Dance Music Manual: Tools, Toys and Techniques (2nd Edition) by Rick Snoman

By Rick Snoman

No matter what your point of expertise, the Dance tune guide is full of sound suggestion, options and sensible examples that can assist you in attaining specialist effects. Written through a qualified manufacturer and remixer, this publication bargains a complete method of song creation, together with wisdom of the instruments, apparatus and assorted dance genres.

* incorporated within the new version are sections on recording tools along new chapters masking extra dance song genres.
* Examines all features of song creation, from sound layout, compression & impact to blending & learning to publishing & selling, that can assist you develop into a greater producer.

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Additional resources for Dance Music Manual: Tools, Toys and Techniques (2nd Edition)

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If a sine wave is used for the LFO, then it will essentially create an effect similar to that of a wailing police siren. Alternatively, if this same LFO is used to modulate the filter cut-off, then the filter will open and close at a speed determined by the LFO, while if it were used to modulate an oscillator’s volume, it would rise and fall in volume recreating a tremolo effect. This means that an LFO must have an amount control (sometimes known as depth) for varying how much the LFO’s waveform augments the destination, a rate control to control the speed of the LFO’s waveform cycles, and a fade-in control in some.

The LFO on more capable synthesizers may also have access to its own envelope. This gives control of the LFO’s performance over a specified time period, allowing it not only to fade in after a key has been pressed but also to decay, sustain, and fade away gradually. It is worth noting, however, that the destinations an LFO can modulate are entirely dependent on the synthesizer being used. Some synthesizers may only allow LFOs to modulate the oscillator’s pitch and the filter, while others may offer multiple destinations and more LFOs.

By having a zero attack, short decay and zero sustain level on the envelope generator, a sound that starts with the filter wide open before quickly sweeping down to fully closed is produced. This movement is archetypal to most forms of dance music but does not necessarily have to be produced by envelopes. Instead, some synthesizers offer one-shot low-frequency oscillators (LFOs) which can be used in the envelope’s place. For instance, by using a triangle waveform LFO to modulate the amp, there is a slow rise in volume before a slowdrop again.

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