The 28 Steps to Electronic Dance Music Production

A guide to the basics of electronic dance music production, including a look at the different elements that make up a track and how to put them all together.

Introduction

With the advent of digital music production, more and more people are interested in making their own electronic dance music. While the genre has been around for decades, it has only recently become mainstream. If you’re thinking about making your own EDM, there are a few things you should know.

In this article, we’ll take a look at the 28 steps to electronic dance music production. We’ll cover everything from choosing your software to exporting your finished track. By the end, you’ll have a good understanding of what it takes to make great EDM.

1. Choose your software
The first step is to choose the right software for your needs. If you’re just starting out, we recommend FL Studio or Ableton Live. If you’re looking for something more advanced, consider Logic Pro or Reason.

2. Download plugins and samples
Once you’ve chosen your software, it’s time to download some plugins and samples. These will help you create the sounds you need for your track. We recommend downloading a few different collections of sounds so that you have plenty of options to choose from.

3. Create a project file
Create a new project file in your chosen software and name it after your track. This will help keep everything organized as you work on your project.

4. Import your samples
Now that you have a project file created, import all of the samples you downloaded in step 2 into the file. This will give you access to them as you work on your track.

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The first step: getting to know your equipment

In order to produce electronic dance music, you will need some specific equipment. In this first step, we will familiarize you with the equipment you will need in order to produce your own music. This includes a computer, a digital audio workstation, synthesisers, and a MIDI controller.

Your computer

The computer is the heart of your studio, so it’s important to choose wisely. Here are a few things to keep in mind when selecting a computer for music production.

First, think about what type of music you want to make. If you’re planning on producing electronic dance music, you’ll need a computer that can handle virtual instruments and heavy-duty audio processing. If you’re mostly interested in recorded music, you can get away with a less powerful machine.

Second, consider your budget. You don’t need the latest and greatest computer to make great music—a mid-range laptop or desktop will do the trick. That said, if you can afford it, a higher-end machine will offer more power and flexibility down the road.

Third, think about the other gear you’ll be using in your studio. If you want to use external hardware like synthesizers or drum machines, you’ll need a computer that has enough USB ports to connect everything. And if you plan on using headphones or monitors while you work, make sure your computer has the right type of audio output (3.5mm or 1/4″).

Finally, take some time to research different brands and models before making your purchase. Read reviews from other musicians and watch videos about the features of each machine. With so many options on the market, it’s important to find the right computer for your specific needs.

Your software

Now that you have your computer, it’s time to install some production software. This is the most important part of your journey, as the software you choose will be your creative toolbox for years to come. If you’re not sure where to start, here are a few of our favourites:

Ableton Live: One of the industry standards for live performance and production, Ableton Live is beloved by dance music producers for its intuitive workflow and flexible feature set.

FL Studio: One of the most popular production softwares on the market, FL Studio boasts an extensive feature set and an intuitive workflow.

Logic Pro: Another industry standard, Logic Pro is known for its comprehensive instrument and effect library.

Your MIDI keyboard

Your MIDI keyboard is one of the fundamental pieces of equipment in your studio. If you don’t have one yet, start saving up – they’re not cheap, but they are worth it. A good MIDI keyboard will last you a long time and will be a joy to use.

There are a few things to consider when choosing a MIDI keyboard. The first is the size. MIDI keyboards come in 25, 49, 61, and 88 key varieties. The size you need depends on the type of music you want to make and the space you have in your studio. If you want to play classical piano pieces or if you have a lot of money to spend, go for the 88 key variety. Otherwise, the 49 or 61 key keyboard will suffice.

The next thing to consider is the action of the keys. This refers to how much pressure is required to press a key down and how springy the keys are when released. Some people prefer a lighter action, while others prefer a heavier action. There is no right or wrong answer here – it’s entirely up to personal preference. Experiment with different types of keys until you find the ones that feel right for you.

Finally, consider the features that come with your MIDI keyboard. Some keyboards come with built-in speakers, while others have knobs and buttons that can be assigned to various functions in your music software. Some even have mini screens that display information about your current sound or patch settings. Again, there is no right or wrong answer – it all comes down to what you need and what you’re willing to pay for.

Your audio interface

Audio interface is vital to every home studio. It is the link between your computer and the outside world, where all your music will ultimately live. There are many different types and models of audio interface, but they all serve the same basic purpose: to get audio into and out of your computer with the highest possible fidelity.

An audio interface typically consists of one or more inputs and outputs, either on separate channels or combined into a single stereo signal. The inputs can be either analog or digital, or a combination of both. Analog inputs are typically used for microphones and other instruments, while digital inputs are used for connecting external digital audio devices such as CD players and MP3 players.Outputs can also be either analog or digital, and are used for connecting powered speakers, studio monitors, and other playback devices.

Some audio interfaces also include a MIDI interface, which allows you to connect MIDI controllers and other devices to your computer. This can be extremely useful if you want to use virtual instruments or control external hardware such as synthesizers and drum machines.

When choosing an audio interface, there are a few things you should keep in mind. The first is the number of input and output channels you’ll need. If you only ever plan on recording a single track at a time, then a 2-in/2-out interface will suffice. However, if you want to record multiple instruments simultaneously or want to use multiple playback devices, then you’ll need an interface with more channels. The next thing to consider is whether you need an analog or digital input (or both). If you only ever plan on recording from a microphone or instrument that uses an 1/4″ jack, then an analog input will be all you need. However, if you also want to record from external digital sources such as CDs or MP3 players, then you’ll need an interface with a digital input (usually in the form of an S/PDIF connection).

Finally, make sure that the audio interface you choose is compatible with your computer’s operating system. Most interfaces will work with both Windows and Mac OS X, but there are a few that are only compatible with one or the other. With so many different types and models of audio interface available on the market today, it’s easy to find one that fits both your needs and your budget.

Your monitors

There are three essential pieces of equipment in any studio: monitors, which allow you to hear what you’re recording; an audio interface, which lets you connect microphones and instruments to your computer; and a DAW (digital audio workstation), where you record, edit and mix your music.

Your monitors are arguably the most important part of your setup. Monitors come in all shapes and sizes, but the two most important things to look for are flat frequency response and low-end extension. Flat frequency response means that the monitors will reproduce all frequencies evenly—if a kick drum sounds good on your monitors, it should sound good everywhere else. Low-end extension means that the monitors can reproduce the low frequencies accurately. Many cheaper monitors struggle with this, resulting in a “muddy” sound.

There are two main types of monitors: active and passive. Active monitors have built-in amplifiers, which makes them easier to setup but more expensive. Passive monitors need to be connected to an external amplifier, but many people believe they sounded better than active monitors. Ultimately, it comes down to personal preference—the best way to find out is to listen to both types of monitors side by side and see which one you prefer.

Your headphones

Choosing the right headphones is extremely important for any type of music production. Make sure to select a pair of headphones that are comfortable for you to wear, since you will be wearing them for long periods of time. In terms of sound quality, it is important to find a balance between bass and treble frequencies. too much bass can make it difficult to mix accurately, while too much treble can be fatiguing.

There are two main types of headphones: over-ear and on-ear. Over-ear headphones tend to be more comfortable and have better sound quality, but they can also be bulky and expensive. On-ear headphones are more portable and affordable, but they may not be as comfortable or have the same sound quality as over-ear headphones.

Once you have selected a pair of headphones, it is important to properly care for them. Make sure to clean them regularly with a soft cloth or anti-static brush, and never store them in extreme temperatures or exposure to sunlight. With proper care, your headphones should last for many years.

The second step: getting the sound right

To make a beat, you’ll need some software. In this guide, we’ll be using the software Logic Pro X. It’s a great program for beginners, and it’s what we’ll be using to make our beat. The first thing you need to do is open up Logic Pro X and create a new project.

EQ

EQ is short for “equalization.” It’s a tool used to adjust the balance of sounds in a mix. For example, you might use EQ to make the bass in a track sound wider, or to make the highs in a track sound brighter.

EQ can be used to solve a number of problems in a mix, such as:

Making room for other instruments: If two instruments are fighting for the same space in the frequency spectrum, you can use EQ to reduce the level of one of them, making room for the other.

Making an instrument sound fuller: If an instrument sounds thin or tinny, you can use EQ to boost its lower frequencies and make it sound fuller.

Taming problem frequencies: Every instrument has one or two frequencies that Stand out and become annoying. These are usually very high or very low frequencies. You can use EQ to “tame” these problem frequencies and make them blend better with the rest of the track.

Compression

Now that you’ve set up your levels using a gain plugin, it’s time to add some compression. In general, you want to be subtle with your compression. A little goes a long way.

First, set the ratio. The ratio controls how much the signal is compressed. A ratio of 4:1 means that for every 4 dB the signal goes above the threshold, it is only allowed to increase by 1 dB.

Next, set the threshold. The threshold is the level at which the compression kicks in. Anything below the threshold will not be affected by the compression.

Attack and release are two more parameters that you can play with. Attack controls how quickly the compressor reacts to a signal above the threshold, while release controls how quickly it returns to normal once the signal falls back below the threshold.

Once you’ve got your settings dialed in, listen for any pumping or breathing effects caused by the compressor working overtime. If you hear anything undesirable, back off on the settings until it goes away.

Reverb

Reverb is the reflection of sound off surfaces. When a sound hits a hard surface, it will reflect all at once and then die away quickly. When it hits a soft surface, the sound will be scattered in many directions and take longer to die away. You can simulate these different kinds of surfaces using digital reverb.

There are two main types of reverb: convolution and algorithmic. Convolution reverb uses impulse responses, which are recorded samples of real-world spaces or digital simulations of them. Algorithmic reverbs use mathematical models to generate artificial reflections.

Both types of reverb have their pros and cons. Convolution reverbs tend to be more realistic but they can be CPU intensive, while algorithmic reverbs are less realistic but more efficient. Ultimately, it’s up to you which type of reverb you want to use.

There are many different kinds of digital reverbs, so experimentation is key. Just because a certain type of reverb is considered “best” for a particular style of music doesn’t mean that it will work for your track. The only way to find out is to try different types until you find one that works well with your particular track.

Delay

Delay is a very powerful tool for creating space and depth in your mix. It can also be used for rhythmical purposes, especially when using long delay times. In general, there are three types of delay:
-Analog delay: This is the classicdelay effect that uses analog circuitry to create the delay. This type of delay generally sounds warmer and more natural than digitaldelay.

-Digital delay: This type of delay uses digital circuitry to create the delay. Digitaldelay can sound more artificial than analog delay, but it can also be more precise and have a wider range of possible sounds.

-Reverb: This is a type of Delay that simulates thenatural reverberation of an acoustic space. Reverb can be used to make a sound seem larger or to create a sense of space in a mix.

Chorus and other modulation effects

Chorus and other modulation effects can make a synth line sound much more interesting, by making it seem as if there are several instruments playing the same part. Achieving this effect is fairly simple—it just requires adding an LFO to the pitch of the oscillators, set to a very low rate (a few Hz).

There are many types of modulation effects, such as chorus, phaser, flanger, and tremolo. They all achieve essentially the same thing—a widening of the sound stage and a thickening of the tone—but they do so in different ways. Chorus achieves this by splitting the signal into two paths and delaying one path slightly. When these two signals are combined, they create an effect similar to that of two instruments playing the same note.

Phasers work by splitting the signal into two paths and then canceling out certain frequencies in each path. The result is a whooshing sound that sweeps up or down in pitch. Flangers work in a similar way, but with a shorter delay time, which results in a more pronounced sweeping sound. Tremolo simply turns the signal on and off at a rapid rate, which gives the illusion of volume changes.

Modulation effects can be used on any type of instrument, not just synths. In fact, they are commonly used on guitars, to give them a “warmer” sound.

The third step: putting it all together

So you’ve written a melody, found a kick and snare that go well together, and loaded up a synth sound you like. What’s next? In this step, we’ll talk about putting all of these elements together to create a basic track.

The arrangement

The arrangement is the longest and most important stage in producing your track. This is where you take all the elements you’ve created and put them together into a song. The arrangement can be thought of as the song’s skeleton; it’s the basic structure that everything else is built on.

There are a few things to keep in mind when arranging your track:

– The arrangement should have a clear beginning, middle, and end.
– Each section of the arrangement should have a specific purpose; don’t just throw in random elements for the sake of it.
– The arrangement should be logical and easy to follow; if it’s too complex, it will be confusing for the listener.
– The arrangement should leave room for the track to breathe; don’t pack it too tightly with elements.
– The arrangement should build tension and release throughout, so that the track has a sense of forward momentum.

A good rule of thumb is to start with a simple sketch of the arrangement, and then add more detailed elements as needed. It’s often helpful to create a basic beat first, and then build the rest of the track around it.

Remember that less is often more when it comes to arrangements; don’t overcomplicate things!

The mix

You have all the tracks in your song arranged the way you want them, and each track has been carefully “EQ’d” and processed to fit into the mix. Now it’s time to actually mix the song, which means adjusting the levels of each track relative to each other so that everything can be heard clearly and there is a good balance between all the elements.

This is both an art and a science, and there are whole books devoted to mixing (and general production) technique. But here are a few pointers to get you started. As always, trust your ears above all else – if it sounds good, it is good!

-Start with the drums. The drums are the backbone of most electronic dance music, so it’s important to get them sounding tight and punchy. Start by setting their overall level in the mix – you want them to be loud enough to drive the track but not so loud that they overpower everything else.

-Once the drums are sounding good, start bringing up the level of the bassline. Again, you want it to be loud enough to be heard but not so loud that it overwhelze tonality
clutters up the mix or drowns out the drums. A good rule of thumb is that the bass should be about half as loud as the drums.

-Next, bring up the level of your lead synth line or melody. This should be one of the loudest elements in your mix – you want people to be able to hear it clearly over everything else. Don’t be afraid to experiment with different levels for different parts of your song – sometimes making a drop or break down quieter can make it sound even bigger when it comes back in again afterwards.

-Finally, add any other elements like textures, pads, effects etc. These should generally be kept fairly low in level so as not to clutter up the mix too much.

Once you’ve got all your tracks sitting well together in terms of level, start playing around with their panning positions (i.e. where they sit left/right in the stereo field). This can help create a wider “soundstage” for your track and also help separate out different elements so they don’t clutter up each other frequency-wise. A common starting point is to pan your drums dead center, bass slightly left/right depending on which hand you play with (I prefer slightly right), lead synth dead center and any other elements around 50-60% left/right respectively depending on where they sit in relation to everything else In general though, don’t get too hung up on panning positions – often just moving things a few percentage points one way or another can make a big difference without sounding too “stereotypical”

The master

Now that you’ve learned how to mix and match sounds, it’s time to talk about the final product: the master. The master is the file that you’ll eventually export and share with the world. It’s the sum of all your work, and it needs to sound its best.

There are a few things to keep in mind when creating your master. First, make sure that the volume of your track is peaking at around -6 dB. This will ensure that your track is loud enough to be heard, but not so loud that it distorts.

Next, you’ll want to add a bit of limiting to your track. Limiting is a form of compression that prevents your track from getting too loud. By keeping the peaks of your track under control, you’ll avoid clipping and distortion.

Finally, you’ll want to add some EQ to your master. This will help balance out the frequencies in your track, and make it sound its best.

These are just a few tips for creating a great master. For more detailed instructions, check out our guide on How to Master Your EDM Track .

Conclusion

In conclusion, we hope that this guide has given you a better understanding of the electronic dance music production process. While it may seem daunting at first, remember that practice makes perfect. Don’t be afraid to experiment with different sounds and ideas, and always strive to improve your craft. With hard work and dedication, you’ll be making killer tracks in no time.