Snoman R. Dance Music Manual: Tools, Toys, and Techniques
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APPENDIX G
Musical Note to MIDI and Frequencies
504
Note MIDI No. Frequency MIDI No. Frequency
Gb 30 46.2493028390 42 92.4986056779
G 31 48.9994294977 43 97.9988589954
Ab 32 51.9130871975 44 103.8261743950
A 33 55.0000000000 45 110.0000000000
Bb 34 58.2704701898 46 116.5409403795
B 35 61.7354126570 47 123.4708253140
Note MIDI No. Frequency MIDI No. Frequency
C 48 130.8127826503 60 261.6255653006
Db 49 138.5913154884 61 277.1826309769
D 50 146.8323839587 62 293.6647679174
Eb 51 155.5634918610 63 311.1269837221
E 52 164.8137784564 64 329.6275569129
F 53 174.6141157165 65 349.2282314330
Gb 54 184.9972113558 66 369.9944227116
G 55 195.9977179909 67 391.9954359817
Ab 56 207.6523487900 68 415.3046975799
A 57 220.0000000000 69 440.0000000000
Bb 58 233.0818807590 70 466.1637615181
B 59 246.9416506281 71 493.8833012561
Note MIDI No. Frequency MIDI No. Frequency
C 72 523.2511306012 84 1046.5022612024
Db 73 554.3652619537 85 1108.7305239075
D 74 587.3295358348 86 1174.6590716696
Eb 75 622.2539674442 87 1244.5079348883
E 76 659.2551138257 88 1318.5102276515
F 77 698.4564628660 89 1396.9129257320
Musical Note to MIDI and Frequencies
APPENDIX G
505
Note MIDI No. Frequency MIDI No. Frequency
Gb 78 739.9888454233 90 1479.9776908465
G 79 783.9908719635 91 1567.9817439270
Ab 80 830.6093951599 92 1661.2187903198
A 81 880.0000000000 93 1760.0000000000
Bb 82 932.3275230362 94 1864.6550460724
B 83 987.7666025122 95 1975.5332050245
Note MIDI No. Frequency MIDI No. Frequency
C 96 2093.0045224048 108 4186.0090448096
Db 97 2217.4610478150 109 4434.9220956300
D 98 2349.3181433393 110 4698.6362866785
Eb 99 2489.0158697766 111 4978.0317395533
E 100 2637.0204553030 112 5274.0409106059
F 101 2793.8258514640 113 5587.6517029281
Gb 102 2959.9553816931 114 5919.9107633862
G 103 3135.9634878540 115 6271.9269757080
Ab 104 3322.4375806396 116 6644.8751612791
A 105 3520.0000000000 117 7040.0000000000
Bb 106 3729.3100921447 118 7458.6201842894
B 107 3951.0664100490 119 7902.1328200980
Note MIDI No. Frequency
C 120 8372.0180896192
Db 121 8869.8441912599
D 122 9397.2725733570
Eb 123 9956.0634791066
E 124 10548.0818212118
F 125 11175.3034058561
Gb 126 11839.8215267723
G 127 12543.8539514160
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507
507
1.5 –4 kHz frequency , 396
2-step garage , 273
4 bar drum loop , 180
4 –10 kHz frequency , 396
8-bit system , 129 , 131 , 486
10 –15 kHz frequency , 397
11H message , 192
12 dB fi lter , 15 , 16
12H message , 192
15 –20 kHz frequency , 396
24-bit system , 129
24 dB fi lter , 15 , 16
30 –60 Hz frequency , 395
50 –250 Hz frequency , 366
60 –125 Hz frequency
, 395
125 –250 Hz frequency , 395
187 Lockdown , 272 , 278 , 281
200 –800 Hz frequency , 366
250 –450 Hz frequency , 395
450 –800 Hz frequency , 396
800 Hz –1.5 kHz frequency , 396
800 –5000 Hz frequency , 366
5000 –8000 Hz frequency , 366
8000 –20 000 Hz frequency , 366–7
Ableton Live , 301 , 436 , 452
Access Virus , 80 , 111 , 258 , 263 , 325
Acid house bass
, 104 –5
Acid jazz , 314
Acoustic guitars , 337–8 ,391
recording , 171 –3
Acoustic science , 3–8
ADAT (Alesis digital audio tape) , 62 , 451 ,
463
ADL 1500 , 43
ADSR (attack, decay, sustain, and release)
envelope ,21 , 22
ADSTR (attack –delay –sustain–time–
release) envelope , 22
The Adventures of Grandmaster Flash on the
Wheels of Steel , 296
AES –EBU standard , 62
AIFF format , 315
AKA B-Boying , see Breaking
AKAI , 139
MPC workstations , 298 ,301
S6000 , 139
AKG C414 , 321
AKG C1000 , 17
1
AKG C3000 , 156
Aliasing , 128
All This Love I’m Giving , 85
‘Allegro’ , 215
Amadour, Eddie , 85
Ambient hip-hop , 314
Ambient music , 314 , 329
acoustic guitars , 337–8
arrangement , 344–5
bass , 340–2
chords/pads , 342–4
melodic leads , 336–7
musical analysis ,330 –1
recommended listening , 345–6
rhythms , 331 –3
timbres , 333–6
wind instruments , 338–40
Amen Break , 347
Amen Brother , 347
American Audio Engineering Society
(AAES) , 62
American rap , 3
13
Amp simulators , 388
Amplitude , 8
Analogue interfacing , 62
Analogue synthesizer , 3 , 9 , 15 , 28 , 340–1
Analogue-to-digital converter (ADC) ,
128 , 129
‘Andante’ , 215
Antares Auto-Tune , 162 , 461
Apogee , 132
AR (attack –release) envelope , 22
Are Friends Electric , 452
Index
Index
508
Arrangement page , 179–80
Artful Dodger, The , 273
Artwork , 440–4
Association of United Recording Artists
(AURA) ,430 , 432 , 435
Atkins, Juan , 283
Atmosfear , 85
Attack parameter , 35
AU , 197
Audio CDs , 138 , 139
Audio Engineering Associates , 171
Audio quality , 196
Audio sequencing , 195–6
Audio Units , 197
Augmented triad , 208
Automation , 74–6
Aux buss , see Auxiliary buss
Auxiliary buss , 66 , 69–70
Auxiliary instruments , 239 , 276 , 332 ,
333 , 334
Ayers, Roy , 85
B &K 4011 , 171
Baby, Hit Me One More Time , 222
Baby Can I Get Your Number , 273
Baby Fox , 314
Bach , 449
Backing vocals , 382
Balanced cable vs. unbalanced cable ,
57 –9
Bambaata, Afrika ,271 , 295 , 297 , 347 ,470
Band pass fi lter , 16 , 17 , 19 , 95 , 99 , 164 ,
239 , 275 , 316 ,320
Band pass fi lter , 17 , 95 , 99 , 164 , 316 ,320
Band-reject fi lters , 17
Bandwidth , 17
Bandwidth pot , 375
Basic requirements, for writing dance
music
, 199
Bass , 82 , 175–6 ,241 –5 , 257 , 340–2 , 349 ,
352 –5 , 382 , 386–9
and chord , 214
frequency , 366
and melody , 213 –14
rhythm , 257–8 ,307 –10
timbre , 101 , 258–61 , 290 , 307
Bassist , 245 , 308 , 324 , 354
Batucada , 85
The Beach Boys , 466
Beat juggling , 296
Beating , 5
Beatles , 466
Beats per minute (BPM) , 215 , 235
Beddingfi eld,
Daniel , 273
Beethoven , 449
‘ Belleville Three ’ , 283
Bernstein, L. , 212
Bigfoot , 273
Binary language , 129
counting in , 485–6
Binary phrase , 222 , 257
Bit depth , 131
Bit rates , 129–33
Bitter Sweet Symphony , 222
Blend ,471
Block, Brandon , 482
Blue Lines , 313 , 314
Blueboy , 85
Blumlein, Alan ,370
Bolland, CJ , 272
The Bomb , 84
Bongos , 236 , 253 , 332
Booker , 272
Bootlegs:
and internet remixing
, 452–61
Brand New Heavies , 314
Brass , 140 , 170 , 176–7 , 338
Break beats , 115 , 271 , 296 , 314 , 347 , 472
Break dancing , 296
Breakdown , 141 , 252 , 269 , 296
Breaking , 295 , 296
Breakstep garage , 273
Breath controller (CC2) , 338
Brick wall , 46 , 419
Bridge , 225 , 326 , 345 , 357 , 358
British hip-hop , 313 , 314
Brothers and Sisters , 85
Brown, James , 147
BT , 225
, 455
Bucketheads, The , 84 , 85
Burrow, Geoff , 314
Bushwacka , 242 , 470
Busses , 65
C major scale , 201 –4 ,207 –8
Cabassas , 332
Cables , 57–63
Camelspace , 357
Can U Dig It? , 470
Can U Feel It , 234
Index
509
Capacitor microphone , 152 , 153 , 171
Carrier , 165
Cassius , 84 , 85
Cauty, Jimmy , 329 ,330
CD decks , 474–6
CD-ROMs , 139
Chaka Khan , 84 , 147
Charles ‘Electrifying Mojo ’ Johnson , 283
Charlotte Church , 469
Chase The Devil , 85
Chattering , 48 , 50
Check it Out , 85
Chemical Brothers , 13 , 80 , 438
Cher’s ‘Believe ’ , 163 , 165
The Chi-lites , 84
Chic , 85 , 147
Chicago , 84 , 147
Chicken scratching , 248 , 282
Chill out , 329 , 330 , 405
chord structure , 343
drum loop , 332
‘ Chipmunk’ style vocals , 461
Chopping style , 271 , 348 , 472
Chord progression , 214 , 356
Chords , 54 , 162 , 206 –12 , 279–80 ,
310 –11 , 342–4 , 345 , 355–6 , 357
Chowning, John , 27
Claps , 67 , 97 , 98 , 99 , 236 , 239 , 274 , 381
Classic 500MkII , 474
Classical music , 131 ,220 , 223
Clinton, George , 233 , 283
Clock rate , 63
Clock ticks , 182
Club arrangement ,461 , 462
CMaj ’ , 208
Coarse Tuning , 194
Coles 4038 , 171
Colour Him Father , 347
Comb fi lter , 16 , 18 , 73
Come On Get Up Everybody , 85
Commercial vocals , 163–4
Comping , 458
Complex waveforms, creating , 12–14
Compression ,31 , 306
attack/release , 35
hold control , 37
make-up gain
, 36
peak/RMS , 36
ratio , 34–5
settings , 38
side chaining , 36–7
soft/hard knee , 35
threshold , 34
see also Practical compression ; Standard
compression
Compressor , 31 , 32 , 72 , 73 , 74 , 158 , 289 ,
356
Computer-based digital compressors ,
44–5
Computer burbles , 121
Concave decay , 109 , 238 , 256 , 275
Condenser microphone , 153 , 154 , 156 ,
339
Congas , 99 , 236 , 238 , 239 , 253 , 332 , 386
Consonant chords , 206 , 207 , 320
Constant EQ , 376
Contracts , 463–4
Contrary motion , 213 , 214
Control change (CC) messages , 188–94
Control voltages (CV) , 166
Convex decay , 107 , 109 , 256
Copyright , 148
Cowbells , 98–9
Cox, Carl , 468
Craig, Carl , 285
Creative sampling , 145–6
Cristo , 467
Cross-fading , 136 , 460
Cross modulation , 27
Cubase ,301
Cubase sequencer , 181 , 182
Cubase SX , 456
Customizing sounds ,81 –4
Cut, drag and drop method , 456
Cutting , 296 , 471
Cybotron , 283
Cymbal crash , 269
Cymbals , 97–8 , 382
D-Vinyl , 477
Da Capo , 257 , 311
‘ Daisy chain ’ , 184
Dalek voice , 121
Dance ( Disco Heat ) , 85
Dance fl oor, works on , 469–70
Dance With You , 84
Dancehall , 272 , 273 , 348 , 354
Darey, Matt , 80
DAT , 427–8 , 437
Data Button Decrement controller , 194
Index
510
Data Button Increment controller , 194
Data byte , 486
David, Craig , 273
De Leon ,470
Deaf ‘n’ Dumb Crew , 85
Decimal to hexadecimal conversion
table ,491 –2
Deep Dish , 450 , 455
Deep heavy bass , 102
Degree , 202
Delay , 322
Denon , 474 , 475
Density , 53
Depth , 24
Destination , 24
Detuning , 12
DI box , 173
Diaphragm , 152 , 153
Diffusion , 53
Digital audio , 127
bit rates
, 129–33
Digital audio stationary head (DASH) ,
450 –1
Digital audio tape (DAT) , 63 , 451
Digital clutter , 457
Digital connections , 61
Digital delay , 55–6
Digital delay line (DDL) , see digital
delay
Digital interfacing , 62
Digital Love , 84
‘ Diminished’ triad , 208
Direct X , 197
Disco , 231 , 449
‘ Disco sucks ’ , 232 , 233
Dissonant chords , 206 ,207 , 320
Distorted leads , 114 –15
Distortion , 56
Distributing via internet , 444–7
Dithering , 132
DJ , 468
DJ Angel , 85
‘ DJ International ’ records label , 234
DJ Modjo , 85
DJ’ing , 295 , 479
DJ’s perspective , 467
advice , 480–1
back, tips for , 482
CD decks , 474–6
dance fl oor, works on , 469–70
ears, tips for , 481 –2
fatigue, tips for , 482–3
gear, recommending , 472
mixers , 476–7
MP3 , 477–8
professional turntables , 472–4
promo , 467
reaction sheets, working of , 467–9
self promotion , 479–80
techniques
, 470 –2
tips for , 478–9
DMC DJ chart , 468
DMC Update , 468
Donna Summer , 84
Dorian mode spacing , 203
Double tracking , 162
Doubling , 110
Dr Dre , 298
Dreem Teem , 272 , 273
Drive , 220
Drum kick , 299 , 301 , 385–6
Drum loop waveform , 33
Drum ‘n’ bass , 347
arrangements , 357–8
bass , 352–5
chords , 355–6
musical analysis , 348–9
programming , 349–52
recommended listings , 358
vocals and sound FX , 357
Drum pattern:
waveform of , 39
Drum rhythms , 274–6
Drummond, Bill , 330
Drums , 385–6
drum kick , 385–6
hi-hats and cymbals , 386
snare drum , 386
toms and congas , 386
‘ Dub’ record , 295
Dub-step , 273
Dubs , see Bootlegs
Ducking , 50
Duke, George , 84
Dust jacket/disco bag , 441
DX7 synthesizer , 27
Dynamic microphone , 152 ,
170 , 339
Dynamic range , 131
Dynamic variation , 219 , 22
0
Index
511
E-groups , 468
E-MU , 139
E-Mu Drumulator , 92 , 237 , 315
E-mu orbit , 80
Early refl ections , 52
Earth screen , 58
East West’s Goliath instrument , 138
EBay , 469
Ecler Smac , 32 , 477
Ed Cas , 273
Ed Rush , 348
Edwards, Todd , 272
Effects , 68 , 356
Electric guitars , 173–4 , 391
Electrix EQ Killer , 452
Electrostatic microphones , 152–3
Ellington, Duke , 272 , 348
Eminem , 298
Empirical Labs Stereo Distressor
, 44
‘ Enharmonic equivalents ’ , 204
Eno, Brian , 329 , 331
Envelope generators (EGs) , 21 , 80
EQ , 56 , 374 , 375 , 383 , 394
bass , 386–9
drums , 385–6
synthesizers/piano/guitars , 390 –1
vocals , 389–90
Euphoric trance lead , 111 –12
Everybody Loves the Sunshine , 85
Exodus , 85
Explosion FX , 119 –20
Exponential envelopes:
vs. linear envelopes , 23
Expression controllers (CC11) , 338
External signal processing , 68
Fabio , 272 , 348
Faders, creeping
, 372
Falling speed/fi lter FX , 120 –1
Fantasia , 370
Far Beyond , 85
Fast Fourier transform (FFT) ,402
Fatback Band , 297
Fate , 84
Feedback , 55
Feeling for You , 85
Field effect transistor (FET) compressors ,
43
Final Scratch , 477
Fine Tuning , 194
Finger slides , 325
First inversion , 210
Five-band compression , 414 –15
Fixed frequency EQ , 377–8
Flange , 162
Flangers , 54–5 , 340
Flats , 204
Fletcher, Harvey , 370
Fletcher Munson contour control , 365 ,
420
FM synthesizer , 27
Four-band compression , 413 –14
Four-note chords , 210
Four to the fl oor rhythm , 220 –1
Fourier, Joseph , 6
Fourier theorem , 6
Freak Like Me , 452
Frequency , 128
Frequency bands, in mixing , 365–7
Frequency boosts, and cuts , 405 –7
Frequency masking , 392
Frequency modulation (FM) , 27–8
Frequency pot , 375
Fret noise , 325
Full Intention , 85
Fundamental frequency , 6
Funk, Farley ‘Jackmaster’ , 233
Funk guitars , 82
Funk Music
, 85
Gain ,8 , 64
Gain pot , 375
Gain pumping , 40
The Gallery , 232
GALLUP , 448
Gary’s Gang , 85
Gear, recommending , 472
Gemini , 475
Gemini 626 , 472
Gemini PT2000s , 472
General MIDI (GM) standard , 188 , 189
Generic bass guidelines , 108 –9
Generic leads , 117 –18
George Lucas ’ THX sonic boom , 297
Ghostly noises , 121
Gibbons, Walter , 449
Glass masters , 438
Glistening , 29
The Glow Of Love , 84
Goldie
, 348
Index
512
Graffi ti , 295 , 296
Grains , 28 , 29
Grammy winners , 450
Grandmaster Flash , 296 , 297
Granular delay , 56
Granular synthesis , 28–9
density , 29
length , 29
pan , 29
shape , 29
spacing , 29
Graphic EQs , 378
Gray, Andy , 80
Gritty sounds , 147
GRM Tools , 357 , 460
Groove creation , 219 –22
Groove quantize , 219
Groovejet , 85
Grooverider , 272 , 348
Grosso, Francis
, 232
Ground hum , 57
Ground lift switch , 65
GU , 85
Guitars , 382 , 390 –1
Gunman , 278 , 281
Gunshot , 281
Haas effect , 371
HAK 310 series , 477
HAK 360 series , 477
Hall, Vera , 85
Hammer on , 245 , 308 , 324 , 354
‘ Hands in the air ’ , 212
Hard attack , 47
Hard knee compression , 35
Hardcore , 271 , 348
Hardware instruments versus VST
instruments , 198–9
Hardware synthesizers , 28
Hardy, Ron , 233 , 449
Harmonic balancing and EQ ,402
bass , 402 –3
high range , 404–5
mid-range , 403 –4
Harmonic exciters , 416 –17
Harmonic minor scale , 204 , 205
Harmonic mixing ,461
Harmonics , 6
Harmonies , 206
Harmonization , 162 , 214
Hawtin, Richie , 285 , 478
Head-related transfer function , 371
Heard, Larry , 234
Hearing limitations, in mixing , 364–5
Helden, Armand Van , 241
Herc, Kool , 271 , 347 , 470
Hexadecimal, counting in , 486–9
Hi-hats
, 96 , 382 , 386
Hi-high range frequency , 366–7
High range frequency , 366
damping , 53–4
vs. low frequency , 4
High-pass fi lter , 26 , 320 , 334
action of , 16–17
Hip-Hop (Rap) , 215 , 273 , 295 , 479
arrangements , 311 –12
bass rhythm , 307 –10
chords and motifs , 310 –11
elements , 295
musical analysis , 297–9
rap vocals , 304 –7
recommended listening , 312
rhythms , 299–304
Hip-hop genre , 215
Hocketing , 110
Hold control , 37
Hold function , 49
Holloway, Lolita , 147
Holloway, Nicky , 482
Hoovers , 115 –16
Hot Mix Five , 233
House , 55 , 231 , 272 , 283 , 314 , 348
bass , 241 –5
melodies and motifs , 245–8
musical analysis , 235
recommended listening , 248–9
rhythms , 235–41
House Music , 85 , 234 , 235
House/trance genres , 215
‘ House’ pianos , 116
Howie B , 314
Hum , 61 ,401
‘ Human element ’ , 214
Hurley, Steve ‘Silk’ , 233
Hysteresis , 49
I Can’t Get Enough , 85
I Can’t Kick this Feeling When it Hits , 85
I Feel Love , 283
I Love You More , 84
Index
513
I Need GU , 85
I Need You , 85
I Wanna Know , 85
I Want Your Love , 85
Ice T , 297
IEC 268 standard , 131
If It Hurts Just A Little , 84
Illbient , 314
Independent release , 436–40
Individual sample , 127
Insert buss , 65 , 69 ,70 –4
Intel-based chipsets , 195–6
Intensity of sound , 368
Interaural time delay (ITD) , 371
Internet charts , 468
Internet Label (iLabel) , 445 , 446 , 447
Internet remixing:
and bootlegs , 452–61
Intervals , 206
Inverse law , 368
Jackson, Michael , 85 , 147 , 161 , 466
Jam X , 470
James , 430
James, Bob , 85
Jason, Kenny ‘Jammin’ , 233
Jaxx, Basement , 85
Jazz hop , 314
Jeff, Jazzy , 470
‘ Jes Say ’ records , 234
Joe Meek C2 , 43
Joe Meek SC 2.2 , 43 , 255 , 260 , 289
Jon , 430
Jones, Rocky , 234
Jules, Judge , 469 , 482
Jungle , 272 , 273 , 348
Jungle, Danny , 272
, 348
Kam Made To Fade , 472
Keep on Jumpin , 85
Key change , 345 , 358
Key follow , 19 , 20
Keyboard, layout of , 202
Keyboard scaling , 19
Khan, Chaka , 147
Kick , 82 , 257 , 350 , 382
Kick drum , 33 , 93 , 237 , 253 , 315 , 317 ,
331
Kick/snare roll , 267
‘ Kill You ’ , 298
King Tim III , 297
King Tubby , 295
Knuckles, Frankie , 232 , 233
Kool Herc , 295
, 297
Korg Z-1 , 80
Kraftwerk , 283
Krome, Thomas , 285
KRS , 1 ,470
LA Audio Classic II , 43
Lady, Hear Me Tonight , 85
Lamb , 314
Lange, Michael , 85
Larkin, Kenny , 285
Latency , 184
Law of the First Wavefront ,371
Layo , 470
Lead instrumentation , 109 , 245–6 , 322
Lee, Tony ,84
Let Me Down Easy , 84
‘ Let’s Get High ’ , 298
Let’s Lovedance Tonight , 85
Levan, Larry , 232 , 272
Light-emitting diode (LED) displays , 59
Lightpipe , 451
Limiters , 45–8
Line 6 POD , 173 , 174
Linear envelopes:
vs. exponential envelopes , 23
Liquid crystal display (LCD) displays , 59
Lisa Marie Ex Musique , 85
Locking , 296
Locksmith , 85 , 147
London-based Minder Music , 298
Loops, working with ,141 –3
Loudness maximizers , 418
Love Is You , 85
Love Story , 470
Love to Love You Baby , 231
Low frequency (LF) damping , 53–4
Low-frequency (LF) waveforms , 34–5
Low-frequency energy (LFE) , 257
Low-frequency oscillators (LFOs) , 23 ,
24 –5
Low frequency vs. high frequency ,4
Low-pass fi lter , 14 , 15 ,91 , 107 , 113 , 117 ,
121 , 279 , 344
LTJ Bukem , 348
Lucas, Carrie , 84
Lydian mode spacing , 204