Leaderboard

Because all invention isn't essentially the result of combining two things that 'already exist.' Because Schoenberg's twelve-tone technique in the first place isn't really more than combining the Fugue Mentality (a compositional principle which has pervaded Western art music's thought for hundreds of years) with Late Romanticism's increased emphasis on chromaticism and tonality that no longer functions as such. Because all Berg ever did was 'combine' serialism with a late-romantic style. It's not as if he both composed the single most late-Wagnerian opera of all time (Wozzeck) as well the complete antithesis which is arguably one of the earliest harbingers of post-modernism (Lulu.) It's not as if Berg was actually the first to tackle the idea of large-scale instrumental form whereas Schoenberg and Webern were cat-footing around with directionless miniatures and explicitly programmatic texts in their 'free atonal' periods. It's not as if Berg demonstrates several post-modern tendencies such as the 'atonal' quartal chord which appears in the piano sonata; a three note triad that eventually builds up to a six note, functionless chord using traditional voice leading techniques (subverting a system by exploiting the flaws and corrupting it from the inside out; a technique that predated neoclassical Stravinsky by about 20 years.) It's not as if Berg was developed rigid numerical structures based on abstract numerology which predates most attempts by any other composer (Messiaen and Bartok being two of the most notorious) which actually became a gigantic fetish in Euroean high Modernism. It's not as if Berg frequently exploited loopholes in 'classical' molds which ultimately end up corrupting the very integrity of the form from the inside out. It's not as if Berg didn't have his own idiosyncratic twelve-tone technique which involved the use of free rotations, welding multiple row permutations together, an almost strict avoidance of any retrograde forms, and the technique of using several interrelated tone rows rather than a single row (techniques which Schoenberg and Webern almost never made use of) nor did he ever have any other innovations such as 'character rhythms' (a rhythmic leitmotif technique which is notable for privileging rhythmic contour rather than pitch as the motive was often treated previously in Western art music which, while rudimentary, predates part of Messiaen's rhythmic techique) Anyway, you obviously know what you're talking about in dismissing Berg as inferior because he 'only combined two things' rather than actually 'invented' anything. You most certainly aren't full of scraggy.

More or less what makes wobbly bass is an automated LFO which is tempo-synced. This far, envelopes, filters and LFOs are integral part of most synthesizers. If you know how things work you can achieve similar results with almost any synth, be it a bassline, pad, or percussive sound you want to create. (When it comes to creating a particular timbre, things may get more complicated with FM-synthesis though.) Due to possibility of waveshaping, sequencing, or otherwise modifying LFOs, Native Instruments Massive is particularly popular among dubstep producers. If you like, you can read "particularly popular" as "each and every producer is using it," which is a decent reason to try something different - deadmau5 at all uses hardware synthesizers heavily. However, it requires more than basic skill and knowledge and is more expensive. For that reason software ones dominate in the community. And you're right, on YouTube there is lots of tutorials, for almost any (widespread) synth imaginable.

I don't like everything Mozart has ever done, but I do recognize his importance and I respect his work. I respect what John Adams is doing. :) Just like I respect Arvo Part!

I think he's talking about you :musicwhistle:

Like it or not, John Adams is in the mainstream (as in, a normality in classical music!) Anybody who is composer has to respect that because we all want our music to be habitually played. I will admit, I don't find it genius or boring, He's just accepted and played which is fine.