Eno mentions in the liner notes that "here is the long delay echo system with which I have experimented since I became aware of the musical possibilities of tape recorders in 1964.
It allowed him to be what he referred to as a "small, mobile, intelligent unit", as opposed to being part of a massive rock concert touring company.
One such show was in a room at Faunce House at Brown University, Providence, Rhode Island, in a venue built to be a tiered classroom.
He then produced Let the Power Fall: An Album of Frippertronics in 1981, which takes up where God Save The Queen left off, with works entitled 1984, 1985, 1986, 1987, 1988 and 1989.
Fripp also used Frippertronics in more conventional rock recordings, replacing what could be viewed as musical parts normally served by orchestral backing.
Side B of God Save the Queen/Under Heavy Manners included what Fripp termed "Discotronics", mixing Frippertronics and a disco-style rhythm section.
[10] In the mid-1990s, Fripp revamped the Frippertronics concept into "Soundscapes",[11] which dramatically expanded the flexibility of the method by using digital technology (delays and synthesizers).