DANCE INVADER (LDJAM41) Mac OS

Preface
Chapter 1: Gearing Up: A Preflight Checklist
Getting a studio ready to thump
System requirements
Installing LMMS
Installing LMMS on Windows
Installing LMMS on Linux
Installing LMMS on Mac OS X 10.6 and above
LMMS resources or where's my stuff?
File management – keeping it together
Managing project versions
Time for action – saving our first project
Playing sessions at other studios
Setting up MIDI for LMMS
MIDI keyboards
Control surfaces
Setting up MIDI in Windows
Time for action – setting up MIDI in Windows
Setting up MIDI in Linux
Time for action – setting up MIDI in Linux using ALSA
Installing MIDI in Mac OS X
Getting sound out of LMMS
Getting on the mic
Dynamic microphone
The condenser microphone
A brief introduction to sound cards and audio interfaces
Great resources for inspiring sounds
Radiohead
Indaba music
Remix comps
CCmixter
Making custom samples
Avoiding painful microphone feedback
Time for action – recording with a microphone
The art of listening – controlling your listening environment
Composing on the fly – laptop configurations
Cutting out the world – choosing earbuds
Composing in a room with studio monitors
Computer noise, room noise, and hum
Corners are bad
Hardwood floors need a rug
Parallel walls aren't great
Absorption versus diffusion
Speaker choice and placement is important
Get a good chair
Summary
Chapter 2: Getting Our Feet Wet: Exploring LMMS
What kind of electronic musician are you?
Opening the LMMS default song and making noise!
Time for action – opening a new song template
The Main Menu bar
The Project menu
The Edit menu
The Tools menu
The Help menu
Clicking through the toolbar
The top row of buttons on the left-hand side
The bottom row of buttons on the left-hand side
Other features of the toolbar
Exploring the goodies in the side bar
Using the Beats+Bassline Editor
Time for action – setting the stage to build a beat
Time for action – adding drums to the Beats+Bassline Editor
Time for action – creating a beat pattern
Our first tweaking of samples
Time for action – editing samples with the Audiofile processor
Time for action – adding elements and variation to our beat pattern
Adding instruments to the Beats+Bassline Editor—Bass
Time for action – adding bass to the Beats+Bassline Editor
Our first tweaking of a synth
Time for action – editing note length and root pitch in the
Beats+Bassline Editor
Exploring the Piano Roll editor
Time for action – opening a pattern in the Piano Roll editor
Time for action – changing the pitch of the bassline
Using the Piano Roll in the Song Editor
Time for action – muting instruments in the
Beats+Bassline Editor
Time for action – enabling a Piano Roll in the Song Editor
Time for action – enabling a MIDI keyboard controller
in the Song Editor
Getting the Mixer to work in our project
Time for action – routing an instrument to a channel on the FX Mixer
What plugins are and where we can put 'em?
Time for action – exploring FX
Summary
Chapter 3: Getting Our Hands Dirty: Creating in LMMS
Starting our beat with the basics
Time for action – making the most basic of beats
Time for action – fitting the bass in
Other styles in dance music
Chicago style house music
Time for action – creating Chicago style house music
New York House
Acid House
Breakbeat
Jungle, Drum and Bass, and Braindance
Tasting the ingredients of dance music
Drums
The bass drum
The hi-hat
The snare drum
The tom-tom
Basses
The upright bass
The electric bass
The synth bass
Drum machines
Samplers
Other notables
Summary
Chapter 4: Expanding the Beat: Digging Deeper into the Art of Beatmaking
Starting fresh
Time for action – setting up long form patterns
Time for action – adding harmonies to beats
Placing the bass
Time for action – making the bass pitch friends with our harmony
Giving the beat a turnaround
The importance of knowing just a little music theory
The major scale
How to figure out a major scale
The minor scale
Putting a number to a note
Time for action – using the key of the song
Simple guidelines for the bass
Twiddling knobs to set the beat
Tweaking the bass tone
Time for action – sweeping a filter using automation
Time for action – panning and volume automation
Using automation on instrument effects
Time for action – putting reverb on the clap and twiddling it
Summary
Chapter 5: Making Spaces: Creating the Emotional Landscape
Using the Song Editor
Getting the Beats+Bassline Editor's pattern into the Song Editor
Time for action – moving a pattern into the Song Editor
Different elements for the Song Editor
Adding new parts to the Song Editor from the side bar
Time for action – bringing in instruments
Inputting notes into the Piano Roll in real time
Time for action – playing the notes in the Piano Roll editor
Time for action – using panning to spread the song out
Blending the old with the new
Time for action – delaying those stabs!
Delay versus reverb
Using FX channels to reduce CPU usage
Time for action – setting up reverb on an FX bus
Listening to the masters of space
Summary
Chapter 6: Finding and Creating New Noises
Sampling audio
Early sampling
The grey area
Getting into LMMS samples
Time for action – creating a pattern completely from samples, with a drum loop
The art of sampling
Digital recording
Recording on the main computer
Software for grabbing audio goodies
Unbalanced versus balanced cables
Using handheld recorders
Finding sounds on the Internet that won't get you sued
Time for action – sound sculpting in Audacity
A note about bits and samples
Summary
Chapter 7: Getting It All Stacked Up
Get your loop set
Time for action – setting up the loops
Adding instruments
Time for action – making our basses
Making that break dirty
Time for action – dirty bass
Send that sound out to get effected
Time for action – sending clones through effects
Adding in the smooth
Time for action – adding the ambient elements
Using samples in the Song Editor
Time for action – adding a sample track
Summary
Chapter 8: Spreading Out the Arrangement
The art of arranging
Analyzing Imagine by John Lennon
Time for action – breaking down Imagine by John Lennon
The purpose of the bridge
The art of the break
Time for action – analyzing One
Laying it out for our project
Time for action – spreading out the loop
Summary
Chapter 9: Gluing the Arrangement Together
The art of the transition
Using dropouts
Time for action – creating a dropout with the accompanying pitch fall
Creating filter sweeps
Time for action – creating a filter sweep
Time for action – adding in effects over time
Summary
Chapter 10: Getting the Mix Together
What is mixing?
Audio energy
Digital clipping and you
Time for action – separating audio streams
ABCs of mixing
Volume balancing
Panning and stereo separation
Low frequency sound
Drums
Keyboards, leads, and pads
Vocal samples
Other panning considerations
Dynamics
Compressors and limiters
Time for action – using compression in LMMS
Filtering
Time for action – using EQ
Types of equalizations
Delay-based plugins
Time for action – exploring echo and simple delays
The Haas effect
Time for action – exploring Freeverb
Plates, springs, and convolution
Time for action – exploring vintage reverb
Automation
Exporting the mix
Mastering
Summary
Chapter 11: Getting into Instruments
The instruments of LMMS
The language of synthesis
The main parts of an instrument
The Oscillator section
Parameters of the Oscillator section
Time for action – exploring oscillators
Types of synthesis
Mix
Phase modulation synthesis
Frequency modulation synthesis
Sync
Amplitude modulation
Time for action – exploring different synthesis methods
Experimenting with subtractive synthesis
Time for action – activating instrument filters
Using modulation
Using envelopes
Using LFOs
Time for action – assigning modulators in LMMS
Using the Function tab
Chords
Arpeggio
Arpeggio modes – Sort and Sync
The different instruments of LMMS
Bit Invader
Kicker
LB-302
Mallets
Organic
FreeBoy
PatMan
SF2
Vestige
Vibed
ZynAddSubFx
Summary
Chapter 12: Where to Go from Here
Guilds, societies, and such
ASCAP
BMI
SESAC
Where to sell my stuff
Beatport
iTunes
CD Baby
Tunecore
Music labels
Community
User groups
Soundcloud
Summary
Appendix: Pop Quiz Answers
Chapter 3: Getting Our Hands Dirty: Creating in LMMS
Chapter 4: Expanding the Beat: Digging Deeper into the Art of Beatmaking
Chapter 5: Making Spaces: Creating the Emotional Landscape
Chapter 6: Finding and Creating New Noises
Chapter 7: Getting it All Stacked Up
Chapter 8: Spreading Out the Arrangement
Chapter 9: Gluing the Arrangement Together
Chapter 10: Getting the Mix Together