|
The tools and techniques of modern dance music.
|
View this Thread in Original format
| Sonic_c |
Hi to everyone who knows me I have missed you all ;) and anyone reading this.
Been away for a while with my studies but I am back and need your help.
I am doing a dissertation on the tools and techniques used in the production of modern dance music. Of course I will need to do research for this project and part of that research is the opinions of you the people using "the tools and techniques used in the production of modern dance music"
Its at the baby stages of the assignment but I would like to know what you guys consider the KEY tools and techniques that are used for example side chain, Parametric EQ shaping, Mastering plugins etc etc.
Of course I know what my opinions are and have been making music for some years but I need some of your views for the purposes of research.
Would also love to know if any established producers would be happy to help in my research early next year where I will get deeper into the exact nature of how you the modern dance producer applies said tools.
Humour me I need it... |
|
|
| LoveHate |
the tweaking is always left to the ear, nevermind the scientific side ,if it sounds good to your ear then just leave it!
edit//
( i know this aint helping you though) |
|
|
| Mad for Brad |
I think you will have more success attacking this from a historical perspective. As it is now, the field is way too open and way too similar to other genres. If you focus on lets say the 909 , 303, samples and maybe talk about new tools and the new genres that sort of came about with those tools, I think you would have a more concerted effort. MAybe talk about certain key synths that defined certain genres ie the jp 8000 for trance.
As far as talking about modern things, perhaps talk about the influence EDM has had on other genres for example the use of the supersaw starting with usher's tune and so on.
If you are going to really focus on modern dance production, you will have to look at the house/jdnb side of things as that is where most of the new advancements are happening. |
|
|
| Richard Butler |
My prioties in terms of tools going forward;
1) Small cheapish boutique analogue rack synths (I just perfer the possibilities personaly)
2) Outstanding dynamics software, such as the new SLATE compressor (£149).
3) Outstanding softreverbs - even for things like a small room sound on the higher kik portion.
Of less impotance to me of late are soft synths - and yes I love building sounds from the ground up, but for me PERSONALY they are not as satisyfing as analogue, something I've recently concluded. Don't flame me for this folks, it's merely my personal preference going forward.
I can post a lead sound example I made this weekend that I deffo would not get from software, if you want OP. |
|
|
| Mad for Brad |
| everything you mentioned does not really have anything dance specific. You basically listed the tools of an audio engineer. |
|
|
| Richard Butler |
| They're specific alright. I used to buy a lot of softsynths, but now I try and work with less and find less widespread products and spend a lot more time researching after having realised a lot of stuff I bought in the past was not all that. Things like reverbs are very much at the heart of EDM, and getting the right one can make a substantive difference. |
|
|
| Mad for Brad |
he is writing an academic paper. Reverb was used a long time before EDM and really I don't see how you can claim it is intrinsic to EDM. For academic papers, you need to base your self somewhere in history and you should have a rather specific topic or your paper will fizzle. Talking about generic effects or processes that every genre uses will not make your paper very interesting.
That is why I recommend the historical approach because you can definitely make the claim that EDM producers had certain production tools. You will also find published literature that academia will deem worthy which unfortunately you will have to tie in somehow. You will also have the cultural bag if you need a few filler pages. Talk about why these tools were the ones they used and why it happened.
Either narrow it down to a genre or something more specific because as it stands, you not only have to define what is EDM which in itself is not so simple but you also need to make reference to all dance music ever made from the beginning up till now.
So what I suggest, pick a time frame, pick a genre and work outward. |
|
|
| alexlosy |
| quote: | Originally posted by Mad for Brad
he is writing an academic paper. Reverb was used a long time before EDM and really I don't see how you can claim it is intrinsic to EDM. For academic papers, you need to base your self somewhere in history and you should have a rather specific topic or your paper will fizzle. Talking about generic effects or processes that every genre uses will not make your paper very interesting.
That is why I recommend the historical approach because you can definitely make the claim that EDM producers had certain production tools. You will also find published literature that academia will deem worthy which unfortunately you will have to tie in somehow. You will also have the cultural bag if you need a few filler pages. Talk about why these tools were the ones they used and why it happened.
Either narrow it down to a genre or something more specific because as it stands, you not only have to define what is EDM which in itself is not so simple but you also need to make reference to all dance music ever made from the beginning up till now.
So what I suggest, pick a time frame, pick a genre and work outward. |
I agree with that.
It will be critical analysis that is the key here.
SO I'd add that in addition to categorizing those tools and techniques to dance music in general, state the underlying reasons and why this has been so.
I.e. why the Jp8000 or 8080 was a certain standard used by industry, and importantly why other equally useful alternatives weren't used. Perhaps if they were then what the result would have been.. Look at the effects that other external variabkes has on the use of tools - i.e. media and people's perception, interfaces, stuff like that.
You get my drift - this by no means is what you should do of course, just banding ideas about!
In answer to your actual question though....
My key tools are:
1. A number of key and softsynths which differ from eachother - the most important aspect of these being my ability to understand and use them.
2. Parametric EQ with great clarity and most importantly useability
3. SSL G series compressor (nothing else beats this!!!)
4. Multibant limiter - For me this is imperative in gaining nice cohesion at mastering stage. I used to use the Waves C4 but recently got the hang of the Waves L4 MultiMaximiser which has changed the way in which I master completely!
Good luck mate - hope it works well! |
|
|
| DjStephenWiley |
| quote: | Originally posted by Sonic_c
Hi to everyone who knows me I have missed you all ;) and anyone reading this.
Been away for a while with my studies but I am back and need your help.
I am doing a dissertation on the tools and techniques used in the production of modern dance music. Of course I will need to do research for this project and part of that research is the opinions of you the people using "the tools and techniques used in the production of modern dance music"
Its at the baby stages of the assignment but I would like to know what you guys consider the KEY tools and techniques that are used for example side chain, Parametric EQ shaping, Mastering plugins etc etc.
Of course I know what my opinions are and have been making music for some years but I need some of your views for the purposes of research.
Would also love to know if any established producers would be happy to help in my research early next year where I will get deeper into the exact nature of how you the modern dance producer applies said tools.
Humour me I need it... |
sidechaining didn't become popular until like 2003. i would definately leave that out. thats really a wimp technique anyway. try to get away from the neve and the ssl desks. talk about some of the older gear, such as how the arpegiator was a huge, huge addition to dance music. (I believe the older Juno had the first one, but it got popular with the JP8000) - Talk about the 909 kick, the 808 clip. As others have said, focus on things that are unique to dance music. From an engineering perspective I know that's hard because everyone wants to talk about the Massive Passive or API 2500 but try to veer away from that and focus on technique. Even basic things like where hi-hats and claps typically go in a track, or late 90's basslines that simply had one note flying up or down at the end. |
|
|
| kitphillips |
You could maybe approach it from the perspective of EDM producers abusing low end consumer gear, maybe look at it from the perspective of poor people using cheap tools innovatively to create interesting music.
Then you could tie together the whole 303/808 thing to the JP8080 thing. How dance music has always been shaped by the tools that were available to its producers.
Also how changing availability of tools has affected the sound, so for example why acid house is not longer so popular - its too expensive to get a 303. Maybe finish with an assessment of the impact of ableton or some other such live performance gear on the scene, and try to analyse what might happen in future. |
|
|
| tehlord |
| Just write about how the loudness war is destroying music. The bearded academics responsible for grading will most likely nod to each other like a herd of wizards and give you a gold star. |
|
|
| Kenny Rogers |
| elektron machinedrum UW and monomachine! all you need right there. |
|
|
|
|
