The Biopolitics of Synthesizers

Abstract

This chapter outlines how the design of synthesizers and digital instruments in twenty-first-century EDM reflects a biopolitics of software that arises when sound and signal are analogized as dynamic bodies, and the core practices of music production center on the attempt to control, manipulate, and repair those bodies. Combining Tara Rodgers’ work on metaphor in audio-technical discourse and Robin James’s ideas about EDM and the sonic signatures of neoliberalism, this chapter argues that the intersonic control network of synthesizers—a modular, interconnected system of oscillating waveforms, filters, modulation envelopes, and effects—embodies fundamental shifts in the creative practice of electronic music production, the cultural economy of the music products industry, and the nature of labor in the software and media industries. The blurred lines between production and consumption, hardware and software, and labor and leisure define what the author calls the biopolitics of synthesizers. The author details three aspects of these biopolitics in this chapter, including the relationship between synthesizers and masculinity post-2008, synthesizer design and manufacturing as an agent of neoliberal capitalism, and the nature of commodity fetishism and gearlust in an era of plugins, sample packs, and other types of downloadable content.