Abstract
This article draws on a practice theory perspective to investigate instances of sound practice in a particular community of technology use by focusing on the community and product offerings in and around contemporary modular synthesisers and their growing popularity in the ‘Eurorack’ format in order to investigate the attraction and allure of analogue things in a digital age. This article identifies issues of authenticity, legitimacy and creativity as key drivers of the way we project our identities onto objects and the intimate technologies we own, and the search for meaningful technological encounters. In the realm of sound practice, the follow-up questions are similar: why when there is software and affordable digital alternatives, do some musicians swear by modular synthesis given the commitment this practice requires in terms of money, time, self-education and exploration (and for a lack of a better term) tinkering? With Eurorack as a case study, this article investigates the attraction and allure of analogue things in a digital age by investigating meaningful sound practice as emerging out of the discourses of online communities around the modular synth phenomenon.
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