While techno and its derivatives only occasionally produce commercially successful mainstream acts— Underworld and Orbital being two better-known examples—the genre has significantly affected many other areas of music. Elliott's album Miss E So Addictive also clearly demonstrated the influence of techno inspired club culture.

In recent years, the publication of relatively accurate histories by authors Simon Reynolds Generation Ecstasyalso known as Energy Flash and Dan Sicko Techno Rebelsplus mainstream press coverage of the Detroit Electronic Music Festivalhave helped to diffuse the genre's more dubious mythology. It became natural for us to incorporate Detroit techno into our commercials after we discovered that young people are embracing techno. When Kraftwerk first toured Japan, their music was described as "technopop" by the Japanese press.

When Yellow Magic Orchestra toured the United States inthey described their own music as technopop, and were written up in Rolling Stone Magazine. It just so happened that Detroit was there when people really got into it.

The popularity of Euro disco and Italo disco —referred to as progressive in Detroit—and new romantic synthpop in the Detroit high school party scene from which techno emerged [] has prompted a number of commentators to try to redefine the origins of techno by incorporating musical precursors to the Detroit sound as part of a wider historical survey of the genre's development.

Another example is a record entitled Love in C minorreleased in by Parisian Euro disco producer Jean-Marc Cerrone ; cited as the first so called "conceptual disco" production and the record from which house, techno, and other underground dance music styles flowed. AroundSheffield band Cabaret Voltaire began including funk and electronic dance music elements into their sound, and in later years, would come to be described as techno.

Nitzer Ebb was an Essex band formed inwhich also showed funk and electronic dance music influence on their sound around this time. Certain electro- disco and European synthpop productions share with techno a dependence on machine-generated dance rhythms, but such comparisons are not without contention.

Efforts to regress further into the past, in search of earlier antecedents, entails a further regression, to the sequenced electronic music of Raymond Scottwhose "The Rhythm Modulator," "The Bass-Line Generator," and "IBM Probe" are considered early examples of techno-like music. In a review of Scott's Manhattan Research Inc. Commenting on the tape, Paul Hartnollof the dance group Orbitaldescribed the example as "quite amazing," noting that it sounded not unlike something that "could be coming out next week on Warp Records.

In general, techno is very DJ -friendly, being mainly instrumental commercial varieties being an exception and is produced with the intention of its being heard in the context of a continuous DJ setwherein the DJ progresses from one record to the next via a synchronized segue or "mix.

Unlike other forms of electronic dance music that tend to be produced with synthesizer keyboardstechno does not always strictly adhere to the harmonic practice of Western music and such strictures are often ignored in favor of timbral manipulation alone. This is essentially a drum pattern popularized by disco or even polka and is common throughout house and trance music as well.

The tempo tends to vary between approximately bpm quarter note equals pulses per minute and bpm, depending on the style of techno. Some of the drum programming employed in the original Detroit-based techno made use of syncopation and polyrhythmyet in many cases the basic disco-type pattern was used as a foundation, with polyrhythmic elaborations added using other drum machine voices.

This syncopated-feel funkiness distinguishes the Detroit strain of techno from other variants. It is a Universal Love - Various - Strictly Trance 1 (CD) that many DJs and producers still use to differentiate their music from commercial forms of techno, the majority of which tend to be devoid of syncopation. Derrick May has summed up the sound as 'Hi-tech Tribalism': something "very spiritual, very bass oriented, and very drum oriented, very percussive.

The original techno music was very hi-tech with a very percussive feel It feels like you're in some sort of hi-tech village.

There are many ways to create techno, but the majority will depend upon the use of loop-based step sequencing as a compositional method. Techno musicians, or producersrather than employing traditional compositional techniquesmay work in an improvisatory fashion, [] often treating the electronic music studio as one large instrument.

The collection of devices found in a typical studio will include units that are capable of producing many different sounds and effects.

Studio production equipment is generally synchronized using a hardware- or computer-based MIDI sequencerenabling the producer to combine in one arrangement the sequenced output of many devices. A typical approach to using this type of technology compositionally is to overdub successive layers of material while continuously looping a single measure or sequence of measures.

This process will usually continue until a suitable multi-track arrangement has been produced. Once a single loop-based arrangement has been generated, a producer may then focus on developing how the summing of the overdubbed parts will unfold in time, and what the final structure of the piece will be.

Some producers achieve this by adding or removing layers of material at appropriate points in the mix. Quite often, this is achieved by physically manipulating a mixersequencer, effects, dynamic processingequalizationand filtering while recording to a multi-track device. Other producers achieve similar results by using the automation features of computer-based digital audio workstations. Techno can consist of little more than cleverly programmed rhythmic sequences and looped motifs combined with signal processing of one variety or another, frequency filtering being a commonly used process.

A more idiosyncratic approach to production is evident in the music of artists such as Twerk and Autechrewhere aspects of algorithmic composition are employed in the generation of material. The TR and TR drum machines have since achieved legendary status, a fact that is now reflected in the prices sought for used devices. During the s, the became the staple beat machine in Hip hop production while the found its home in House music and techno.

It was "the pioneers of Detroit techno [who] were making the the rhythmic basis of their sound, and setting the stage for the rise of Roland's vintage Rhythm Composer. There can be few hi-tech instruments which still command a second-hand price only slightly lower than their original selling price 10 years after their launch. By MaySound on Sound was reporting that the popularity of the had started to decline, with the rarer TR taking its place as "the dance floor drum machine to use.

Despite this fascination with retro music technology, according to Derrick May "there is no recipe, there is no keyboard or drum machine which makes the best techno, or whatever you want to call it.

There never has been. It was down to the preferences of a few guys. The was our preference. We were using Yamaha drum machines, different percussion machines, whatever. In the latter half of the s the demand for vintage drum machines and synthesizers motivated a number of software companies to produce computer-based emulators. A Sound on Sound review of the RB V2 in November noted that Rebirth had been called "the ultimate techno software package" and mentions that it was "a considerable software success story of ".

Propellerhead then made it freely available for download from a website called the "ReBirth Museum". The site also features extensive information about the software's history and development.

With this release Propellerhead were credited with "creating a buzz that only happens when a product has really tapped into the zeitgeistand may just be the one that many [were] waiting for. As computer technology became more accessible and music software advanced, interacting with music production technology was possible using means that bore little relationship to traditional musical performance practices: [] for instance, laptop performance laptronica [] and live coding.

Such advances democratized music creation, [] and lead to a massive increase in the amount of home-produced music available to the general public via the internet. Artists can now also individuate their sound by creating personalized software synthesizers, effects modules, and various composition environments.

Devices that once existed exclusively in the hardware domain can easily have virtual counterparts. In some sense, as a result of technological innovation, Universal Love - Various - Strictly Trance 1 (CD) DIY mentality that was once a core part of dance music culture [] [] is seeing a resurgence.

From Wikipedia, the free encyclopedia. Form of electronic dance music. This article is about the genre of music. For the fictional character, see Fixer comics. For the prefix, see wikt:techno. For electronic music in general, see Electronic music and Electronic dance music. Acid techno ambient techno dub techno hardcore techno industrial techno minimal techno.

Electroclash [1] Eurodance ghettotech hardvapour IDM techstep techstyle trance tech house kuduro. Detroit techno. Electronic musical instruments computer music list of electronic music record labels raves free parties teknivals. Main article: Detroit techno. Main articles: Juan Atkins and Cybotron American band. See also: Chicago house and House music. Main article: Techno! The New Dance Sound of Detroit. Main article: Minimal techno. See also: JazzJazz fusionand Musical improvisation.

See also: Intelligent dance music and ambient techno. See also: List of electronic music genres. Anz, P.

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8 thoughts on “Universal Love - Various - Strictly Trance 1 (CD)

  1. Techno is a genre of electronic dance music (EDM) that is predominantly characterized by a repetitive and hard four on the floor beat which is generally produced for use in a continuous DJ losandes.biz central rhythm is often in common time (4/4), while the tempo typically varies between and beats per minute (bpm). Artists may use electronic instruments such as drum .

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