sam towner house music evolution presentation

8/19/2019 Sam Towner House Music Evolution Presentation

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How Has The Production, Live Performance,

And General House Music Evolved Over Time?By: Sam Towner


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The Warehouse (1)

• House was originally targeted for blacks and gays.

• Prior to the Warehouse, there was race specific clubs.

• This is because house was introduced during times where racismand segregation was still about.

• The Warehouse and New York’s Paradise Garage broke downthe barriers of race and sexual preferences for house music –everyone was welcome.


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Roots of House Music (1)

• Created in and by the African American Community.

• Evolved from gospel, soul, jazz, funk, Latin Salsa, and Disco.


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People Who Influenced

House – Frankie Knuckles (1)

• Born in New York.

• Nicknamed “The Godfather of

House”.• He experimented with new sounds and

added different dimensions to mixing.

• Took raw disco and added a drumtrack with a 4/4 tempo.

• Played 8-10 hours a night.• One of the reasons The Warehouse

was successful.

• Produced by David Mancuso.


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People Who InfluencedHouse – Larry Levan (1)

• Friends with Frankie Knuckles.

• Suggested to Frankie to open The

Warehouse, but Larry ended upDJing in New York’s ParadiseGarage.

• Produced by David Mancuso.

• David put on a party called TheLoft, intended for the black and gay

crowd.• David taught them about how to

create perfect music, with bothlight and sound production, as wellas DJ techniques.


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Creators of House Music (1)

• Leonard Remix RRoy

• Claims he created house music May 1981.

• Also claims he coined the term house music in spring 1981.

• Chip E. Yet

• Claims he created house music in March 1985.

• Farley “Jackmaster” Funk

• There was no specific creator, as house music originated from various different DJ’s and Producers.


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Early DJ Techniques (1)

• Technology in the 70’s wasn’t as up to date as it isnowadays. There was no digital market, we are going backto the good times of the vinyl.

• In the beginning, there was only two records available:

• 45’s and 33 1/3 LP’s with an A and B side, giving thecapability for a different song on each side.

•The first DJ’s on the scene had to execute a set without amixer and headphones, making the life of a DJ that muchharder.

• Turntables only ran at two speeds:

• 45 RPM and 33 1/3 RPM, and that was it, no other

capabilities


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• The first DJ’s were essentially people in charge of the playlist. There were pauses between songs as the single

record was changed. This led to a break in the dancing,and a slight decrease to the vibe.

• This is when slip cueing was later invented.

Early DJ Techniques (1)


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Slip Cueing (1)

• To successfully slip cue, every record the DJ owned had to becopied.

• The one turntable increased to two turntables. The two tableswere then rigged to a switch that was hooked up to the amp.This way, they were able to decide which table would send thesignal out to the speakers. They could now switch betweentables, eliminating the pauses in dance and music.

• Some DJ’s decided to extend the mix. This was done by playingthe outro on the next turntable. This gave them more time to

bring in the next song.

• Instead of extending the mix, other DJ’s built the mix byisolating instrumental, vocal, and or drum channels

• This was a difficult technique, and could only be executed by

the best.


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Mixing Timeline (1)

• 1937: John Cage looks at the merits of sound manipulation

using the phonograph.

• 1948: Pierre Schaffer makes turntable based music acceptable.

• 1973: DJ Kool Herc originated Hip-Hop by DJing with two

turntables and extending beats by looping.

• 1977: Grand Wizard Theodore invented scratching.

• 1983: Scratching appeared in the actual songs rather than just a

live feature.

• 1987: First Disco Mix Club World Battle (DMC) was held. This

established worldwide DJ competitions.

•1990: Beat juggling invented by Steve D.


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Lets Get Political (1)

• As fore mentioned, house was originally meant for blacks andgays.

• This meant the rest of white American society wanted noassociation with house. However, a black DJ brought house toIbiza with him. From there, British producers brought house back to England with them, and created Acid House.

• A couple years later, Acid House made an appearance in Ibiza aswell. However, as this was produced by white people, whiteAmericans felt it was okay and enjoyed the House vibes.

• Acid House was brought back to America and played in whitestraight clubs. People loved Acid House, and eventually,everyone enjoyed house that had been around since the late 70’s.

• In turn, house helped to break down the racial and sexual preference barrier in America.


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Music Consumption Over Time (2)

• The first way music was consumed was through the wax tube. This iswhere the sound waves of the recording would move the needle in thesame pattern, and engrave the music into the wax. You can then play it

back through a phonograph.• After the wax tube came the vinyl. Here you had two sides to the

track. There was 45 RPM and 33 1/3 RPM. It later progressed tohaving two sides, A and B.

• Cassettes were the next way that music could be consumed. This hadan A and B side as well. The recording was recorded onto tape.

• Moving on to a modern way music was consumed, the CD. On eachdisc, there are little pits that store the data of the recording. When theCD is played, a laser is used, similarly to the needle of a vinyl, and itreads the data.

• Entering the digital age of MP3, we are now able to listen anddownload music on demand from any device capable. Devices areable to have a large library of music, with it not taking up much space.


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Music Production Over Time (3)

• Without a doubt, production has dramatically changed overtime.

• In the 60’s, 4 track-tape recording was used. This limited howmuch could have been recorded at once, extending the amountof time it took to finish the recording.

• Multi-channel instruments had to be recorded as a generalsound as opposed to individual components such as snare or

kick.• Vocals, guitar and bass had to have a mic placed in front of the

amp as opposed to a direct input.

• Back in the day, mixing had to be executed on a hardwaremixing desk alone, whereas nowadays the mixing desk goes

hand in hand with Digital Audio Work Stations.


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• The Glyn Johns technique was used to help quicken therecording experience. To record the drums, three main

microphones were used:• One overhead

• One kick

• One snare positioned the same distance away from the floor

tom• Condenser microphones were the main type of microphone

used as they were more sensitive to picking up moreinformation in the limited channel recording environment.

Glyn Johns Technique (3)


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• Processing was done by sending the signal that youwanted to be processed to a bus, and hooking that bus upto an external hardware that would alter the sound.

Granted this could be done today, but with theintroduction of DAW’s, many processes could be done onthe software.

Editing and Effects (3)


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Compared to Now (4)

• In 1982, Dave Smith invented the first instrument withMIDI capability called the Prophet-600.

• 1984 was the year that Cubase, the first Digital AudioWorkstation, was established. Although this was on theAtari computer, with less operating speed than the current

phone, it still changed the production game leaps and

bounds.• MIDI instruments were abled to be connected by 5-pin.

• This invented the establishment of the home studio.People at home were able to do similar things to people in

a recording studio at their home.


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Production Nowadays (4)

• With the advancements in technology, music production

has dramatically changed, and dance music was born.• With access to over hundreds of software instruments and

plugins, the production possibilities are near endless andlimited to your creativity.

•

Synth presets and creational plugins such as Massive by Native Instruments strongly influenced the sound ofelectronic genres.

• With correctional and creational plugins, the fatness ofmusic has increase and music is now a battle of loudness.


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• “You could play one keyboard with your right hand andanother keyboard with your left hand”. This makesrecordings quicker and easier. “Whole new era of music

processing”. “The computers were fast enough to be ableto sequence notes, control the number of keyboards anddrum machines at the same time…it kind of opened up a

whole new industry”.- Dave Smith (4)


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Quality Decrease (5)

• With built in metronomes, songs are now more accurate. Back

in the day, the tempo used to drift a bit. However, now we can

visually hear and see each beat in the project. Additionally, youcan quantize programmed notes or recorded notes.

• Music changes with society. Nowadays, there is more and more

demand for loud, energetic music. However, back in the day,

music was just stand and execute the song, rather than

performing it. Now, music is about performance as well as

execution.

• An artist that changed music is Elvis. Music of the time was all

slow, and boring performance. Elvis made his music more

upbeat and performed it.


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Music Moves with Society

• A band that I believe perfectly demonstrates how musicchanges with society is Coldplay. If we think back to someof their first albums, A Rush of Blood to the Head and X& Y, they are similar to most bands of the time. However,now society is more jumpy and lively, their new music ismore upbeat, and their performances more lively andcolourful.


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2003 vs. 2015

Music Moves with Society


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Digital Audio Workstations (6)

• Home studios started in the 90’s with the creation of Cubase onthe Atari.

• Before we start, a DAW is a piece of software equip forrecording, editing, and producing music.

• When downloading DAW’s, you have three options:• Digital

• Download off the company website.

• Good because you can start producing straight away.

•

Boxed• Shipped to the house.

• Good if you like having a physical copy.

• Included• Comes free with audio.

• Saves money by combining two purchases into one, but they tend to be

limited versions of the software.


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• Free vs. Paid

• Free DAW’s are bad for full production, however, they are better

than nothing if you can’t afford the paid version.• Additionally, free versions are could to test out the software to see

if you get on well with it before wasting your money.

• Limited vs. Free Version

• Free versions provide a test of the software, where as limitedversions tend to contain 95% of the full features, for a fraction ofthe cost. However, when I used limited versions, I found they werevery limited, such as editing plugins and software instruments, so Ihad to go for the paid version in the end.

• A benefit of buying the limited version, is you can upgrade to the

full paid version for a discounted price.

Digital Audio Workstations (6)


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• Cubase

• First DAW ever made.

• Original copy in 1989 for the Atari Computer, but was MIDI

only.

• In 1992, it supported audio inputs and had windows

compatability.• Brought out VST instruments.

Top DAW’s (6)


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• Logic Pro X

• Started in 2002 with the company known as E-Magic.

• Apple bought Logic soon after the release, so they could see

it was a good software with potential even in the early days.

• One of the best available DAW’s.

• Great integration with Mac’s, however it isn’t compatible

with windows.

• Digital Download from the app store or hardcore copy fromonline shops or the apple shop.

Top DAW’s (6)


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• Ableton Live 9

•

Originally designed for live performances.• Now used for production as well, but live performance is a

main feature.

• Lots of third party compatibility.

• Lots of hardware such as MIDI keyboards and Launchpads

map really well with Ableton.

Top DAW’s (6)


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• FL Studio

• Top choice for Hip Hop, EDM, House, and DJ’s because of

the plugins that the software comes with. Good software

instruments and editing possibility and capability.

• Lots of automation.

• Lots of third party capability.

• Good piano roll. One feature I love about the piano roll in FL

Studio is ghost notes. Ghost notes allow you to see scaleswhile programing which are very helpful.

• Offers free lifetime updates.

Top DAW’s (6)


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• When researching what setup you should get whenstarting production, you will get many different result as itis somewhat down to personal opinion, but there is somefact behind your results as well.

• Most people will say to get a mac for production becauseof the fast operating systems and integration.

• But what Mac is best?

What Computer is Best forProduction? (7)


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• Mac Mini

• Good for the price as it is the cheapest mac available.

• However, as it is cheap, it isn’t as fast.

• You have to buy a separate monitor as the monitor is not

included.

• However, this is more that sufficient to get you up and

running.

• That being said, if you want to buy once and buy right, thisisn’t the mac to buy.



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• MacBook Pro

• Faster than the Mac Mini, however still not the faster.

• Good because it’s portable so you can work on the go.

• Retina Display so its clear picture.



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• iMac

• Fast with a large screen.

• One of the most expensive, but worth the investment.



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• iMac Pro

• Fastest Mac available.

• Can have lots of tracks and plugins at once without having any

problems.• Lots of storage.

• Can add more RAM and processing cards should you need it.

• Multiple video outputs.

• Lots of inputs and outputs.

• The Mac to get.



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Interfaces (8)

• Audio interfaces/soundcards range from $100 – $4000.

• Nine out of ten times, the soundcard will be compatiblewith your digital audio workstation, but you still need to

be 100% sure before spending the money.

• However, compatibility could change when you set upchanges, so you can never be too sure.


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• There are four different types of connectors, and you have tohave the corresponding ports in your set up.

• USB• Used for cheaper, at home studios.• Slowest data transfer rate, however it is fast enough.

• Firewire• Used for more expensive, at home studios.

• Faster data transfer rate, but not the fastest.

• Thunderbolt• Newer semi-pro interface.

• A leap in speed from USB and Firewire.

• PCIE• Standard professional soundcard.

•

Additional processing power available, and fastest data transferrate.

Interface Connections (8)


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Interface Connections (8)

USB

FireWire

ThunderboltPCIE

Thunderbolt


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• On a simple home studio interface, there is generally oneto two. But on professional interfaces, there can be as

much as twenty, if not more.

• The amount of inputs you need depends on the amount oftracks you plan on recording at once.

• If you are a solo artist, you would only need about two to

four.• If you were on a song writing team, you would need about

4 to 10.

• Engineers who record bands would need as many as

possible.

Interface Inputs and Outputs(8)


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• Interfaces come in different forms, shapes and sizes.

• There are desktop interfaces, which are smaller, and cansit on the desk next to your computer screen.

• The bigger interfaces are rack mounted, and sit on astandard rack unit.

Is There Space for an Interface? (8)


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Types of Microphones (9)

It is essential that correct mic is selected. Many things have to be taken into consideration such as the

diaphragm size, whether the mic is a condenser or dynamic, and the polar pattern. With regards to the

diaphragm, you need to consider the instrument it is being associated with. For example, an

instrument that disperses a lot of air will need to have a mic with a larger diaphragm associated with

it. This will avoid any damage to the microphone diaphragm. Additionally, the type of microphonealso has to be considered. There are two types of microphones – dynamic and condenser. A dynamic

microphone is more used for live performance, as they are sturdy and don’t require phantom power to

work. A dynamic microphone uses a wire coil and a magnet to create the audio signal. The diaphragm

attaches to the coil, and when the diaphragm vibrates according to the sound wave, the coil moves in

the same pattern, past the magnet, creating electromagnetic waves, which move down the mic and

through the XLR cable. Because of this, they have low sensitivity, which is another benefit for live performance. Condensers, on the other hand, are less sturdy in comparison to dynamic microphones,

and this is one of the reasons they are used for studio applications. These require phantom power to

work, meaning they are more sensitive to picking up lower signals. However, due to their sensitivity,

they cannot be associated with instruments that have high air dispersion. Inside the microphone, there

are two electric plates that act as the diaphragm. When the diaphragm vibrates with sound waves, it

pushes one of the plates closer to the other plate, and then returns to resting position. This pattern

created by the plate movement is recreated through the XLR cable into the software. There are many

types of polar patterns as well.


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Types of Headphones (10)

• There are two types of headphones, each for differentapplications:

• Closed back headphones for recording.

• Open back headphones for mixing.


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“The Bomb” (11)

• Kenny Dope Gonzalez claims that “The Bomb” in 1994changed house forever:

• “I never meant for it to be 15 minutes. When I recordedthe track, I kept flipping through the sequences on mydrum machine and it sounded ok so I just left the intro likethat,” says Gonzalez.

• “The long intro created a huge amount of suspense, as itkept building up and building up, and when you thought itwas going to drop, it never did. Eventually when the mainsong kicked in, people just went crazy.”

•

Catchy vocals and samples were also introduced.


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What Makes a House Track

Successful? (12)

• Has to work on the dance floor.

•

Good rhythm.• No rigid beats, be funky and soulful.

• While producing, if you want to nod your head to it or you

can vibe to it then you should be sorted.

• Play the beat on the keyboard as opposed to programing it as

it will have more natural feel to it, then you can adjust it in

the piano roll.

• Samples are good to include.


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• Tempo needs to be right.

• Anything ranging from 125 – 128 BPM is good for dancing to.

•

House started at 130 BPM, but nowadays that is too fast for house.• Space percussion and high hats around the track rather than having

them run throughout.

• Breaks and pauses help to maintain the funk vibe to it.

• It doesn’t need to be heavy all the time.

• Length• Generally speaking, a track should be between 3:30 and 4:00

• An extended mix for a DJ tends to be about 5:00


Successful? (12)


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• Arrangement

• Pop tends to have a verse, chorus verse structure, whereas

house is more free flowing and less strict on the structure.

• In fact, having a random arrangement tends to catch people

off guard and keeps people paying attention and to the track

and on their feet.

•

Intro and outro beats are good for DJ’s to mix with. If thetrack is easy to mix, the more chance it has at being played.

• Test the track and see how people react – it sounds different

live to in a studio.


Successful? (12)


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• Hook

• A good hook is an essential part to the track, especially if

you have vocals.• The hook sets up the vibe you are trying to achieve.

• Good melodies helps your track be more memorable.


Successful? (12)


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• Vocal Importance

• Vocals help reach anthem status, however, they aren’t

essential.

• Vocals help get the crowds attention and connect with each

other when they start singing along.

• Make them relatable and understandable.


Successful? (12)


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• Mixdown

• Tracks are getting louder and louder. Music has become awar of fatness and loudness.

• Bass and kick need to sound good together and can’t be in phase.

• The more basic and energetic the track is, the moresuccessful it tends to be. If people can dance and rememberit, it will be good.

• However, don’t try too hard during production. Don’t open a blank file and be like: “This is gunna be a banger”, becausenine times out of ten, it won’t be because you’d have triedtoo hard.


Successful? (12)


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• People enjoy music, food, drink, and entertainment atfestivals. I did a questionnaire for my Facebook friends ofall ages to partake in to see what frequent responses were:

Festivals Change with Music (13)

•It is clear that people enjoy the atmosphere of the peopleand music over other features found at festivals.

i lf i d k i l h i d fi


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Personal Experience At Festivals

• Last year, my girlfriend took me to Wireless, where I experienced my firstfestival. Granted Wireless isn’t Tomorrowland or Ultra, however I loved theexperience from start to finish. From the amount of people on tubes, to themassive que to get into the festival. Everything was new for me, and as a DJ,I had great appreciation for the atmosphere. Skrillex describes festivals fromhis point of view as “the most energy you will ever see”, he said in aninterview with Katie Couric. I would love to one day experience that energymyself. Upon entering the festival, I was greeted with MainStage to my left, bars, food and entertainment, and two more stages straight ahead. The foodwas good, the atmosphere was insane, the music and lights were quality.

•

DJ Cali, another DJ in my class, consistently goes to raves, and she alsoenjoys the atmosphere, lights and music.

• Me and Matthew Range, another DJ in my class, continuously talk aboutUltra and Tomorrowland, whether it’s talking about something big that’shappened in the past, or the urge to go ourselves.

• I have watched numerous past Ultra sets, and everything about them gives

me chills. From the fat drops, to the crazy lights and intros, to the supportivecrowd that sings along and gives it their all.


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Genres of House (14)

• House has adapted over time, and numerous subgenres have been created, that can beidentified by certain characteristics that other subgenres of house don’t have.

• Classic House/Chicago House

•

Started in Chicago in the early 1980’s • 4/4 beat • Percussion driven by rhythm produced by drum machines • Synthesized baselines (classic deep house bass) • Original Producers

• Frankie Knuckles • Marshal Jefferson

• Robert Owens • Present producers

• Gorgon City • Pete Tong • MK • Friend Within • Disclosure


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• Deep house

• Similar to Classic house, however it has a slower BPM of

around 120. It also has a more chill vibe to it and isn’t as

poppy.



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• Tech house

• Fusion between house and techno.

• Soul and funk of house, but more rigid in structure and

sound.

• Has a more consistent rhythm than the last two subgenres.

• Glitchier synths and more unpredictable structure.

• Intricate and more layers in the project.

• Shorter and darker kicks, smaller & quicker hi-hats, andnoisier snares.



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• Acid House

• Squelching bass and moving baseline.

• Synths and bass and minimalistic with lots of energyand groove.

• Big part of the house scene in the 80’s and 90’s andstarted in the UK.

• Very easy to classify due to its distinct sound.



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• Progressive/Electro House

• Around 128 BPM

• Took elements from trance in the 90’s, and changed overthe years.

• Typical build and break down, followed by another buildand a drop.

• Vocals have been introduced now too rather than justmelodies.

• Jumpy, fun, and wild.

• Most disliked by musicians



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• Big Room/Mainstage House

• Progressive-house like builds into abrasive and hard-hitting hollow drops consisting of a hook with a quick

attack and quick decay.

• Simple melody and big synths and kicks.

• Created in 2010.

• Relies on the drop.

• Takes over mainstages and massive at festivals.



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• Electro House

• Bright synths

• Minimal percussion to allow the synths and bass to punch

through and make an appearance

• Electro House – Melbourne Bounce

• ^ with a bouncy baseline between kicks



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• Ghetto House (G-House)

• About to be big

•

Hip hop and laidback melodies into dance• Minimalistic yet packs a punch



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• UK Garage House

• 4/4 percussive rhythm with shuffling hi hats.

• Lots of bass.



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• Future House

• Groove and rhythm of classic house, but boots electro house the the leads.

• Tchami coined the term future house, and essentially made the genre.

•

Synths are raw with lots of reverb and bass to them.• Percussive beats.

• This is my favorite genre of house because I like the fat synths and percussive beats. Also vocals suit this subgenera well, as they are eitherclean in the breakdown, or chopped to add rhythm or pitched down whichI find unique.



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• Tropical House

• Bright and cheery synths with reverb and short envelope

settings.

• Percussive drums like bongos and congas, snaps and claps.

• Summer vibe.

• Slower BPM of around 105.



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• House had started with just Chicago House in the 1980’s,and there is so many more genres than just the original

now. Whether this is a good or bad thing, it is up to you!

• I like how there is different subgenres because you havethe dance and groove of house, but with differentcharacteristics.

• My favourite subgenres of house are:• Future house

• Tropical house

• Deep house

Genres of House Recap (14)


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k b k h f i d l di lik d


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Genres People Like

• I took a survey on Facebook to see what genres my friends also disliked:

• Most of my friends disliked country, rap,and jazz, which is interesting because theylead internationally. However, in the areasthat my friends are, these genres don’tdominate the charts, which could be why

my results are what they are.


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Deck Improvements

• As mentioned previously, it was very hard to DJ in the start.

• It started off with one turntable, followed by a break in themusic, dancing, and vibe.

• Then a second turntable was introduced with a signal switch forwhich turntable was being used for the output. DJ’s were thenable to slip que and extend the mix into the next track.

• Then mixers were introduced to control the volume of thetracks and from which turntable was being used for the masteroutput.

• Moving onto more current times, CDJ’s were released whereyou were able to DJ through a USB stick and or CD’s. Thismade DJing much easier.

• Controllers were also made that control DJ software and youcan DJ through an app that links with your iTunes library.

• I personally prefer to DJ with controllers because you can seethe waveforms and perfect integration with iTunes.


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Deck Improvements

CDJ

Turntables

Controller

I l k t DJ C li d M tth R b t th i f d t l f d k f h th


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Deck Conversation With LocalDJ’s My Age

• I also spoke to DJ Cali and Matthew Range about their preferred style of decks for when theyDJ. They both replied with CDJ’s. They like that they don’t have to rely on a computer to be upand running perfectly. They enjoy being able to walk around with all of their songs on a pendrive and be good to go. They also prefer seeing there work right in front of them on theirhardware.

•Although these are definite positives to the world of CDJing, I still prefer controllers. I feel thatCD’s are becoming redundant, and very rarely would you buy a whole album and want to useevery song on it. It is far more popular to download a handful of songs digitally. So therefore Idon’t really see the need for the decks to take CD’s. However, it is a bit of a pain to lug arounda laptop. Also, if anything goes wrong with the laptop then you’re stuffed. I had a gig the otherweekend and my laptop didn’t have enough ram to cope with my production, and the hardwarewas ruined. I had to go out and buy and new laptop. So it is good with CDJ’s that you don’thave to rely on a healthy laptop. Another reason I like controllers though, is because you cansee your library, and see both waveforms easily, in addition to effects and samplers.

• We also discussed our views on vinyl. We all said we wouldn’t do it live because it is hard toget access to current tracks on vinyl, and we are too technological to be using vinyl. That beingsaid, we have tried using vinyl, and we all enjoy taking the track off, putting the track on, andstarting it up with a baby scratch and hearing the crackling. Vinyl’s have a quality sound thatyou can’t find anywhere else. However it is impractical for our day and age.

h d lf f d h l l lk


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Respect For DJ’s

• Matthew Range and myself get frustrated when general people talkdown our abilities to DJ. “All you do is hit play and twist some knobs”.They don’t see the hours of prep before a set, the live EQ, the seamless

beat juggling, and the research. People just take the music for granted

live, but it is harder than it seems.

• That being said, when our skill gets praised, it is one of the best feelingsyou will ever get.

• However, it is interesting to see how different DJ’s react to commentslike this.

• I watched an interview of Skrillex with Katie Couric, and she purposedthe question, “How do you feel when people dispute what you do anddon’t claim you to be a musician”. That would infuriate me. However,he replied with composure and experience by saying, “people just don’tunderstand and that it is easy for people to immediately bash what they

don’t know because they feel insecure that they don’t understand.”

http://www.univie.ac.at/Anglistik/webprojects/LiveMiss/Chicago-House/house-text.htm


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References

1.http://www.univie.ac.at/Anglistik/webprojects/LiveMiss/Chicago-House/house-text.htm

2.http://uk.complex.com/pop-culture/2013/07/10-ways-tech-has-changed-how-we-consume-music/

3.http://www.jamcast.co.uk/early-recording-techniques/

4.http://www.bbc.co.uk/news/technology-20425376

5.http://gizmodo.com/how-music-has-evolved-in-the-past-70-years-1485770090

6.http://ehomerecordingstudio.com/best-daw-software/

7.http://ehomerecordingstudio.com/best-computer-for-recording-music/

8.http://ehomerecordingstudio.com/best-audio-interfaces/

9.http://ehomerecordingstudio.com/best-cheap-mics/

10.http://ehomerecordingstudio.com/best-recording-studio-headphones/

11.https://news.beatport.com/the-bomb-that-changed-house-music/

https://news.beatport.com/the-bomb-that-changed-house-music/http://ehomerecordingstudio.com/best-recording-studio-headphones/http://ehomerecordingstudio.com/best-cheap-mics/http://ehomerecordingstudio.com/best-audio-interfaces/http://ehomerecordingstudio.com/best-computer-for-recording-music/http://ehomerecordingstudio.com/best-daw-software/http://gizmodo.com/how-music-has-evolved-in-the-past-70-years-1485770090http://www.bbc.co.uk/news/technology-20425376http://www.jamcast.co.uk/early-recording-techniques/http://uk.complex.com/pop-culture/2013/07/10-ways-tech-has-changed-how-we-consume-music/http://www.univie.ac.at/Anglistik/webprojects/LiveMiss/Chicago-House/house-text.htmhttps://news.beatport.com/how-to-write-a-hit-house-track-10-top-tips/https://news.beatport.com/how-to-write-a-hit-house-track-10-top-tips/


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References

12. https://news.beatport.com/how-to-write-a-hit-house-track-10-top-tips/

13. http://www.huffingtonpost.co.uk/geoff-ellis/t-in-the- park-music-festivals-have-changed_b_2711164.html

14. http://electroniccurrent.com/2015/01/14/a-complete-guide-to-house-music/

• My research was taken from the internet because most of my information was

http://electroniccurrent.com/2015/01/14/a-complete-guide-to-house-music/http://www.huffingtonpost.co.uk/geoff-ellis/t-in-the-park-music-festivals-have-changed_b_2711164.htmlhttps://news.beatport.com/how-to-write-a-hit-house-track-10-top-tips/https://news.beatport.com/how-to-write-a-hit-house-track-10-top-tips/


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Justification and Logbook

My research was taken from the internet because most of my information was

available online. Anything that I wanted to find answers to that I couldn’t, I

purposed to my friends on Facebook, or DJ friends of mine. If all else failed, I had a

drafted email to send off to companies, studios, or producers.

•

This moves me onto my next method of research: questionnaires. I usedquestionnaires because I feel like they are a great method to get people’s opinions on

matters that can be used for research, as I demonstrated in this project. I got the idea

for questionnaires off of Twitter funnily enough, with their new update for polls. At

first I thought no one would do them, however, there was numerous responses, so I

thought I’d give it a go. Generally speaking, I was pleased with the responses I got.

• The joy of being on a Music Tech course opens you up to people that do the same

things as you do yourself. I was able to talk to Matthew Range and DJ Cali about

their personal opinions on some topics, which I enjoyed doing and I found to be

really effective.

• I also watched an interview of Skrillex with Katie Couric, and I found it interesting

to see his views on some music scenes and statements. It was good to get the voice

of a professional into my research.

• Finally, I also used my own experience of DJing, producing, and festivals to further

enhance my research.


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Analysis

• Overall, I am pleased with how my Special Topic Investigationwent. I am pleased with this powerpoint as I feel that it is

thorough and written well in good detail.• From a research point of view, I am also pleased with how it

went as I used many different resources to obtain my answers.That being said, I wish that I used an email as a source ofresearch as well, rather than a back up should all else have failed.

I am not an outgoing person and I feel that I didn’t execute theemail or phone call as it wasn't in my comfort zone. Uponreflection, that is no excuse and should have been executed.

• Overall though, I am pleased with my Special TopicInvestigation.

• I chose to research this topic as I am a DJ who specializes in house and a producer who


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Conclusion

• I chose to research this topic as I am a DJ who specializes in house, and a producer whospecializes in Tropical House, Future House, and Progressive House. I wanted to get moreknowledge into the background of house, and how it has changed over the years.

• Without a doubt, the production, live performance, and general house music has dramaticallychanged over time. Starting from being limited to blacks and gays and underground, to

spreading to whites and coming more mainstream. There is no longer just one king of house being Chicago/Deep House, there are now at least ten genres of house, and that is and will beforever growing. Matt predicts house will die down with the eruption of grime, however Ithink that house will fight through the grime scene and come out on top. He argues that “ifthere are 2 days of grime at the next wireless festival, leaving 1 day for house and other EDM,then grime is winning and house is losing.” I replied by saying “until grime takes overMainStage at Ultra or Tomorrowland, house is winning.” Live DJing has changed from using

vinyl slip cueing, to vinyl with a mixer, to controllers and CDJ’s. Production has changeddramatically from being exclusive to renting out a studio and doing a live take, to being ableto use interfaces and DAW’s to produce your own music at home. Festivals have grown innumber and size, and music has gotten more lively and loud as society has. Unquestionably,music, house, production, and live performance has evolved leaps and bounds in comparisonto the early days.

• Will grime continue on the rise and overtake house, or will house continue to win in the battle? I think house with even more sub-genres, Mat thinks grime will be too strong…whatdo you think?

sam towner house music evolution presentation

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