The voice has, in its capacity as a human bearer of emotional expression and semantic meaning, extraordinary qualities as an instrument. My project has been to seek out how electronic processing can change the premises for vocal performance, and the new musical and artistic possibilities that are presented by electronic manipulation. First and foremost I have been doing this by experimenting and finding sounds and sound-processing techniques that I appreciate intuitively, due to a sound quality that I like and/or the way the new sounds function as part of the musical whole. After discovering specific sounds and techniques, I have continued to work with them, gradually internalising them as operational techniques and as a basis for intuitive choices in real time. Further, when moving away from the experimentation and practical modus, I have tried to ‟understand” what gives a sound character; is it interesting, appealing, useful ‒ what makes me intuitively want to use a specific sound? By this I mean: what makes me want to work with it, develop it, use it in new constellations, make it a part of my vocabulary? What does the sound bring to the musical interplay and overall expression, and is it the sound as such that interests me, or rather how it relates to the experienced whole? Asking these questions has been a natural part and a consequence of my musical activity, but also necessary in my position as a research fellow.