This technique was further used to manually loop a purely percussive break, leading to what was later called a break beat. A technique developed by DJ Kool Herc that became popular in hip hop culture was playing two copies of the same record on two turntables, in alternation, and at the point where a track featured a break. His parties are credited with having kick-started the New York City hip-hop movement in 1973. Inspired by Jamaican sound system culture Jamaican-American DJ Kool Herc introduced large bass heavy speaker rigs to the Bronx. Hip hop music has had some influence in the development of electronic dance music since the 1970s. Techniques such as a long echo delay were also used. It featured layering techniques and incorporated elements of world music, deep bass lines and harmonic sounds. Ambient dub was pioneered by King Tubby and other Jamaican sound artists, using DJ-inspired ambient electronics, complete with drop-outs, echo, equalization and psychedelic electronic effects. ĭespite the limited electronic equipment available to dub pioneers such as King Tubby and Lee "Scratch" Perry, their experiments in remix culture were musically cutting-edge. The Roland Space Echo, manufactured by Roland Corporation, was widely used by dub producers in the 1970s to produce echo and delay effects. 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 and electro, 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. In the United States, however, acceptance of rave culture was not universal outside of regional scenes in New York City, Florida, the Midwest, and California 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. 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 widespread mainstream popularity in Europe. 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. Electronic dance music ( EDM), also known as dance music, club music, or simply dance, is a broad range of percussive electronic music genres made largely for nightclubs, raves, and festivals.
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