Abstract
This article is the result of my research of Yugoslav pop music discography in the second half of the 1980s, focused on the processes of implementation of digital musical instruments and general-purpose computers into music production - as original sound sources or replacements for acoustic instruments, as well as poetic metaphors and elements of graphic design of record covers. Based on the data available from recording staff listings, interviews with musicians/producers and the listening experience, the paper covers the most prominent examples of aforementioned practices.
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