In the mid 1960s Owl Records released three albums of Dockstader's music, which led to favorable reviews in such publications as Saturday Review, Audio and High Fidelity.
Around this time of his new national recognition, Dockstader, being an outsider without academic credentials, was denied grants and access to the major electronic music centers. (The Columbia-Princeton Center turned him away.)
In the early 1980s, interest in Dockstader was further stimulated by some highly enthusiastic reviews of the Owl recordings in alternative publications like OP, Recordings of Experimental Music, and Surface Noise.
Released in the early 1990s, Starkland's two Dockstader CDs brought steadily increasing recognition to this pioneering composer. These CDs elicited further acclaim, from international alternative music publications like the UK's The Wire (which praised both the music and the "obsessive care" used to produce these CDs) to mainstream US publications like The Washington Post and Stereophile (which places Dockstader alongside Varèse, Stockhausen, and Subotnick in the area of electronic music). Reinvigorated, Dockstader returned to music at the start of the 21st century, adopting computer composition in favor of tapes. New CDs appeared from Sub Rosa and ReR Megacorp.
In the mid 2000s, Tod’s health diminished, but he continued composing until dementia stopped him. He died peacefully on February 27, 2015, listening to his music.
Tom Steenland wrote about his 40-year friendship with Tod in article posted at New Music Box.