/1989/07/25/weirdly-normal/]. ''[[Chicago Tribune]]'', July 25, 1989.</ref> Released in October 1988, ''[[Peter and the Wolf ("Weird Al" Yankovic & Wendy Carlos album)|Peter and the Wolf/Carnival of the Animals—Part II]]'' was nominated for a [[Grammy Award for Best Album for Children]] in 1989.<ref>{{Cite web|url=http://www.awardsandshows.com/features/grammy-awards-1989-237.html|title=Grammy Awards 1989|publisher=Awards & Shows|access-date=February 16, 2016|archive-date=February 28, 2016|archive-url=https://web.archive.org/web/20160228010220/http://www.awardsandshows.com/features/grammy-awards-1989-237.html|url-status=live}}</ref>

=== 1990s–2000s ===
To mark the 25th anniversary of ''Switched-On Bach'', Carlos re-recorded the album with her set of digital instruments and recording techniques. Released in 1992 on [[Telarc International Corporation|Telarc Records]], ''Switched-On Bach 2000'' took roughly one and a half years to produce; Carlos estimated around 3,000 hours were invested in the project, which involved using several [[digital audio workstation]] software packages, including [[Pro Tools]]. A Moog synthesizer is only used once on the record; the rest is performed on 13 modern synthesizers. The album also marked her first venture into mixing in [[Dolby Surround]] sound.<ref>{{cite magazine |url=https://books.google.com/books?id=HhIEAAAAMBAJ&dq=%22switched-on+bach+2000%22&pg=PA67 |date=15 August 1992 |title=Wendy Carlos Goes 'Bach' And Forward All At Once With New Reading Of Old Set |first=Susan |last=Nunziata |magazine=Billboard |pages=67–68}}</ref>

Carlos wrote the soundtrack to the British film ''[[Brand New World]]'' (1998), also known as ''Woundings'', directed by [[Roberta Hanley]] and based on a play by [[Jeff Noon]]. Carlos explained the style of her music: "I was given fairly large carte blanche to do some horrific things and also some inside-psyche mood paintings, and that's what the film became".<ref name=filmscoremonthly />

In 1998, Carlos released her most recent studio album, ''Tales from Heaven and Hell'', for the [[East Side Digital Records|East Side Digital]] label.<ref>{{Cite web|url=https://www.discogs.com/Wendy-Carlos-Tales-Of-Heaven-And-Hell/release/870417|title=Tales From Heaven And Hell|website=Discogs |year=1998 |access-date=14 November 2019|archive-date=May 10, 2019|archive-url=https://web.archive.org/web/20190510015030/https://www.discogs.com/Wendy-Carlos-Tales-Of-Heaven-And-Hell/release/870417|url-status=live}}</ref>

Beginning in 1998, Carlos digitally remastered her studio albums, culminating in the ''Switched-On Box Set'' released in 1999 featuring her four synthesized classical albums.<ref>{{Citation|title=Switched-On Boxed Set – Wendy Carlos |website=AllMusic |url=https://www.allmusic.com/album/switched-on-boxed-set-mw0001830453|language=en|access-date=2021-04-30}}</ref>

In 2005, the two-volume set ''Rediscovering Lost Scores'' was released, featuring previously out-of-print material, including the unreleased soundtrack to ''Woundings'' and music recorded for ''A Clockwork Orange'', ''The Shining'', and ''Tron'' that was not used in the films.<ref>{{Cite web|url=https://www.discogs.com/Wendy-Carlos-Rediscovering-Lost-Scores-Volume-One-Quintessential-Archeomusicology-Film-Music-By-Wend/release/1290816|title=Rediscovering Lost Scores – Volume One (Quintessential Archeomusicology – Film Music By Wendy Carlos) |website=Discogs |access-date=14 November 2019|archive-date=July 25, 2019|archive-url=https://web.archive.org/web/20190725052406/https://www.discogs.com/Wendy-Carlos-Rediscovering-Lost-Scores-Volume-One-Quintessential-Archeomusicology-Film-Music-By-Wend/release/1290816|url-status=live}}</ref><ref>{{Cite web|url=https://www.discogs.com/Wendy-Carlos-Rediscovering-Lost-Scores-Volume-Two-Quintessential-Archeomusicology-Film-Music-By-Wend/release/1290828|title=Rediscovering Lost Scores – Volume Two (Quintessential Archeomusicology – Film Music By Wendy Carlos)|website=Discogs.com|access-date=14 November 2019|archive-date=August 1, 2019|archive-url=https://web.archive.org/web/20190801111906/https://www.discogs.com/Wendy-Carlos-Rediscovering-Lost-Scores-Volume-Two-Quintessential-Archeomusicology-Film-Music-By-Wend/release/1290828|url-status=live}}</ref>