|
The tools and techniques of modern dance music. (pg. 3)
|
View this Thread in Original format
| Kenny Rogers |
| or you could just steal ishkurs guide to edm. |
|
|
| Mad for Brad |
| quote: | Originally posted by vikernes
Also, someone mentioned sidechaining; I'd definitely put that in there. I don't know when it was actually invented or anything, but I'm pretty sure most people first heard it when Satisfaction came out. And ever since then, it's been abused by pretty much every genre :) |
the 30s
as far as common music production, ever since ssl consoles. In short , a real long ing time. |
|
|
| vikernes |
| quote: | Originally posted by Mad for Brad
the 30s
as far as common music production, ever since ssl consoles. In short , a real long ing time. |
But not external sidechaining right? Maybe the "tool" has been available since then, but I don't think anyone used it as such as it is on Satisfaction. At least not to my knowledge. |
|
|
| Mad for Brad |
Since the 70's heavily used to duck the bass when the kick was present. Perhaps not as extreme as they weren't worried about getting their tracks to -6 rms. Very old and very used technique. There is absolutely nothing new about it. It became more prevalent as performers decreased in skill in combination with the loudness war that has been going on since the 70s.
Even the concept of ducking used in broadcast has been around for the better part of a century. |
|
|
| Kenny Rogers |
| hypersaw in hiphop is a pretty interesting topic, maybe you can write about that. how the hell did that happen? |
|
|
| Mad for Brad |
| usher's song pretty much started the trend. |
|
|
| DJ RANN |
| quote: | Originally posted by Mad for Brad
Since the 70's heavily used to duck the bass when the kick was present. Perhaps not as extreme as they weren't worried about getting their tracks to -6 rms. Very old and very used technique. There is absolutely nothing new about it. It became more prevalent as performers decreased in skill in combination with the loudness war that has been going on since the 70s.
Even the concept of ducking used in broadcast has been around for the better part of a century. |
Absolutely true. Ducking in broadcast was one of the first techniques really used as a standard practice.As for external? or course, that was the first (and only) way it could be done back then. It was actually how I was taught back in school, before it was in widespread EDM use then I was like, oh , I know what this is.
Back OT, Sonic, you're going to have seriously hard time defining what is EDM specific. The nature of EDM, aside from it's rather broad base of electronic kit as the common denominator, is the fact that it is hugely sample based, whilst also borrowing from other genres, as other genre's do from it.
You could do the history of EDM technology as it's base but honestly that's been done to death. Trying to define what attracts us to certain sounds is a big hill to climb as well. I have no idea how you would qualitatively and quantitatively measure this with any validity.
I think what would be interesting is how techniques and technology that previously existed for other uses were incorporated in to EDM, and the resultant effect that had on EDM AND how that was redigested back in to other forms of music. As M4F pointed out, Usher ;)
I would make the paper about resultant effects of borrowed technology(s) for EDM, and then it's subsequent effect back on those other forms of non EDM music. I think links and incestual nature of production would be interesting to explore.
For instance I work with one guy that does such things as use the GTR plugins on long (real) orchestra strings for film score. |
|
|
| Sonic_c |
Hey guys
Made some refinements to my proposed paper.
Firstly you guys are right 'Dance music' as a topic is far too broad so I am going to focus on House and Trance.
So now also 'the tools and techs' bit is far too broad I would have ended up investigating the role of a good seat in a studio!! So I am going to refine that to three specific T&T's.
So my question will look more like
An investigation into three tools or techniques considered 'key' to the production of modern trance and house music. (suggestions on phrasing welcome)
So firstly I am going to have to do some qualitative research on you guys as to what you think the three KEY T&T'S are, then use quantitative methods to choose which ones to investigate.
So if I get 30 responses and 17 are about compressors I will know compressors are what my research is showing to be one of the three important areas to investigate.
(I am actually new to the whole qualitative, quantitative, temporal etc etc) I am half way through a book on research methodology so if I get bits wrong then sorry. its kind of why I am doing this assignment to teach myself how to do academic research
Also the three T&T'S that i choose need to be specifically relevant to house and trance. I dont want to spend all that time investigating a certain EQ practice only to be told when I hand it in that 'Well that could be said about any genre'.
Think arrangement, structure, sound design, processing, mixing, fx, post mixdown processing, approach to production, intended results context of the music. Literally any area of the production of the music we love that without it the music just wouldn't be 'subjectively' as good =)
Thanks for any help or suggestions.... there will be a poll to follow this thread based on your contributions which will probably go into the paper.
Thanks again |
|
|
| Mad for Brad |
| A large part of you paper will be needed just to explain what trance and house are if you chose to use those terms. Might seem easy for most here to know the difference but explaining it in musical terms via a paper is much more difficult a task. |
|
|
| Sonic_c |
Yes maybe, but I am sure there are ways around this (X defines trance music as.....)?
Also surely a smaller part that will be needed than when I was going to do 'dance music' lol |
|
|
| Mad for Brad |
| lol well try and describe it under 2 pages. I bet you will find it challenging. You will have to talk about tempos, sound sources, harmonies , melodies, form. I'm sure you can even make that topic into a paper and satisfy the quota. I just noticed that you are studying electronic music so maybe you won't have to explain it from scratch. I thought perhaps you were at a normal school where they would not even recognize the term EDM let alone house or trance. |
|
|
| Richard Butler |
| Dynamics > my most important studio tool. Compressors, limiters, transient designers. |
|
|
|
|
