本研究主要探討鍵盤形式類比減法合成器音色調變可能性於音樂製作之應用。合成器做為電子發聲樂器，在流行音樂以及各音樂類型中被廣泛應用，已是目前主流樂器之一；在其數十年的發展過程中，經許多不同時期的演變而有如今各種的形式、種類、機制，其中 「類比合成器」做為近代合成器最早出現的形式，在經歷興盛、衰退、再復興，在現今多元的合成器市場中仍有重要的一席之地。作者以類比合成器愛好者的身份出發，藉由製作專輯的機會探索類比合成器音色調變以及應用與創作中之可能性，試圖回答其往往帶給使用者架構上、功能上「侷限」的印象是否為真。
本文節選專輯曲目製作過種中使用之合成音色調變工具及手法並加以闡述，針對減法合成架構各環節開發較進階技法適用於樂曲之可能性，例如濾波器自我振盪應用於噪音質地製造空氣感空靈音色、音訊回授使類比濾波器失真做為音色染色手段、振盪器失諧技術綜合應用試圖以類比方式模擬數位失諧之幅度等，實際觀察與體會到在前述侷限的表象下，其實是無限的可能性，甚至在某些層面上較數位合成器更加不受限。此外，本次研究也藉機反思侷限是否並非只來自於機器，而亦可能有著與「人」即創作者本身相關之其他可能性。

This study primarily investigates the potential applications of keyboard-style analog subtractive synthesizer sound modulation in music production. Synthesizers, as electronic sound instruments, are widely used in popular music and various musical genres, making them one of the mainstream instruments today. Over the decades of their development, they have evolved through various forms, types, and mechanisms. Among them, "analog synthesizers," as one of the earliest forms of modern synthesizers, have experienced prosperity, decline, and resurgence. They still hold an important place in today's diverse synthesizer market.
The author, starting from the perspective of an analog synthesizer enthusiast, explores the possibilities of sound modulation and its application in composition through the opportunity of producing an album, aiming to address whether the impression of "limitations" often associated with analog synthesizers in terms of structure and functionality is true.
This paper selects album tracks and elaborates on the synthesizer sound modulation tools and techniques used during their production. It focuses on exploring the possibilities of applying advanced techniques in various stages of subtractive synthesis for musical compositions. Examples include the use of filter self-oscillation to create an ethereal atmosphere in noise texture, audio feedback to distort analog filters for coloration, and the comprehensive application of oscillator detuning techniques to analog emulation of digital detuning extent. Through practical observation and experience, it is evident that beneath the apparent limitations, there exist infinite possibilities, sometimes even surpassing those of digital synthesizers in certain aspects.
Furthermore, this study takes the opportunity to reflect on whether limitations stem not only from the machines themselves but also from other possibilities related to the "human" element, namely the creators themselves.

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