Algorithmic electronic music, Artificial Intelligence, reciprocity. 1. Research Question Does early AI software remain relevant, in the face of recent developments in Generative AI? Do the limitations of this earlier technology engender greater equity between the creative input of both machine and operator? 2. Methods The software application "Music Mouse - An Intelligent Instrument, by Laurie Spiegel" (1986) was run on an Atari STE (1989) computer, and MIDI signals were sent to Kawai K1 (1988) and Casio FZ1 (1987) synthesisers. Both synthesisers were programmed with custom patches and then played using their own keyboards, whilst using the keys and mouse of the computer to effect algorithmic changes in the music. Multiple performances were recorded. With each successive iteration, came a greater understanding of how the algorithms responded to the human performance. With time and practice the relationship between each became more naturally reciprocal. 3. Context of Contribution ‘Unseen Worlds’ by Laurie Spiegel. Unseen Worlds, 2019. ‘Formalized Music: Thought and Mathematics in Composition’ by Iannis Xenakis. Bloomington and London: Indiana University Press, 1971. Innumerable uses of ‘Generative Music’ by Brian Eno, C1970-2023.