Any discussion of the role of technology in popular music should begin with a simple premise: without electronic technology, popular music in the twenty-first century is unthinkable. As a point of departure, however, such a premise demands that one develop an understanding of music technology as more than a random collection of instruments, recording and playback devices. Technology is also an environment in which we experience and think about music; it is a set of practices in which we engage in making and listening to musical sounds; and it is an element in the discourses that we use in sharing and evaluating our experiences, defining, in the process, what music is and can be. In this sense, the ensemble of electronic devices that are used to make, distribute and experience contemporary music are not simply a technical ‘means’ through which we experience music. Technology has become a ‘mode’ of music production and consumption: that is, technology has become a precondition for music-making, an important element in the definition of musical sound and style, and a catalyst for musical change (Blacking 1977). However, technology does not simply determine music-making. Pop artists and consumers have often used technology in ways unintended by those who manufacture it. In this way, pop practices constantly redefine music technologies through unexpected or alternative uses.