Music as a medium has many materialities. Following Lars Elleström’s definition of medium materiality, one can, among others, discern music as written, as a sounding, as a mental or as a technological medium. Music researchers have reflected about the consequences of the digitalization of music, a process that started in the 1950s but has only recently, during the past 15, 20 years or so, started to challenge the very ontology of the medium. Despite this technological revolution, the analogue still works as a reference for digital music production, distribution and consumption. This chapter summarizes these references, in particular those that were indicated by our interviewees.