In this article, the author argues that because of the vast range of technical possibilities offered by electronic musical devices there had been an explosion of exploration and experimentation in the field, whereas little thought was being given to compositional considerations, leading to many works that were not particularly worthwhile in terms of their musical content. Noting that many sound synthesising devices of the time (1972) were more useful as electrical testing equipment than music instruments he investigates the extents and limits of electronic music synthesisers discussing what ideal compositional features a synthesiser should provide.