Top 5 most influential Electronic Musicians

Electronic Music has thousands of famous people associated with its evolution and its progress marches inexorably forward.

But of those names, who has influenced the widest audience with their innovations?

Here are the top 5 most influential Electronic Musicians ever...


5. Gary Numan

Whilst not revolutionizing style (Maybe someone found a way to clone David Bowie in the late 70s...), he pushed the envelope for Electronic Music.  

He single-handedly triggered the "Keep Music Live" campaign after performances of his number 1 hit song "Are 'Friends' Electric?" made the Musicians Union angry that he wasn't performing live enough for them since he was cutting out the need for live musicians.

4. Kraftwerk

The inspiring German electronica group started in 1970 that made countless catchy songs.

They popularized the use of vocoders and computer-generated vocals and used both synthesizers and electronically mangled live instruments such as band member Florian Schneider's flute performances which ended up sounding more like a bass instrument!

3. DJ Kool Herc

Referenced as the founder of Hip Hop music, this Jamaican DJ came up with the clever idea of using two turntables to keep the danceable break beat from funk songs going all through the party!   He also arguably began rap music by punctuating the beats with rhyming slang!

For one guy with a funny hat he's accomplished more than many could dream of.

2. Robert Moog

Whilst not a famous musician as such, Dr. Robert Arthur Moog founded the Moog Music company which created the world-famous Moog Synthesizer followed by the "Mini Moog" which became one of the first synthesizers to be portable and affordable, meaning you didn't have to be a millionaire or a scientist to create electronic music!   Quite an accolade.

1. Pierre Schaeffer

The father of Electronica.   The first man to decide to use machines for music, he inspired people who inspired people who inspired people who... you get the picture.

A genuine legend, he created the Musique Concrète movement and began the use of artistic sampling.   While his pieces may not be to everyone's tastes, I'm sure that whoever made the music that is to your tastes can trace their influences back inevitably to him.

The Prime Loops Sale!

We've had a great year at Prime Loops, and we wouldn't have been able to expand our studio, offices, and team without you guys, so as a way to thank you, in-tune with the festive season, we are now offering 25% off ALL our sample packs for a limited time only!


You can expect some very exiting updates coming your way in the new year (top secret!) We feel we really have the power and artillery more than ever before to push the boundaries of sound, and deliver higher quality sounds with every new release. We will be moving forward in 2010 with our tasty array of world-class musicians, DJ's and engineers to provide even more releases weekly with the very best audio possible today, and of course, continue to provide our much-loved music production articles, tips and tricks every week.


You will also see some major changes to the website (you may have noticed a few small ones already) coming over the next few months, these are designed to make your browsing experience easier, quicker and more fun! If you have any suggestions, do get in touch!


So from the whole Prime Loops Team, enjoy what's left of 2009 and make 2010 your year!


The Prime Loops Sale is now on, so go get some!


Ben Jayakody - (Director)
Rene Steuns - (Content Manager)
Tom Oldfield - (Graphic/Web Development)
Nick Howard - (Distribution Assistant)
Mathew Yost - (Audio Formatting)
Anup Pereira - (Audio Assistant)
David Rose - (Mastering/Production)
David Brown - (Media)
Dimitry Vasilyev - (Production)

10 Plug-ins to Improve Your Synths

Wondering how to make your synths more professional and interesting?   Here are 10 suggestions for things to do to your sounds, from pretty conventional ones to downright destructive ones!

Here are 10 plug-ins to improve your synths...

1. Chorus

A brilliant way to simply widen your synth or to turn it into something reminiscent of an epileptic Dalek.   Chorus is great for some mental modulations!

2. Dynamic EQ

A plug in I've found much more useful than conventional EQ when it comes to playing with sounds, you can actually carve out the frequency spectrum you want rather than simply boosting certain frequencies!   Brilliant for emphasizing those important parts of the sound that are a bit too quiet.

3. Bit Crusher

Need a bit more of an edge to your synth?   Bit Crushers can turn your synth into a lo-fi sledgehammer when used correctly!

4. Enhancer

These are nice plug ins that combine a few things - they can widen, do rudimentary EQing and limiting or compression depending on the plug-in you get.   Great for doing a lot with a small amount of processer overhead (as opposed to using loads of separate plug-ins!)

5. Harmonic Exciter

Sometimes also called enhancers (can get pretty confusing with the above plug-in!), harmonic exciters deliberately distort the high end of the spectrum to bring back some of the brightness lost in the recording process.   This can really lift a synth up in the mix!

6. Stereo Imager

These are absolute gold when making immense synths or epic soundscapes.   They push the synths to the far left and right in the stereo spectrum, widening it and making it feel bigger.

7. Limiter

Makes the synth effect as loud as possible while stopping the synth from peaking - really useful on crazier, unpredictable synth effects!

8. Multi-Band Compression

Limiting not making your synth loud enough?   Try Multi-Band Compression - it separates the sound into several different frequencies, boosts each filtered section, then puts it back together, making the apparent volume much louder without affecting the overall volume!   Ridiculously useful.

9. Filter

Filters are great for making synths sound completely different - just isolate a certain section of the frequencies with a band pass filter and listen to the difference!

10. Delay

Instant talent - Delay makes everything sounds so much bigger and better... just be careful that you're not totally drowning your synth in the stuff!

The Future of Electronic Music

I've done several articles on the histories of various aspects of music, but what about the future?   While you can't predict it, you can make some well-educated guesses about what's coming next... So let's do that with electronic music!

Technologies

There are several different revolutionary technological advancements regarding computer music that are in development.   Let's take a look...


Direct Note Access

The aptly named DNA allows you to change the inner workings of an audio file - to change one note in a chord.   Previously you could only transpose the whole chord.   Now, if you play one chord on a piano, for example, you can change the notes to turn it into any other chord.   This can also allow you to quantize individual notes in a chord, tidying up those sloppy performances where before it was not possible to do so.

The company Melodyne has already beta tested this software - it won't be long before it's as commonplace as conventional autotune plug-ins.


Physical Modelling

With live instrument multi-sampling firmly cemented into studios all over the world, the next step is to directly create the sounds on the computer so there's even more control over the timbre and tone of the sounds.   This is called physical modelling.

With instruments like guitar, where the tone is a really complex collection of elements, this is no mean feat, but the future surely holds a synthesized solution to those guitarists that have big ideas, but whose fingers aren't quite fast enough to realise them.

Previously, accurate Physical Modelling hasn't been possible in real time, so sampling has been substituted for the sake of convenience, or where it's required in a live setting, but the future will no doubt bring us faster computers which will be capable of real time reproduction of physically modelled instruments.   Sweet!


Vocal synthesis

Autotune not being enough, Japanese developers have created programs that generate human-sounding voices from scratch.   Dubbed "Vocaloids", these programs will surely push the envelope out further for virtual acts such as Gorillaz, not even requiring voice actors any more.

The first vocaloid, named "Hatsune Miku" by the Japanese developers Yamaha (made in 2007 - this technology has been developed considerably already), was chosen by combining Hatsu (First), Ne (Sound), and Miku (Future), which really does speak volumes - this is ground breaking stuff that could change the world forever.

Imagine boybands that don't even exist... TV shows where the production team doesn't have to pay for voice acting... It's not going to be long before people are going to have to choose whether or not they have enough respect for real voice actors to dismiss the vocaloids, or whether they don't mind, or even prefer the computer generated alternatives.


Genres:

Another part of music is the actual genres being developed!   Styles are constantly evolving and changing, but what will the next steps be?   Let's take some more educated guesses...

Glitch Hop

This emerging genre involves combining high end synthesis with lo-fi sounds to create a very synthetic sounding take on hip hop.   With artists like Black Eyed Peas making songs like Boom Boom Pow, this style has already had an effect on the mainstream whether they know it or not.

Perhaps this genre will further induct itself into the mainstream pop hall of fame in the not so distant future?


Mainstream Pop

With pop music using electro more and more, what is the future for the mainstream?   Further blurring of the lines between Electronica and rock, as many artists have done over the past decade?   Some sort of retro revival?   I think more likely a combination of the two - pop goes in so many different directions that the chances are that if there's a niche, someone will fill it.

Live performances:

It's not just creating music - it's performing it.   What's around the corner for artists looking to push the envelope on the stage?


Robot musicians

Already there have been robot drummers, violinists and trumpet players developed, how long before these turn into more streamlined, affordable units that can get the tone of a live kit and give the performance of a live performer?

Holographic Technology

It has already been done - 3D images displayed on stage so it seems like it's actually there.   Computer generated characters performing alongside real people.   Will this become more commonplace?   What awesome special effects will be possible with this technology?   Sitting at the lighting desk just became a whole lot more interesting.


A lot of these technologies work towards replicating live music - perhaps the future of electronic music lies in the past - as electronic and acoustic music become less distinguishable, perhaps the genres will too.

While the future isn't, one thing's for certain - it's seriously exciting to think what will happen in our lifetimes.

10 Interesting Instruments to Sample

As anyone who has paid attention to mainstream hip hop will know, sampling is getting more and more obscure.

Big-shot producers have taken instruments from the east, west, north, south and occasionally what sounds like the depths of space to create their tracks.   So I figured it would be helpful to see some of the more obscure instruments you could sample!

Here are 10 interesting instruments to sample for your next production to really stand out!

1. Koto - A traditional Japanese instrument with a distinctly oriental flavour to the sound.   The pitch bends are brilliant and the tone lends itself to minor keys brilliantly.

2. Saw - Not just for DIY - the saw can be used both as a rugged cutting tool and a delicate, beautiful musical instrument.   A haunting, echo-y sound emanates from it when bent and played with a bow.   Definitely an obscure instrument!

3. Geophone - Bored of using shakers?   This massive drum contains thousands of beads, providing the sound of the earth moving.   I wonder how that would work in some Electro House...

4. Cimbalo - An interesting instrument from Hungary, with sticks similar to that of a drum kit, but strings to hit instead of toms and cymbals - a different pitch for each.   This combines percussive playing technique with melodic runs to create an instrument that, when played by someone adept at it, can make some seriously fast, intricate melodies.

5. Uilleann pipes - Very similar to the bagpipes, however this instrument hails from Ireland.   It produces a sweeter timbre and has 2 octaves of notes available.   This instrument is capable of playing chords and it's drone means that it always has that distinctive pipe undertone.

6. H20rgan - Here's a weird and wonderful one; Also known as a hydraulophone, it's a wind instrument with water churning out of the holes instead of wind, meaning when the player places his hands over the holes, different notes come out!

7. Beer bottle organ - Ever blown over the top of a bottle when you're sitting at a bar and heard that breathy tone?   Think of an entire instrument based on that sound.   A bunch of guiness bottles filled with varying amounts of glycerine (I'm assuming the creator was pretty wasted during the product's development) provide the multi-octave spread.

8. Theremin - An early electronic instrument that makes a sound without actually being touched.   Depending on the distance of the player's hand from the main rod, a different pitch is produced, making it a difficult instrument to master.   It's been used in Sci-Fi films for decades, giving that spooky, retro-futuristic sound.

9. Singing Tesla Coil - Woah.   Using high voltage sparks to generate notes of music, it sounds kind of like a sawtooth wave, but with a considerably more distorted tone.   And it looks spectacular.

10. Jew's Harp - Despite the implicating name, it is not the namesake of Judaism.   This obscure instrument is played by placing it in the mouth and flicking a piece of metal.   It gives a funny little percussive sound - you may have heard it in country music.   It's thought to be one of the oldest instruments in the world.

The History of the Drumkit

Pretty much every conventional band has a drummer.   They're the backbone of the music, the driving force atop which the melody resides... the irritating band member that's always late.   But have you ever looked at a drummer's kit?   Like, really looked at it?

If you think about it, it's quite an obscure set-up, right?   I mean, who thought to put two cymbals together to make the hi-hat?   And when was it decided that the bass drum should go on the floor with a pedal to trigger it?

I think it's time to delve into the history of the Drum Kit...


B.D.K (Before Drum Kits)

In orchestras, percussion was (and is) generally performed by several people.   Marching bands similarly assigned one person to each drum, allowing them to concentrate on their part and not collapse from exhaustion as a result of hauling an entire percussive ensemble on their backs.


The first kits

When theatres were running low on money, they couldn't afford to pay quite so many musicians, so the percussionists were encouraged to multitask, playing the snare, bass drum and cymbals by hand.

In the 1890s, some bright sparks decided to put the bass drum on the floor, fashioning rudimentary pedals to trigger them, leaving their hands free for the cymbals and snare.   It wasn't until 1909 when William Ludwig came along and made the pedal conventional.

Hi Hats, Tom Toms and Traps

1926 saw the first Hi-Hats appearing.   Interestingly enough, they were originally called low-hats (no joke), being on the floor near the bass drum.   They were later raised so they could be played by hand as well as by foot pedal.

Chinese Tom-Tom drums were added to the mix to create the conventional drum kit that would carry on through to the end of the century and beyond.   The traditional kit then stood as a bass drum, a snare drum, 3 toms (two rack-mounted and one floor tom), a hi-hat and a crash cymbal.

The "Traps" were short for "contraptions" - whistles, klaxons and cowbells added to the kit to make them even more versatile.   While the whistles and klaxons didn't become fully integrated, I'm sure you've heard your fair share of cowbells emanating from drum solos the world over.

As seen on TV

After Ringo Starr of The Beatles' fame played his Ludwig kit on TV in 1964, the popularity of the drum kit shot up exponentially.   This is the point when rock bands started to take off left right and centre, with the percussionists emulating the famous drummer's set-up.


Mine's bigger than yours...

As is the nature of rock music, things grew more and more extravagant - double bass pedals were introduced for faster bass drum playing on heavier tunes.   Ridiculous numbers of toms and cymbals were added for an as-before unseen amount of versatility from the kit.


The future

And where to now?   Well more recently, drummers have taken electronic percussion on board, with sample pads, triggers and laptops adorning their kits to integrate their live sound with programmed elements and even melodic ones, as sample pads can be used for any purpose.

I have no doubt the kit will continue to expand and evolve as technology does - perhaps the conventional drum kit will soon contain sample pads next to the hi-hat, or triggers on the toms.

We'll have to wait and see!

Top 10 Mastering Tips

Mastering your own tracks is a difficult process - there is a lot to learn and a lot of techniques to master (no pun intended (seriously; that would have been a terrible pun)), but here's somewhere for you to brush up and learn some of the most useful techniques!

1. Have reference material

Compare the track to other songs that you like the production of - not just by ear, though that should be what makes the final decision about what sounds good.   Get out a frequency analyser and see where your mix is lacking in comparison to the other, or where it's overdoing it.

2. Multi-band compressor

I remember the first time I found one of these I thought I'd hit the jackpot.   These wonderful devices can add definition, presence and volume to an otherwise dull, quiet mix.   If you gently bring the threshold down to even 10dB on a 4 band compressor then you'll start noticing the difference.

3. Overall compression

While this can be a great way to bring up the level of the track, don't overdo it - it'll start to feel squashed and anything compressed by over about 6dB will be noticeably squashed.

4. EQ-ing

The obvious way to bring up a mix - again, like compression, use it sparingly and it'll produce the best results.   Don't try and boost high end when it isn't there else you'll just get a fizzy noise.   Try boosting about 50hz and boost a high shelf around 10khz for airiness and a bit more low end punch!

5. Choose the order of the devices

Should it be EQ then compression or other way round?   That's up to you!   Both can produce quite different results so it's worth trying it!

6. Small amount of reverb

You have to be really careful here, since reverb can destroy a track, but with a bit of ambience, it can make the tracks gel together that bit better!

7. Limiting

Bring the volume up to that professional level with a brick wall limiter.   Similarly to compression, don't overdo it or it'll sound very strange!

8. Use 24 bit!

If you're working in 16 bit then you'll lose the punchiness you could get from the extra 8 bits!   Make sure all your recordings are done in 24bit and you'll have noticeably better dynamic range in your tunes!

9. Enhancers

If you need a bit more high end, try using an enhancer to bring it out rather than a high EQ boost!

10. Take a break!

As with mixing, mastering can get exhausting and you can lose perspective quickly.   Take regular breaks and be sure to leave the mix a day once you're happy with it, and then take another listen - chances are you'll have a completely different opinion of it!