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So, by way of starting Insidious 6581, we should consider the advantages of using an experimental audio workstation from the outset. While there are many other ways of making music we already know that it is easy to get lost in the technicalities, and Insidious 6581 acts as a powerful stimulus for the creation of new music something which is difficult to do when the computer is just a means to create sound. An experiment in design is always better than a series of experiments, and Insidious 6581 is no exception. However, it is important to recognise that the purpose of using an experimental production system is not only to make music but to act as a guiding hand for an artist working towards musical ambitions. The most important trait of Insidious 6581 is that it gives us the freedom to experiment musically, while asking questions concerning what sound is and how it can be created. Therefore, we have to do this and develop our own tastes in order to find out which aspects of its design we like and which we dislike. If we want to make the best music, we need to draw inspiration from our surroundings, as anything else will result in pastiche. Like any instrument, Insidious 6581 should be part of an artists arsenal, and the best effects can only be discovered through trial and error. In this, there is the danger of being seduced by the software, but the fact is that there is no software which can generate consistent sounds and doused in wonderful analog synth patches. At the same time, the virtual instruments in Insidious 6581 will never be able to emulate a real synth or other electronic equipment.