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Analogue technology can be frustrating – is that part of the appeal?

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Having been (asleep, dozing, hibernating, inert, dormant) for a long period, suddenly the website began celebrating vinyl in a big way.


Rob told us how his love of music had turned (acid, sour, bitter, acrid) with the "sheer ease" of digital, starting with CDs and the MP3 player – and how vinyl had reinvigorated him.


"I would never listen to the album all the way through on an MP3, so it all became a bit disjointed. It was too easy – I was (going, taking, getting, driving) bored.

I wasn't getting pulled into music as much as what I remembered … With vinyl, it's made me look at bands I never would have (considered, reviewed, intended, proposed) on CD at all."

For Rob, the problem came when listening on digital devices which didn't have the "sides" of vinyl albums, and then listening on music streaming platforms which have digital algorithms to preference popular (tracks, lyrics, themes, anthems).

Much of the joy of listening to music (sat, lay, laid, fitted) in discovering unsung album track gems and single B-sides.

In our research, we (separate, identify, tell, distinguish) between analogue "craftspeople", who have spent hours mastering the rules of their technology, and "designers" who go further.

These are the people who want to stretch and break the rules and trigger the happy accidents that create something (overall, exactly, altogether, fully) new.

For example, photographers who (seek, search, strive, aspire) more creative expressions by pre-soaking or "souping" their camera film in lemon juice, coffee, beer, or even burning it.

And among this group, connecting digital and analogue technology is also common – (combining, associating, compiling, compounding) two completely different systems to generate even more possibilities.

Film director Denis Villeneuve's first instalment of Dune (2021) was (primarily, initially, principally, fundamentally) shot on digital, then transferred to film, before being re-digitised. Why?

Villeneuve says he felt that digital-only would have been "too harsh" for a movie in which texture and nature play an important (position, role, lead, roll).

But at the same time, for a story set in the year 10191, relying solely on film would have given too much of a (nostalgic, soppy, cheesy, period) feel.

By combining the two, Villeneuve got a film that, in his words, has a "more timeless, painterly (view, feel, experience, instinct)".

He (put, placed, pushed, set) this idea even further for Dune: Part Two (2024), with many of the scenes being shot using vintage Soviet-era Helios-44 lenses to create the dreamlike "bokeh" effect.

In I Dream of Wires, a 2014 documentary about the return of analogue synthesizers, Chris Carter, a former member of the industrial music (leaders, pioneers, settlers, pilgrims) Throbbing Gristle, explains the attraction of mashing up analogue and digital technology:

"I'm happy to combine analogue and digital synth modules. You can have modules that sample and manipulate those sounds, filters that do crazy things, and combining all those things together you get sounds you couldn't (think, assume, imagine, believe) before.

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