From 313edc9f4de9ceb1d7fb42f9a0e4996a3005a437 Mon Sep 17 00:00:00 2001 From: Leonard Francis Coogan Date: Mon, 26 May 2025 01:25:34 -0400 Subject: [PATCH] done for the night --- idm.mom | 6 ++---- 1 file changed, 2 insertions(+), 4 deletions(-) diff --git a/idm.mom b/idm.mom index 76dc17b..03f1026 100644 --- a/idm.mom +++ b/idm.mom @@ -18,11 +18,9 @@ To me, I think of IDM not as a style, but an approach to electronic music that p Access to music technology is universal for anyone with a computer, but education isn’t. To write this book, I conducted endless experiments in SuperCollider and studied computer music textbooks to discover what’s useful. Through experimentation, I found that certain tools suit certain purposes — but if one piece of intellectual advice is missing, the results can be boring or hideous. .PP This book aims to give intermediate electronic music producers advice on how to think more critically about their sound design choices. For true beginners without any music or technology background, this book might be too advanced — you might benefit more from starting with foundational music theory, especially if you struggle to create melodic or harmonic content. Although IDM compositions tend to be simple theory-wise, they're still strong compositions. You need a stable structural base to build the complex sound design. - -.HEADING 1 "What instruments should I use?" - .PP -Whatever you can get your hands on, whatever appeals to you. Part of electronic music is designing your own instrument, even if that means using another instrument to do that – credit to my friend Zach for saying that. +If I end up working professionally in sound design — not just for electronic music, but for film, animation, or games — this book could eventually expand to explore how sound design functions across those mediums. In IDM, sound design is the foreground; it carries the structure and invites deep, focused listening. In film and animation, sound design supports another medium — it sets the mood, enhances the world, and reinforces narrative without drawing too much attention to itself. The techniques often overlap, but the intent shifts: where IDM prioritizes sonic innovation for its own sake, film sound must serve timing, emotion, and story. In both cases, though, sound design is applied sound art — and understanding how to shape, place, and transform sound remains a core compositional skill. + .COLLATE