About This Guide
Here I have written, and am writing up in my spare time a guide to the theory, creation, production, and promotion of electronic music. Over time I plan to expand upon each of these sections. While reading this guide, feel free to listen to the streaming audio on the right side of the page. Please be advised that the following methodology is not set in stone. No one should tell you how to or how not to create your music. The ideas and methods below are simply what I have found to work best in my experience creating and recording electronic music.
Critical Listening, and Music Diversity
An important key to making great electronic music is to listen to as much music as possible. Not just electronic, but everything from rap to classical. Electronic music is a merging of all these genres into one highly creative and open environment in which almost anything can be considered within the electronic realm.
Samplers, Sampling, and Software
One thing virtually all electronic music has in common is the use of samples. Samples are sound bytes, anywhere from inconceivably small transient ticks to long and drawn out ambient noises, stretching the entire length of a song. The triggering of samples in an interesting way is what creates the mood and feel of the song. Most electronic drum beats consist entirely of triggered samples. If you are lucky enough to be able to afford electronic drum triggers such as Roland V-Drums, you can trigger and record these samples in a way similar to a real drummer. The difference, however is that you will be able to tweak, optimize, and even change samples after the recording is done.
Software Samplers
A software sampler is a program or device which is used to record and trigger sound samples. These devices are the heart of electronic music, they are the engines which produce the actual sounds you hear. What we do with these samples, however, is a completely different subject.
Looping Your Samples - The Beginnings of Music
Looping is a common function of most samplers and sampling programs. A loop is simply a repetitive arrangement of samples, which from start to finish, will play indefinitely until a command is issued to either change to another loop, fade out, or stop. The most common type of loop is a drum loop, in which percussive sounds are looped throughout the song, creating the rythm. These loops are usually broken up by drum-fills to avoid giving the song a monotonous feel to the listener.
Sequencing Your Loops - The Arrangement of a Song
Sequencing is the art of creatively arranging loops and samples in a way that creates an overall pattern which is more interesting than a single loop. Common functions of sequencing include loop phrasing, fade-in and fade-out, effects manipulation, and volume control.
Digital Effects - Add Some Spice to Your Mix
Effects have always played a major role in not just electronic music, but across all genres. The difference, however, is that with electronic music the listener will usually accept higher levels of effects as the norm than as with other types of music. Effects are used to take average sounds, and manipulate them in an interesting and sonically enhancing way. Common effects include reverb, echo, flange, chorus, and distortion.
Creating a Song From Scratch
When you first start making music, or even if you have been making music for years, you will find that it is difficult to turn your ideas directly into music. The final product will almost never sound the way you originally intended for a lot of reasons. The first reason is samples. If you don't have the sound you are looking for, can't generate it, and can't twist one of your existing samples to fit the sonic glove, you will just have to live without it. Improvise a different sound that fits, maybe you will come up with something better.
Creating a Beat Loop from Raw Samples.
Most of my beats start off with something consistent. You need something constant so that the rest of the rhythmic elements in your beat have something to relate to. In techno music this is usually the 4-4 beat bass drum and clap. Hip hop and break beats are slightly more complex, so you may want to use something like a closed hi-hat. Choose your sounds wisely. Make sure the sounds you pick fit together in a positive way, do not just use the first "cool" sound you hear. Remember that sample and move on, chances are you will find something much more intriguing elsewhere in your sample collection. Once the skeleton of your beat is laid down, you can start to add things like congas and ethnic percussion. Once you have an interesting beat you can start to add the other elements that bring the sounds together.
Make a Bass Line From Samples or Synthesizers
The next element I usually introduce into my music is the bass line. Be it deep pure-tone subwoofer bass, or snappy funk bass, this low-end element must really enhance your existing beat. It should complement the kick drum and snare sounds, adding another layer of complexity without overpowering the rest of your song. Once your bass line is set, it is a good idea to knock it down from 3db- 6db to be sure it will not overpower systems with prominent subs. Never assume a bass line is final until you have reviewed it in multiple systems, from junky car stereos to high-end home theater systems.
Creating a Melody to Match Your Beat
By the time you have a beat and a bass line set, you should start getting ideas for what the melody should sound like. Listen to your beat and let your mind work out a melody. Your brain will yearn for something more than a beat, and it will start to fill in the blank space if you let it. In electronic music a melody does not have to sound like a catchy pop tune. It can be drawn from individual samples as well as ambient noises which hold a tone. If you are having trouble finding a melody, sift through your sample collection. This should at least give you an idea of what sounds will work. Owning a keyboard or synthesizer is also a major plus when attempting this phase. It is very difficult to program a melody line in the same way you program a drum beat. Try to get your hands on some inexpensive gear like the M-Audio Radium 61 Controller Keyboard. This will help let you focus more on the sound and less on the technicalities of rhythm, volume, and pitch.
Sequencing Your Loops into a Full Length Song
Once you have created a satisfactory sound loop (or sound loops) you will want to sequence your song in a way that the listener does not become bored. Before you begin, break up you loop into it's core loop components, i.e. bass drum, hi-hat, bongos, etc. If any of these files are played individually, you should hear just that sound looping and no others. This will allow you to say, cut out the bass drum right before a build, or fade-out just the hi-hat. Using this method, a single loop can be sequenced out into a full-length song, without boring the listener with the monotony of a single loop. Experiment with different methods of sequencing, as well as taking into consideration your target audience. If sequencing for a DJ, or vinyl track, a little monotony and simplicity in the lead-in and lead-out of your track will be ideal. If mixing for a CD that will be played primarily by home users, you will want to immediately grab the listener's attention. After about 1:00 - 1:30 into the song they should be able to "get the idea", yet stay interested enough to keep listening.
Recording Vocals to go with Your Music
It is very hard to build a song around existing vocal melodies and lyrics. For this reason I have the vocals section following the sequencing section. On the other hand, when writing a melody, you may want to check with your vocalist beforehand to make sure your song is within their range. An attractive voice can turn into a raspy and awkward annoyance if the singer is too far out of their comfort range, so keep this in mind, as modifying the key of your song after the fact is not always an option. If you are using pre-recorded vocal samples the same rules apply as if you were adding another component of the song, the only caveat being that the listener will be less forgiving when it comes to the repetition of vocal samples as opposed to other types of sounds.