As the liner notes state, the entire album is synthesized, meaning that, "All the music and sounds heard on this recording were directly digitally generated. This eliminates all the limitations of microphones, the weak link necessary in nearly all other digital recordings, including those which employ 'sampling' technologies."
As Benson writes, though, "it seems that for most users of synthesizers the extra freedom has not had much effect, in the sense that most music involving synthesizers is written using the equal temperedtwelve tone scale. A notable exception is Wendy Carlos, who has composed a great deal of music for synthesizers using many different scales. [Benson] particularly recommend[s] Beauty in the Beast...(SYNCD 200, Audion, 1986, Passport Records, Inc.)."
"The music on this album cuts through a lot of the conventions and restraints that were used as frameworks for previous releases: instrumentation, tonality, and scaling, to name just a few."