Thanks for the link, Moog Beam. I hadn’t seen it - probably because I’d mis-spelled Ayres, as you pointed out. Thanks for that, too.
Interesting that he was involved with The Shining, as Wendy was as well.
I feel fairly sure there must be a simple explanation for this, as nobody would make such an obvious copy of Walter/Wendy’s work and expect to get away with it if it wasn’t legitimate. (I still need to check the two abridgements and arrangements more closely, though. I’m going on memory with Walter/Wendy’s.)
So she probably knows all about this. I’ve only just now been able to get back to this, but I’ll do some more digging on the net before anything else. I’d be a fool if I was to say “hey, Wendy, you need to know about this” and it turns out she’s known about it for years. And she probably has.
Re Timesteps - I couldn’t agree more. It’s a marvellous piece of work.
Incidentally, I’m pretty sure the Moog system Walter/Wendy used was a custom build which included sensors on the keyboard for expression.
She moved to digital synths during the eighties (GDS Synergy, Kurzweil etc) and I believe she now uses the Moog only very rarely. Behind the apparent fluency of the Moog playing from Switched on Bach onward there seems to have been a great deal of painstaking and detailed work. I think the sheer quality of works like Timesteps has a lot more to do with Wendy’s skill, patience and hard work than it has to do with qualities the Moog modular has that modern synths don’t have.
But as you said, Q Wave, the thing that matters is the art of making music. I suspect many of us have dramatically underestimated how much struggle there was in Walter/Wendy’s pioneering work.
Re Paul White, I remember he was using guitar synths back in the eighties - and presumably still does. Personally I find guitar and keyboards differ in the way they prompt you to play. I play both, and find each expressive in different ways, depending on what sort of music is played. I wouldn’t ever say guitar is more expressive that keyboard per se. But maybe for some people it is. For me, tthe sounds can overlap, but the way I play the sounds will vary depending on how I’m getting them.
When I get the chance I’d like to try a trained soprano with a voice controlled synth to see what happens. I wonder if for her the voice would be more expressive than a keyboard? In my case it certainly wouldn’t be, 
- but on the other hand I’d still use voice control on very rare occasions. It all depends on what the music requires. And that’s one of the beauties of using synthesisers - there are so many ways to shape the sound.
And I’m sure our colleagues in the theremin forum would have their own contributions to make to discussion about expressive control of electronic instruments.
Re not forgetting I Want To Marry a Lighthouse Keeper - I’ve been trying to forget that for years.
Guess not.