January 2, 2013
There is a saying that “art mimics life, and life mimics art”. The same can be said about technological advancements in music creating technology and the culture that surrounds it as well. When Ableton first implemented its session mode, the developers never expected it to be used as the live instrument DAW that is it so widely used as today. They figured it would be confined to bedrooms and studios in a purely production setting. With the latest revision of Ableton, it’s clear that the interface has been tampered with to allow it to be used as live performance tool, above all else. This is an example of culture influencing technology.
Music genres also have an effect on technology, and vice versa. If you look closely at the type of FX that are offered on Native Instrument programs, like the Traktor Remix Decks, it seems like they’re geared towards …
December 22, 2012
I dare say that the amount of new DJ gear released has a direct correlation between the amounts of electronic music produced. Does new gear lead to new styles and genres of music being invented? Or is the other way around with music influencing the gear? Just take a look at the types of accessories Native Instruments has been creating. Their Kontrol F1 caters to the sampling style of creating music, rather than the organic style of creation. It seems to be that dubstep music plays a key part here. Glitchy music filled with erratic one shot sample (glitch-hop) can be produced by pressing buttons on a live remix machine, rather than organizing them with the help of a sequenced DAW.
Synthtopia has left an open message board asking for opinions on the best electronic music produced in 2012 and, as expected, the results are all over the place. The …
September 24, 2012
BPM counters and autobpm detection has come a long way and has given DJs a quantitative solution for organizing the tempos of their favorite songs. Certain genres stick to relative BPM, such as house which may float around 130bpm give or take a few. Hip Hop can be hard to nail down so easily, as songs can range from as low as 85bpm to an upbeat dance tempo of 125bpm+. Dubstep, on the other hand, is more predictable.
Based off the kicks and snares it would be easy to find most of your dub songs sitting around 70bpms, yet some counters and brains might perceive this as 140bpm instead. Is one of these more correct than the other? The answer is no. Use whichever BPM feels right to you.…
September 14, 2012
I turned the dial over to the local rock station and something was going on in my speakers that I didn’t expect from a station that played current rock. It was Korn’s “Narcissistic Cannibal” which is a track produced by Korn, Skrillex, and Kill the Noise. If you know anything about Korn and anything about Skrillex then you already know exactly what this track sounds like without even hearing it. As the day turned into weeks and months I found rock radio was playing this track to death and it got me thinking: when did this happen? When did rock radio suddenly become an avenue for dubstep and metal hybridity?…
August 8, 2012
When reporting on EDM festivals previously I have taken the perspective of a rock fan at an electronic music show. While it would be enjoyable to write here about Identity Festival the same way I wrote about Ultra, it seems the blog I wrote from that perspective has been imitated by others reporting on the festival. While I will take that as flattery, it seems redundant at this point to take an outsider’s perspective. In fact I have been immersed in the EDM sound for over a year now (a little late to the party I know) as well as the production it takes to craft a festival worthy track (only witnessed and not a party to). With a better understanding of the music, sub genre after sub genre, and the supporters of the EDM scene, it seems more appropriate to give you all a review of the festival …