There's no rules as to what sounds you can & can't use beyond the basics that define a style......First, and number one priority is....The Groove !!!.......Nothing is going to matter soundwise, if the groove aint happening......So....This is my first tip....

Learn To Play Drums

Nothing is going to improve your tracks more....NOTHING.....and you'll probably have alot of good times, and meet some cool people....Just get your arse out of the house, and go and join a percussion workshop.....learn to play Djembe, conga, bongos...any hand drums... because all the rhythms from the drums, bass, synths etc is just drum patterns.....comprendez ?!!!

The Soundz

Next come the sounds themselves......There are loads of requests from people on the newsgroups.... "WHAT IS THE BEST DANCE SYNTH/MODULE ?"....or...."Is the VD303 pro quality?".. And they are bollox questions really....What the hell is "Pro quality".....or a "Dance module" ??......Hmmmmm !

There are definately sounds you do need, like 909 for house or garage, but beyond these standard sounds, there comes originality, and that can be achieved without spending a packet.........

So.....basically, styles have usual sounds which identify the style !!....What we need is to get a good compromise between the sounds that are particular for a style, or what people want to hear, and some originality to go with it....

So yes in a way, there are modern "Dance" synths, but...If we all end up using them, think about it?....What will make your sound different to others??......So when I say "Dance synth", I mean a synth with versatile sounds for styles, and not too much orchestral stuff !!

Synthesis types - The sonic weapons

The weapons available can be devided into 4 types....these are the basis for all the dance sounds you hear....It's probably good to have one of each type......

ANALOG SYNTHS

This covers all the mono and polysynths up to about the late 70's early 80's.....They use analog oscillator curcuits to create basic raw waves...these are then manipulated with filters, envelopes, modulation etc.....The great thing is they have so much control source in the form of knobs and/or sliders and wheels etc....that they are a players dream....because they were played by players...people who had migrated from Hammonds, Rhodes and other players instruments.....

The trademark of the analog synth, is a very fat warm upfront sound & some tuning problems on some models......

Famous Analog kit includes....Rolands Juno & Jupiter range......Moog's......Some wierd Yamaha things......The 303....202....909...808 etc......Octave Kats & Kittens....The Wasp......etc etc....

If you don't want to spend a bucketful of money on old vintage kit, you can try....Novation's Basstation range....ControlSynthesis' Deep Bass 9.....Quasimidi's 309 etc etc etc...

DCO SYNTHS

DCO's or Digital Control Oscillators came along in the late seventies, ofering more tuning stability than the Analog VCO's..... They are sometimes classed as Analog synths (especially by those wanting to sell them !!)......Yet they sound different.....cleaner, and less upfront & harsh......The Roland JX3P or the MKS module range were classic examples, as were Korgs DW stuff, ....they are cheaper to buy nowadays that true Analog gear, and can be real cool to use....Later models like the Ensonique stuff were very popular with people like Adamski.... Most later DCO synths included Ring Modulation, which allowed them to start making Glassy pads and transparent FX pads....

FM SYNTHESIS

.....Then along came Yamaha, and blew the world away....FM or Frequency Modulation Synthesis, introduced the Algorithm......The best way to describe it, is as a series of building blocks....the contents of which can change and interact with each other....The raw sound waves for FM are digital waves...these are then tweaked and modulated.......The Yamaha DX7 changed the music business almost overnight......Suddenly, keyboard players could get passable real piano, strings and other instrument impressions at the flick of a switch.....FM synthesis was the first step outside of sampling to reproduce real instruments and other cool sounds to an acceptable standard......FM synths from Yamaha come with 4 or 6 Operators......The operators each contain a DCO, envelope, filter etc...

These FM synths are the foundation of House, Garage, original Chicago Techno and alot of other styles.....Your sound arsenal will not be complete without one......They do all the cheezey little organ sounds....harp type patches.....tuned percussive stuff.....solid & hollow basses etc etc....

Models to look for are listed via the Budget Synth Button....4 Operator stuff like the DX100 mini-keyboard...the FB01 module....and the best of the lot, the TX81Z (8 part multi-timbrel !!)....Then of course you have the 6 Operator DX7, TX802 rack etc.....But the 6 Operator stuff doesnt sound so cheezey......

SAMPLE SYNTHESIS

The next step came with the introduction of the Roland D50 synth...as featured exclusively on "Man in the Mirror"...by Micheal Jackson/Quincey Jones.....and it blew the rest away......This time the raw waves for processing were actual samples of instrument attack transients.....like the Flute "Chiff" sound on Man in the Mirror......These attack waves were then combined with Digital fundamental tones to produce the sustain part of the sound.....They produced more believable pianos...strings....etc etc....

The D50 quickly found favour with the house producers for it's harsh up-front piano sound, and it's lush strings.....Other models from other manufacturers soon followed.....and really that's about as far as we've got in synth technology since then.....

Sample based synths or Samploid synths have reigned supreme for most of the time....These are your source for the truly wierd and wonderful....They also usually contain lots of Sawtooth, Square & Sine waves and can produce pretty cool analog impressions...although the sound is cleaner and less harsh.....So these synths can either do the lot, if you can get into programming them, or can be a compliment to the more upfront basic synths...They are great for all chewns, especially good for atmospherics....imitations.....of strings, saxes, pianos etc......and ambient pads and other noises and evolving stuff......

Of these types, my favourite is the Korg Wavestation....because it's the most different soundwise.....Some early cheapies include the D110 & 220 from Roland, most of the Kawai range etc......Star Top-range sample synths include models like the Kurzwiel K Series range, and the famous Roland JV1080......

ANALOG MODELLING SYNTHS

First introduced commercially with the Swedish Clavia "Nord Lead" synth, which was embellished with a "NO SAMPLES" logo just to rub in the point...... These synths use mathmatical software calculations of some kind to mimic the classical analog waves........ They are typified by very limited multi-timbrelity, and low polyphony....... For example, the new Roland JP-8000 will only give 2 parts multi-mode.....In other words, in a midi set-up, you can only have it play 2 sounds at a time......

These synths definately do sound more upfront & raw than sampled analog wave synths, but the price is usually high on top of the limited multi-parts thing........ Other Analog modelling synths include the Novation Drumstation & Basstation & Quasimidi 309........There are also software based analog modelling synths appearing such as the excellent Rebirth RB-338 from Propellorheads.