Uchronie: Revisiting Analogue Computing to Expand the Language of A/V Synthesis (original) (raw)

The analogue subtractive synthesizer is well known to musicians and the general public, but, perhaps surprisingly, it is less clearly defined as an instrument (or electrophone) in academic literature. This chapter argues that as the evolution of analogue subtractive synthesizers has stabilised in terms of design architecture, an improved definition of the modern instrument is needed for composers and performers to understand its musical potential. Contemporary non-hierarchical, rhizomatic models of classification designed primarily for digital musical instruments (as proposed by Weisser & Quanten, Magnusson, Jorda, Kvifte & Jensenius, and others) are discussed. Similarities between the complex issues surrounding the classification of digital instruments are compared with the analogue synthesizer in modular, semi-modular and hard-wired (non-modular) forms. Classification techniques are tested against a range of affordable and commercially available analogue monophonic synthesizers to discover the effectiveness of these techniques for creating a clear definition of the instrument. A set of common synthesis parameters is identified in contemporary synthesizers to establish whether a baseline level of functionality and musical potential can be found across the family of instruments. Problems of classifying synthesis functions and differences in terminology are discussed via examples taken from a survey of contemporary, massproduced instruments. The capabilities of the modern analogue synthesizer are compared with the functionality, design aspirations and musical potential of earlier generations of synthesizers such as those made by Moog, EMS, and Buchla, with reference to relevant academic and industry literature. Potentially important features that are missing from some contemporary instruments are revealed and the musical impact of such feature omissions is discussed. Conversely, the latent expressive power and sonic flexibility of the modern analogue synthesizer is outlined with examples from contemporary practice. Finally, solutions to the difficulties of classification are proposed that are based around defining sub-categories of synthesizers and from the perspective of achieving specific musical composition and performance objectives. Reasons for the continuing cultural and musical importance of the synthesizer are also considered, as instruments have become available to a broader spectrum of musicians.