To me, I think of IDM not as a style, but an approach to electronic music that presents experimental sound design and compositional techniques in the context of techno. This book frames sound synthesis methods and alternative tunings in the context of IDM in order to make these concepts practical and applicable for intermediate electronic music composers. 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. 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.
To me, I think of IDM not as a style, but an approach to electronic music that presents experimental sound design and compositional techniques in the context of techno. This book frames sound synthesis methods and alternative tunings in the context of IDM in order to make these concepts practical and applicable for intermediate electronic music composers
.PP
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.
.HEADING 1 "What is IDM"
.PP
.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 2 "But what exactly makes a piece IDM?"
.BL
.LI Studio-focused, not real-time
.LI Experimental sound design that pushes sonic boundaries
.LI Relatively accessible structure despite how advanced the sound design gets
.LI Constant subtle variation, whether in structure or texture
.LI Based on inventing your own techniques
.LI Every sound is an opportunity
.BL OFF
.HEADING 2 "Survey of IDM"
\" <important artists, albums, labels, their lineage / history too>
.HEADING 1 "What instruments should I use?"
.HEADING 1 "What instruments should I use?"
.PP
.PP
Finding your instrument isn’t a one-time decision -- it’s a process of discovery and reinvention. It's about whatever appeals to you, whatever you can get your hands on.
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.
.PP
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.
.HEADING 2 "If part of electronic music is designing my own instrument, how do I know where to start?"
.PP
This book will give you ideas for achieving certain aesthetics and compositional approaches that will hopefully lead you into developing your own voice.
