| Time period | Key Equipment |
| Early Modular Synthesizers (1960s-1970s) | Buchla Music EaseBuchla Modular Music SystemMoog Modular Synthesizers |
| Semi-Modular and Monophonic Synthesizers (1970s) | Minimoog ARP OdysseyRoland SH-1000SH-2000 |
| Polyphonic Synthesizers (1970s-1980s) | Polymoog Prophet-5 Jupiter-8Juno-106 Oberheim OB-Xa |
Example pieces:
- “Switched-On Bach” (1968) by Wendy Carlos, featuring the Moog Modular
- “Oxygène” (1976) by Jean-Michel Jarre, featuring the ARP 2600 and Ems VCS3
- “Autobahn” (1974) by Kraftwerk, featuring the Minimoog and ARP Odyssey
- “Blade Runner” (1982) soundtrack by Vangelis, featuring the CS-80 and Prophet-5
Core Techniques and Terminology:
| Subtractive Synthesis | The process of starting with a complex waveform and filtering out specific frequencies using filters and envelopes. |
| Oscillators | The primary sound sources in analog synthesizers, generating basic waveforms like sine, sawtooth, square, and triangle waves. |
| Filters | Essential components for shaping the harmonic content of the sound, such as lowpass, highpass, and bandpass filters. |
| Envelopes | Used to control the amplitude and filter cutoff over time, shaping the attack, decay, sustain, and release of the sound. |
| Low-Frequency Oscillators | Used for modulating various parameters like pitch, filter cutoff, or amplitude, creating cyclic modulation effects like vibrato, tremolo |
| Ring Modulation | A form of modulation where two signals are multiplied together, creating complex, inharmonic sidebands and metallic or bell-like tones. |
| Sync and Cross-Modulation | Techniques for synchronizing or modulating one oscillator’s frequency by another, creating complex timbres and harmonics. |
| Patching and Modular Synthesis | The process of connecting various modules using patch cables to create complex signal paths and sound-shaping possibilities. |
For this experiment in order for me to further understand the effects of the analog, wavetable and operator, I am going to record one sound and alternate the sound into a piece that has a bass melody, rhythmic beats, melody and supporting harmony. First i created a drum kick with alternating the analog with the combination of fil1 and noise 
Then I created a bass melody with alternating the envelop and frequency
And but alternating the wavetable by changing the sustain and release i created a smooth and soft supporting harmony
Here is the final product of a short phrase for my experiment (add audio file)
Through this experiment I’ve concluded that I could use the wavetable to smoothen out or sharpen part of my piece that i don’t like and for analog I could use it effectively to make slight changes to recorded sounds that i would like to make changes