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.

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.

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.