Dance Music Manual This page intentionally left blank Dance Music Manual Tools, Toys and Techniques Second Edition Rick Snoman AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier Linacre House, Jordan Hill, Oxford OX2 8DP, UK 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA First published 2009 Copyright © 2009, Rick Snoman. Published by Elsevier Ltd. All rights reserved The right of Rick Snoman to be identifi ed as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced, stored in a retrieval system or transmit- ted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publisher Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone ( ϩ 44) (0) 1865 843830; fax ( ϩ 44) (0) 1865 853333; email: [email protected]. Alternatively you can submit your request online by visiting the Elsevier website at http://elsevier.com/locate/permissions, and selecting Obtaining permission to use Elsevier material Notice No responsibility is assumed by the publisher for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions or ideas contained in the material herein British Library Cataloguing in Publication Data snoman, Rick The dance music manual : tools, toys and techniques. – 2nd ed. 1. Underground dance music 2. Sound recordings – Remixing 3. Electronic composition I. Title 781.6'41554134 Library of Congress Control Number: 2008935934 ISBN: 978-0-2405-2107-7 For information on all Focal Press publications visit our website at www.focalpress.com Printed and bound in the USA 09 10 11 12 12 11 10 9 8 7 6 5 4 3 2 1 This book is dedicated to my children: Neve and Logan. This page intentionally left blank Contents ACKNOWLEDGEMENTS ................................................................................................................. ix PREFACE ............................................................................................................................................. xi MUSICAL WORKS............................................................................................................................ xiii PART 1 ● Technology and Theory CHAPTER 1 The Science of Synthesis ..............................................3 CHAPTER 2 Compression, Processing and Effects .....................31 CHAPTER 3 Cables, Mixing Desks and Effects Busses ..............57 CHAPTER 4 Programming Theory .................................................. 77 vii CHAPTER 5 Digital Audio ................................................................ 127 CHAPTER 6 Sampling and Sample Manipulation ...................... 135 CHAPTER 7 Recording Vocals.........................................................151 CHAPTER 8 Recording Real Instruments ....................................169 CHAPTER 9 Sequencers ..................................................................179 CHAPTER 10 Music Theory ...............................................................201 PART 2 ● Dance Genres CHAPTER 11 House ............................................................................231 CHAPTER 12 Trance ...........................................................................251 CHAPTER 13 UK Garage ....................................................................271 CHAPTER 14 Techno.......................................................................... 283 CHAPTER 15 Hip-Hop (Rap) ............................................................295 CHAPTER 16 Trip-Hop ....................................................................... 313 viii Contents CHAPTER 17 Ambient/Chill Out ......................................................329 CHAPTER 18 Drum ‘ n ’ Bass .............................................................. 347 PART 3 ● Mixing & Promotion CHAPTER 19 Mixing ........................................................................... 363 CHAPTER 20 Mastering ....................................................................399 CHAPTER 21 Publishing and Promotion .......................................425 CHAPTER 22 Remixing and Sample Clearance ...........................449 CHAPTER 23 A DJ’s Perspective ....................................................467 Appendix A Binary and Hex ..........................................................485 Appendix B Decimal to Hexadecimal Conversion Table ..........491 Appendix C General MIDI Instrument Patch Maps..................493 Appendix D General MIDI CC List ................................................497 Appendix E Sequencer Note Divisions .......................................499 Appendix F Tempo Delay Time Chart ..........................................501 Appendix G Musical Note to MIDI and Frequencies ...............503 INDEX ................................................................................................................................................507 Acknowledgements I would like to personally thank the following for their invaluable help, contri- butions and/or encouragement in writing this book: Catharine Steers at Elsevier (for being so patient) Colin and Janice Lewington Darren Gash at the SAE Institute of London Dave ‘Cannockwolf’ Byrne DJ ‘Superstar ’ Cristo Mark Penicud John Mitchell Mick ‘Blackstormtrooper ’ Byrne, Helen and Gabby Byrne Mike at the Whippin ’ post Richard James Steve Marcus Everyone on the Dance Music Production Forum ix All music featured on the CD – ©Phiadra (R. Snoman & J. Froggatt) Vocals on Chill Out supplied by Tahlia Lewington Vocals on Hip Hop supplied by MC Darkstar Vocals on Trance and Garage supplied by Kate Lesing Cover Design: Daryl Tebbut This page intentionally left blank Preface If a book is worth reading then it’s worth buying … Welcome to the Dance Music Manual – Second Edition. After the release of the fi rst edition way back in May 2004, I received numerous emails with sugges- tions for a second edition of the book and I’ve employed as many of them as possible, as well as updating some of the information to refl ect the continually updated technology that is relevant to dance musicians. I’d like to personally thank everyone who took the time to contact me with their suggestions. As with the fi rst edition, the purpose of the Dance Music Manual is to guide you through the technology and techniques behind creating professional dance and club-based music. While there have been numerous publications written on this important subject, the majority have been written by authors who have little or no experience of the scene nor the music, but simply rely on ‘educated guesswork ’. With this book, I hope to change the many misconceptions that abound and offer a real-world insight into the techniques on how professional dance music is written, produced and marketed. xi I’ve been actively involved in the dance music scene since the late 1980s and, to date, I’ve produced and released numerous white labels and remixes. I’ve held seminars across the country on remixing and producing club-based dance music, and authored numerous articles and reviews. This book is a culmination of the knowledge I’ve attained over the years and I believe it is the fi rst publication of its kind to actively discuss the real-world applications behind producing and remixing dance music for the twenty-fi rst century. The Dance Music Manual has been organized so as to appeal to professionals and novices alike, and to make it easier to digest it has been subdivided into three parts. The fi rst part discusses the latest technology used in dance music production, from the basics of synthesis and sampling to music theory, effects, compres- sion, microphone techniques and the principles behind the all-important sound design. If you’re new to the technology and theory behind much of today’s dance music, then this is the place to start. The second part covers the techniques for producing musical styles including, among others, trance, drum ‘n’ bass, trip-hop, rap and house. This not only discusses the general programming principles behind drum loops, basses and xii Preface leads for the genres, but also the programming and effects used to create the sounds. If you already have a good understanding of sampling rates, bits, syn- thesis programming and music theory, then you can dip into these sections and start practicing dance music straight away. The third part is concerned with the ideology behind mixing, mastering, remix- ing, pressing and publication of your latest masterpiece. This includes the theory and practical applications behind mixing and mastering, along with a realistic look at how record companies work and behave; how to copyright your material, press your own records and the costs involved. At the end of the book you’ll also fi nd a chapter in which an international DJ has submitted his view on dance music and DJing in general. Of course, I cannot stress enough that this book will not turn you into a super- star overnight and it would be presumptuous to suggest that it would even guarantee you a successful dance record. Dance music has always evolved from musicians pushing the technology further. Rather, it is my hope that it will