STEIM (STudio for Electro Instrumental Music) was a center for research and development of new musical instruments in the electronic performing arts, located in Amsterdam, Netherlands. Beginning in the 1970's, STEIM became known as a pioneering center for electronic music, where the specific context of electronic music was always strongly related to the physical and direct actions of a musician. In this tradition, STEIM supported artists in residence such as composers and performers, but also multimedia and video artists, helping them to develop setups which allowed for bespoke improvisation and performance with individually designed technology.
STEIM existed since 1969. It was founded by Misha Mengelberg, Louis Andriessen, Peter Schat, Dick Raaymakers, Jan van Vlijmen, Reinbert de Leeuw, and Konrad Boehmer. This group of Dutch composers had fought for the reformation of Amsterdam's feudal music structures; they insisted on Bruno Maderna's appointment as musical director of the Concertgebouw Orchestra and enforced the first public fundings for experimental and improvised electronic music in the Netherlands.  They were offered a budget for their collective multimedia opera "Reconstruction" which was premiered in the Holland Festival in 1969.  The technology used in this opera was then taken to Amsterdam's Prinseneiland which was STEIM's first location. Soon, in 1971, the studio moved to the Groenburgwal in the city center, where there was more space for workshops and concerts. Since 1986, STEIM was located at the Achtergracht in the city center's southern area in a building containing including three studios, a concert hall, hard and software workshops, offices, and a guesthouse for artists in residence.
STEIM officially ceased to exist as an organization at the end of 2020 due primarily to cuts within the Dutch national cultural funding system. 
As a headline for most of STEIM's instrumental developments it can apply that "Touch is crucial in communicating with the new electronic performance art technologies".  As in traditional musical instruments, it is believed here that also in contemporary developments the physical touch of a musician contains essential aesthetic factors. These qualities tend to get lost in the non-realtime use of studio technology, in which the process of music production gets rather rational but bodily involved. The Touch philosophy — which can be considered as STEIM's interpretation of the widely used term interactivity — theoretically subsumes several stages of STEIM's developments, from the analogue touchable "Crackle" surfaces in the 1970s  to today's experimental Gestural MIDI Interfaces.
STEIM was a foundation whose primary financial support came from the Dutch ministry of Culture. It invited international artists in residence of all different musical and artistic styles and scenes. Aside from offering support in theoretic and practical development of contemporary musical instruments, STEIM also hosted in-house concerts, exhibitions and workshops. The work in progress of supported artists was presented during open studio events.
NATO.0+55+3d was an application software for realtime video and graphics, released by 0f0003 Maschinenkunst and the Netochka Nezvanova collective in 1999 for the classic Mac OS operating system.
Netochka Nezvanova is the pseudonym used by the author(s) of nato.0+55+3d, a real-time, modular, video and multi-media processing environment. Alternate aliases include "=cw4t7abs", "punktprotokol", "0f0003", "maschinenkunst", "integer", and "antiorp". The name itself is adopted from the main character of Fyodor Dostoyevsky's first novel Netochka Nezvanova (1849) and translates as "nameless nobody."
An electronic keyboard, portable keyboard, or digital keyboard is an electronic musical instrument, an electronic derivative of keyboard instruments. Electronic keyboards include synthesizers, digital pianos, stage pianos, electronic organs and digital audio workstations. In technical terms, an electronic keyboard is a synthesizer with a low-wattage power amplifier and small loudspeakers.
A MIDI controller is any hardware or software that generates and transmits Musical Instrument Digital Interface (MIDI) data to MIDI-enabled devices, typically to trigger sounds and control parameters of an electronic music performance. They most often use a musical keyboard to send data about the pitch of notes to play, although a MIDI controller may trigger lighting and other effects. A wind controller has a sensor that converts breath pressure to volume information and lip pressure to control pitch. Controllers for percussion and stringed instruments exist, as well as specialized and experimental devices. Some MIDI controllers are used in association with specific digital audio workstation software. The original MIDI specification has been extended to include a greater range of control features.
The Lyricon is an electronic wind instrument, the first wind controller to be constructed.
A kraakdoos or cracklebox is a custom-made instrument, in the form of a noise-making electronic device. It is a small box with six metal contacts on top, which generate various unusual sounds and tones when pressed by the performer's fingers. The human body becomes a part of the circuit and determines the range of sounds possible, thus different people–or the same person at different times–shall generate different results.
A wind controller, sometimes referred to as a wind synthesizer, is an electronic wind instrument. It is usually a MIDI controller associated with one or more music synthesizers. Wind controllers are most commonly played and fingered like a woodwind instrument, usually the saxophone, with the next most common being brass fingering, particularly the trumpet. Models have been produced that play and finger like other acoustic instruments such as the recorder or the tin whistle. The most common form of wind controller uses electronic sensors to convert fingering, breath pressure, bite pressure, finger pressure, and other gesture or action information into control signals that affect musical sounds. The control signals or MIDI messages generated by the wind controller are used to control internal or external devices such as analog synthesizers or MIDI-compatible synthesizers, synth modules, softsynths, sequencers, or even non-instruments such as lighting systems.
The Buchla Lightning is the second in a series of MIDI controllers developed by Don Buchla. It consists of two independent hand-held electronic wands and a box unit that enable a player to initiate sounds and to manipulate those sounds spatially.
Peter Ane Schat was a Dutch composer.
Michel Waisvisz was a Dutch composer, performer and inventor of experimental electronic musical instruments. He was the artistic director of STEIM in Amsterdam from 1981, where he collaborated with musicians and artists from all over the world.
Steina Vasulka and Woody Vasulka are early pioneers of video art, and have been producing work since the early 1960s. The couple met in the early 1960s and moved to New York City in 1965, where they began showing video art at the Whitney Museum and founded The Kitchen in 1971. Steina and Woody both became Guggenheim fellows: Steina in 1976, and Woody in 1979.
kREEPA is a group that perform electronic music and musical improvisation founded by John Richards and Hilary Jeffery in 2000. The group performs a type of industrial jazz and electro-noise.
I-CubeX comprises a system of sensors, actuators and interfaces that are configured by a personal computer. Using MIDI, Bluetooth or the Universal Serial Bus (USB) as the basis for all communication, the complexity is managed behind a variety of software tools, including an end-user configuration editor, Max (software) plugins, and a C++ Application Programming Interface (API), which allows applications to be developed in Mac OS X, Linux and Windows operating systems.
Live electronic music is a form of music that can include traditional electronic sound-generating devices, modified electric musical instruments, hacked sound generating technologies, and computers. Initially the practice developed in reaction to sound-based composition for fixed media such as musique concrète, electronic music and early computer music. Musical improvisation often plays a large role in the performance of this music. The timbres of various sounds may be transformed extensively using devices such as amplifiers, filters, ring modulators and other forms of circuitry. Real-time generation and manipulation of audio using live coding is now commonplace.
Lindsay Vickery is an Australian composer and performer.
The Miburi is a wearable musical instrument which was released commercially by the Yamaha Corporation’s Tokyo-based experimental division in 1995.
Laetitia Sonami, is a sound artist, performer, and composer of interactive electronic music who has been based in the San Francisco Bay area since 1978. She is known for her electronic compositions and performances with the ‘’Lady’s Glove’’, an instrument she developed for triggering and manipulating sound in live performance. Many of her compositions include live or sampled text. Sonami also creates sound installation work incorporating household objects embedded with mechanical and electronic components. Although some recordings of her works exist, Sonami generally eschews releasing recorded work.
Franziska Baumann is a Swiss musician and composer, specializing in improvisation and composed music. Baumann studied at the Winterthur Conservatory, majoring in flute with a minor in singing. Following her conservatory studies, she completed improvisation classes with Fred Frith, Barre Phillips, and George Lewis. She also studied with vocal artists such as Phil Campanella, Lauren Newton, and Joan La Barbara. As a vocalist she makes use of extended and microtonal, with clicking and percussive sounds, tone changes and language-related techniques. Baumann performs solo and with musicians including Pierre Favre, Joëlle Léandre, Lê Quan Ninh, Jacques Demierre, Peter Schaerli, and Matthias Ziegler. She is also part of the improvisation trio, Potage du Jour, alongside Jürg Solothurnmann and Christoph Baumann. Her repertoire as a composer ranges from improvised works and electro-acoustic compositions to sound installations and large scale surround sound projects. As Artist in Residence at the Amsterdam Centre For Electro Instrumental Music (STEIM) Baumann programmed a data glove so that she could trigger voice and sound articulations in real time via gesture. Since 2006 Baumann has served as a lecturer in vocal performance and improvisation at the Hochschule der Künste in Bern, where she is also involved in research projects on topics such as sound without body and Gesture performance. Franziska Baumann lives and works in Bern, Switzerland.
The AudioCubes are a collection of wireless intelligent light emitting objects, capable of detecting each other's location and orientation, and user gestures, and were created by Bert Schiettecatte. They are an electronic musical instrument used by electronic musicians for live performance, sound design, music composition, and creating interactive applications in max/msp, pd and C++.
Eric Singer is a multi-disciplinary artist, musician, programmer and electrical, robotic and medical device engineer. He is known for his interactive art and technology works, electronic and robotic musical instruments, fire art and guerilla art.