Electronic dance music has been here for centuries while “EDM” has been an expression of curiosity over the last few years. And regardless of how you divide it, we possibly won’t see the term EDM and lump every style and artist into one pot with electronic music. The people producing the film and the people recording the songs are not well served with this practice. We are, however, at a junction. We document the EDM landscape, but we want to understand that electronic dance music is more than DJs on the top of the screen.
Drum & Bass could be one of the EDM’s most intense, misrepresented sounds. While its roots in the hardcore rave scene of London in the early 1990s are well known, it mutated into a darker, sinister, all-in-one, raging reggae/dancehall sub bass. The evident emphasis on drum and bassline, with 160-180 BPMs, is given to dnb. Over the years, it has included a range of elements including jazz, soul, hip hop and even other EDM genres.
You wouldn’t pour sour milk with coffee, so why are you going to begin an album with bad samples and sounds?
It seems like a dull task to take time to select the correct samples from the beginning, some might claim it’s unrealistic, it slows workflow. I differ greatly. The more thought you bring into the beginning when you choose songs, the less moment you spend blending close to the finish.
Unless you make a neuro-hop or a deep house with a mad swing, you can position samples only in four distinct fields: on the beat, right after the beat, on the off-beat and before the next track. You may want to put a sample in each divide, but it’s not always the interesting approach you think it is. Use quiet and grow rhythm to your benefit.
In other fields, incorporating strong percussions will detract from the groove, for instance when I’ve had a Moombahton-like rhythm (before I hit then off the pace) with a tap and a tom. The energy and power will be removed. Compliment the groove always wherever possible.E
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