Drawing on examples of her own work, in this article composer Olesya Rostovskaya illustrates a variety of options offered by the ANS synthesizer, as well as techniques to mitigate some of the instrument’s limitations. She considers issues such as the twinning of images and sounds, division of the sound field into separate sine tones and novel techniques in producing the score. Difficulties relating to the transportation and exhibition of ANS scores are explored along with the potential of using the ANS not merely as a laboratory device but as a true musical instrument to perform in concert. She analyses her own compositions «Ascension» (for organ and ANS) alongside «Luminescence» (for Theremin and ANS) and «Spacescape» and «ANSomnology» (for ANS solo), as well as «Synesthesia» and «Synesthesia-2», developed in partnership with fellow artist Tatiana Kolganova, and deliberates on the conceptual challenges and technical process which face composers in creating such works.