How to write good electronic music

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What does it take to make a fine piece of electronic music?

How many times have you had that special inspirational moment and thought that that was it – you were going to write a piece that will leave its mark in the whole genre? If the answer is ‘never’ then perhaps, you should stop reading this article and start doing something else, as it probably will not make the right kind of connection with you.

For all of you out there, who are going to keep trying, read on. This will be so obviously familiar that it might actually surprise you that you will find it helpful with stimulating and reassuring your inner cacophony of impulses about what is right, and what is wrong.

What went wrong with the techno culture?

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Post-mortem is never a pleasant thing and opening an article with a negative notion is also not the best thing to do, so I will start by announcing that today is a very nice day outside. It’s Saturday and many are already emailing, messaging and calling their friends. Tonight is going to be a pretty big rave – the one everyone was talking about. Why is everyone so excited? Because a celebrity DJs from UK, Germany and US are coming to play. Their names were written in big letters, followed by some smaller acts, followed by local celebrities and MCs.

“They are not from around here so they must be good!”

Of course there is nothing wrong in recognizing and admiring talent and showmanship. The problem is that the above mentioned have a talent for commercial sound assisted by a very big ego which radiates through their attitude as they pretend to be making music. We’ve all seen DJs tweaking a few dead knobs while making that intense orgasmic face as they get into the way too long and totally expected breakdown.

An ever changing and evolving entity of sound

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The idea is; some how creating machines that will produce an eternity of sound that is always different. No more albums or songs! It will be a machine you must fuel and modify. Once you turn it on it will do what you built it to do. There are enough VST’s and LFO’s to make this all possible. What it really comes down to is computing power. The reason this does not exist is because there is not enough processing power. We definitely got the storage and memory, but we need a faster CPU.

We are at a point where this idea is already happening. If I am a human and coming to this realization, others are also all ready in the process of creating this very wonderful possible thing. You might just say it’s a bunch of noise, but it is not! It is everything you ever hear and more. Programming is so easy and you don’t have to learn codes or anything. It’s on a time frame and a loop. When you have so many manipulations happening at once, all the knobs will never line up in the exact same spot. Think of the possibilities! Your music project is a live broadcast that is always streaming this continues sound, and you manipulate it any time. Perhaps 5 minutes of manipulation will change the alga rhythms for days. What if others could log on and do there own type of manipulation. Sound will be an ultimate form of communication between peoples emotion over the net.

Avoiding Cliché Themes in Electronic Music

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Electronic music started off as an experimental music expression by the pioneers of machine generated sound. In the days where software and technology weren’t readily available, musicians had to heavily rely on improvisation and creativity.

Today we have a different and more serious problem. Although the technology and communications seem to present a catalyst in the creative process, they also present a barrier that stands between the musicians and their light motif, their idea.

Electronic music as an art form is directly at risk of being perceived as templated and unimaginative. We’re not just talking about the usual commercial garbage you hear at raves and in shopping malls – but the cliché that also poisons the mind of true artists.

German Techno – Who is Marusha?

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She was born on 18 November 1966 in Nurenberg, made Berlin her home town, and without exaggeration she is the world`s most famous female DJ.

Over the past few years she has travelled the globe and given millions of fans pleasure with her typical, highly individual “Marusha DJ Set”. Marusha`s amazing career began in 1991 in Berlin with her radio programme “Dancehall” which went out each Saturday on the young peopl`s station DT 64. When DT 64 had to close, Marusha changed the frequency and the name of her show. The Berlin station “Fritz” now carries Marusha`s “Rave satelite” once a week on 102.6 Mhz. To top this, the media multi-talent marusha surprised German-speaking television audiences with “Feuerreiter”, her TV programme for young people. For 2 1/2 years it was transmitted by ORB and later ARD, and it was very popular indeed.

SCIENCE BEHIND ELECTRONIC MUSIC

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Classes of Sound Generators

Electronic Music Basics

Most of us know the ABC of the electronic music. For example sine, saw, square and noise wave forms are used in traditional sound synthesis and accompanied by a variety of filters and envelopes. For example: ADSR – Attack, Delay, Sustain and Release, also CV – Control Voltage, High Pass and Low Pass, as well as delay, reverb, unison, chorus and phaser. Variations of synthesized wave forms can produce a wide range of sounds, both digital and natural sounding, especially when dealing with polyphonic synthesis.

Electronic Music

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Writing electronic music may seem like an easy task at first. All who have tried have realised that there is a difference between writing a piece that sounds either amateurish or too commercial and creating something truly unique. Electronic music is supposed to be opening new horizons towards melodic and rhythmic structures that are not limited by physical properties of natural instruments and its musicians.

One can argue though, that the removal of all such intermediaries brings the composer a step closer to the ultimate barrier. Of course, we’re talking about inspiration. There are a plenty of audio samples and software packages out there, in fact maybe too many. Machines are increasingly fast and humans increasingly impatient which inevitably leads to a path where machines will be able to interface with the composer on almost an organic level and reward the musician with an instant result.





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