This contribution introduces analysis through synthesis as a methodological approach within sound ethnography and media theory. Drawing on fieldwork conducted within the SonARS – Sonic Anthropology Research and Synthesis Studio (University of Jena / HBK Braunschweig), it argues that the manipulation of sound — sampling, filtering, amplifying, modulating, layering — constitutes a form of analysis in its own right, one that yields epistemic access to the operational structure of cultural perception. Three interconnected claims are developed. First, recording devices are not neutral instruments: following Karen Barad's notion of the agential cut and Friedrich Kittler's media-theoretical genealogy, every recording already decides which world is audible before anyone listens. Second, what audio technology treats as noise is not the outside of meaning but its medial ground — developed through Gaston Bachelard's rhythm theory and what the author terms enharmonic hermeneutics: a modulating interpretive practice that renders audible what conventional hermeneutic frameworks exclude. Third, the five core operations of sound synthesis (sound generation, spectral processing, gain manipulation, modulation, layering) constitute a cross-sensory grammar — portable across olfactory, algorithmic, and ethnographic practice — through which cultural perception is synthesised. The methodology is illustrated by student sound works from HBK Braunschweig workshops and situated within the ongoing Lausitz context: a post-industrial landscape in which questions of sonic ecology, extractivist heritage, and Sorbian cultural resilience converge. The contribution closes with a pharmacological reading of media (Derrida/Stiegler): every microphone sits in a chain whose first link lies in the mine.