This practice-based research project explores electronic music-making with a modular synthesiser within the context of technologically mediated music composition, the philosophical foundations of such practices, and a personal, psychoanalytically informed perspective. Through improvisation, composition, performance, and reflective writing, the researcher's approach evolves through the processes of self-discovery and insight. The open-ended research aims to understand the sources of inspiration that inform the researcher's unique and distinct musical output and how this is shaped by philosophical and psychoanalytic considerations. The exegesis examines the history and core concepts of the instrument and genre, as well as the relevance of psychoanalytic theory to the composer's musical practice. The findings and conclusions from this research project are distilled into potential guidelines for others exploring similar avenues in electronic music-making. The insights gained from the combination of practical experience and theoretical exploration will provide valuable direction for future practitioners looking to incorporate technology, philosophy, and personal experiences into their own creative process. The submitted portfolio presents the work of a modular synthesiser musician and composer over the course of six years of doctoral study. The works capture the evolution of the composer's approach and modular system and demonstrate the transformative role of technology in musical performance and composition. The composer's process involves improvising and performing live to tape with minimal post-processing and embracing imperfections for both technical and conceptual reasons. The composer’s artistic practice, including the release of three albums and performance of various concerts, primarily focuses on beatless ambient electronic music created exclusively with the modular synthesiser. The theoretical engagement with this creative project explores the concept of surplus enjoyment in the context of music-making with a modular synthesiser. Using Lacanian theory, the researcher argues that the process of music-making with a modular synthesiser is characterized by a constant search for new modules and an endless cycle of desire, acquisition, and lack. This surplus enjoyment is linked to the instrument's future potential and serves to connect the subject with the desired object. Finally, the project considers the implications of surplus enjoyment for music composition and performance with a modular synthesiser, and the role of psychoanalysis in understanding this phenomenon.