They also foregrounded spatial effects such as reverb and delay by using auxiliary send routings creatively. Dub producers made improvised deconstructions of existing multi-track reggae mixes by using the studio mixing board as a performance instrument. Their productions included forms of tape editing and sound processing that Veal considers comparable to techniques used in musique concrète. The music was pioneered by studio engineers, such as Sylvan Morris, King Tubby, Errol Thompson, Lee "Scratch" Perry, and Scientist. Dub productions were remixed reggae tracks that emphasized rhythm, fragmented lyrical and melodic elements, and reverberant textures. See also: Sound system (Jamaican) and Deejay (Jamaican)Īuthor Michael Veal considers dub music, a Jamaican music stemming from roots reggae and sound system culture that flourished between 19, to be one of the important precursors to contemporary electronic dance music. Despite the industry's attempt to create a specific EDM brand, the initialism remains in use as an umbrella term for multiple genres, including dance-pop, house, techno, electro and trance, as well as their respective subgenres. By the early 2010s, the term "electronic dance music" and the initialism "EDM" was being pushed by the American music industry and music press in an effort to rebrand American rave culture. Subsequently, in the new millennium, the popularity of EDM increased globally, particularly in the United States and Australia. There was also a perceived association between EDM and drug culture, which led governments at state and city levels to enact laws and policies intended to halt the spread of rave culture. Although both electro and Chicago house music were influential both in Europe and the United States, mainstream media outlets and the record industry remained openly hostile to it. However, rave culture was not as broadly popular in the United States it was not typically seen outside of the regional scenes in New York City, Florida, the Midwest, and California. In the late 1980s and early 1990s, following the emergence of raving, pirate radio, Part圜rews, underground festivals and an upsurge of interest in club culture, EDM achieved mainstream popularity in Europe. Since its inception EDM has expanded to include a wide range of subgenres. EDM producers also perform their music live in a concert or festival setting in what is sometimes called a live PA. It is generally produced for playback by DJs who create seamless selections of tracks, called a DJ mix, by segueing from one recording to another. but "it's a thing" we need to look at.Electronic dance music ( EDM) is a broad range of percussive electronic music genres originally made for nightclubs, raves, and festivals. I'm checking what the further consequences are, and what the workaround would need to be. Oh, another thing that's incompatible between versions: exporting stems to load into MS' playback - if these were imported into Logic and Logic interpreted the tempo as it does in 10.4, MS pops up an incompatibility warning for those files. they need a couple of hour design session to figure out how to implement the articulation IDs for the new strings and horn instruments. I doubt (as a guy who has lead software dev projects for > 30 years) that it's particularly hard to add the new reverb to MS, and. I'm trying not to be harsh here, but real. When Apple doesn't keep them in sync, I can't imagine it's anything less than lack of resources or lack of priority to keep the two products synced up. The issue is that many of us use MainStage for live based on channelstrip compatibility and ease of going from Logic to MainStage for live use. It has been the norm that MainStage releases came out a couple of weeks after Logic updates, but we've had a couple of times that it took months and I believe once that it was almost 3/4 of a year before Apple synced these up again. All creative solutions/ideas, but the user-friendly point of view would be that Apple keep Logic and Mainstage reasonably in sync in terms of sound-making capabilities.
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