Instead of mixing many input signals into fewer output signals, the Topoph24 has to work exactly the other way around, distributing a small number of input signals over many outputs; so in analogy it should be referred to as a divider, a spatial sound distributor. Each possible connection of inputs and outputs should not only be switchable, but controllable as well - a feature displayed by only few other devices.

Of similarly decisive importance is the possibility to control sound synthesis and sound distribution synchronously - a feat which the Topoph24 accomplishes through MIDI. Also in that way it is different from other sound distributors that are equipped with manual or non-conventional controllers, mainly conceived for live-electronic use.

The Topoph24 has several levels of control, a fact which is reflected in its set-up by the use of three computers. At the lowest level computer C takes care of a regular re-calculation and transfer of acoustic levels to the mixer every 10 milliseconds or so, enabling fast movements. In turn it receives information from computer B on where and which sounds are to be heard, for how long and at at which volume.

This information, the so-called fade processes, is calculated by computer B using specially developed algorithms extracted from one powerful command like "generate circular movement along speakers 2, 4, 6, 13, 11, and 7, at speed 25, degree 3.5 and volume 90". This saves the composer from performing complex and difficult calculations that could only lead to rigid solutions. Since the parameters of the algorithms can be changed at any time, the realization of the above mentioned live-electronic applications is still possible.

Another simplification is that there is the possibility of issuing these commands from any MIDI-capable program, especially sequenzers, so the composer is able to further use her familiar working environment. This very accurately describes the working method required for the realization of a project like this: creating interfaces between the properties of hard- and software and the working process of the composer.

Explanation of the control system Computer A is responsible for the central control. The composition program running on this computer even supplies so-called MIDI data. MIDI data are supplied for sound production to the individual instruments. Simultaneously, they are transmitted to computer B to determine sound movement. Generally: Sound is produced and pre-mixed by electronic instruments. As there are only electronic sound producers (synthesizer and sampler), a precise synchronisation of these sounds with the sound movement by way of central computer control is possible. Computer B calculates the incoming MIDI data and sends it to Computer C, into a data format which is understood by the computer-controlled mixer Topoph24 and in turn transmits them to the mixer. In the mixer Topoph24 itself, this data determines which of the VCAs (voltage controlled amplifier = a module which controls acoustic signals) will be activated; at the same time the strength and duration given the incoming acoustic signal on the selected loudspeakers is determined.