Basic Rhythm Programming

(Music Sales America). With today's hardware and software sequencers, it's possible for anyone recording music on a budget to lay down professional-sounding grooves and produce music in the comfort of their home. Basic Rhythm Programming provides a guide to creating rolls, fills, and paradiddles on your computer, explaining every aspect of the process, from connecting up your soundcard to producing material rivalling that of the veteran programmers! If you're making music, or you want to, this book is for you.

With today's technological advancement, the making of digital music is possible with just a click of the mouse. In other words, this book fuses the two worlds of computer and music; thereby adding musical creativity to the average computer user, while for the conventional musician, this remains the best cost effective and innovative approach to music making in this new millennium. This is a fully illustrative and simplified approach to rhythm programming, processing and mastering! Some of the main topics covered in this book: Fundamental principles of rhythm programming; Creating realistic and inhuman music; Creating samples and SoundFont bank modules; FruityLoops and drum notation; Music styles and their basic rhythms ; Creating groovy bass lines; Programming sampled orchestra; Real-time or automated rhythm control; Rhythm arrangement in space and in time; Creating special effects; Effective use of effects in rhythm tracks; PC troubleshooting for optimal audio performance. Furthermore, because the major areas of challenge in Computer Music include PC Mastery, Music Theory/Practical, Creativity, Sound, Audio Production and digital audio programming, this book will shed some light on them; giving the reader a clearer understanding of how to face them with high expectations of fruitful results. There are lots of books written on music and computer - separately though. This book, however, is a cutting edge in these areas; since it provides the musician with the opportunity to digitalize his creative ideas.

"This book is a supplement to the first volume of Drum Machine Patterns. In it you will find over 260 rhythm patterns and breaks. These are original patterns that can be programmed easily on any drum machine. This book contains the rhythms most often used in contemporary music, and many patterns incorporate flams, to be used on the latest generation of drum machines."--Amazon

THE DRUM PROGRAMMING HANDBOOK: THE COMPLETE GUIDE TO CREATING GREAT RHYTHM TRACKS

Creating drum grooves in a sequencing environment is a challenge for even the most accomplished musician. Lee Levin's approach takes the mystery out of drum programming with clear, practical examples and procedures. Whether you are a songwriter, teacher, hobbyist, or MIDI enthusiast -- this book is for you. Audio examples and MIDI data are both on the included CD. As an added bonus, basic grooves and fills are provided for a variety of musical styles including rock, ballads, Latin, dance music, modern jazz, and swing.

This book, first published in 1990, offers an in-depth analysis of the ‘fundamental beliefs’ of radio. This refers to the common understanding of what the radio enterprise is – and should be – about: entertainment and information. A major thrust of this book is to arrive at a set of fundamental beliefs about the values and the realities of the radio business in regard to entertainment programming – a set of beliefs that may or may not be right, or forever, but that might at least provide a basis for developing programming strategies. Most other books on radio programming describe the formats and programming that already exist. This one starts with a clean sheet of paper and the question ‘What do listeners really want from radio?’

It's here at last! Tony Horgan's Volca Drum guide will turn anyone into an expert. Every feature is explained and illustrated clearly, with inspirational tips and tricks to get you making big beats in an instant. Quick-start guides, over 50 patches, Wave Guide effects, hidden features and hacks, and detailed sequences reveal everything there is to know about this mighty little drum machine. This is the most visual Volca Expert Guide yet, with a treasure trove of concept images to back up the crystal clear text.

Fundamental beliefs is what the reader will be exploring here -- a common understanding of what the radio enterprise should be about: entertainment and information. A major thrust of this book is to arrive at a set of fundamental beliefs about the values and realities of the radio business in regard to entertainment programming -- a set of beliefs that may or may not be right, true, or forever, but that might at least provide a basis for developing programming strategies. This second edition of Future Radio Programming Strategies seeks to answer the question: "What do listeners really want from radio?" Some of the answers are derived from "users-and-gratifications" research in the mass media. Instead of focusing on what mass media do to people, the users-and-gratifications perspective seeks to discover what people do with mass media. The functionalist viewpoint of such research basically says that a medium is best defined by how people use it. Having looked at some of the audience research that comes from sources other than the standard ratings companies, the book then goes on to demonstrate new ways that formats, production procedures, and announcing styles can meet audience needs and desires. Although the volume concludes with several original methods for selecting and presenting airplay music based on the audience's moods and emotional needs, it does not insist upon a singular, formulaic approach for constructing or modifying a music format. Instead, it attempts to involve the reader in thinking through the process of format development. Two audio tapes are also available for use with the book. The tapes contain nearly 3 hours of important, detailed information and provocative points from the book. Exclusive audio examples include: * the sense of acoustic space in music; * hi-fi versus lo-fi listening environments; * subjective perception of the announcer's distance from the listener; * audio editing rates; * comparison of luxury versus inexpensive car listening experiences; and * the components of emotions that are expressed vocally. The tapes also include new sections about the threats to traditional radio from specialized digital audio services, competition for the listener's attention from computer-based media, and additional proof of how music can be chosen on the basis of listeners' emotional reactions and mood needs.