The singing subject is both site-of and author-of her practice. This practice-based, artistic research unpacks the entangled process of making new music, conscious that the performer-author is the site where embodied problem solving takes place. The principal focus of the paper is the author’s realization of Alexander Garsden’s [ja] Maser, for voice and electronics, created by recording and reconstituting vocal elements using traditional compositional and performative methods as well as studio recording and granular synthesis. The author approaches the realization of this new work as an experimental practice in dialogue with theoretical frames that inform and situate the research. "The grain of the voice" (Barthes) is a central theoretical touch-point for this case-study which also engages with ideas derived from texts by Connor, Deleuze and Guattari, Dolar, Chion, Auslander, Cavarero and Harraway. The author contends that theoretical grounding can be utilized to support and parse vocal practice, mediated by technology and the collaborative process, to more effectively negotiate performer subjectivity in the realization of new music. The results of these investigations through artistic research provide insight into the approaches a performer might devise to solve practical and philosophical problems in new electro-acoustic music while negotiating the granular, unstable nature of subjectivity.