This document summarizes a study investigating studio production techniques that remove elements of human performance from music, specifically looking at the genre of djent. The study included a literature review of sources on djent's origins and characteristics as well as practical work experimenting with djent production in a studio. Key findings were that djent relies heavily on MIDI drum programming and digital audio sequencing which replace live human drumming. Additionally, djent and some electronic music genres both utilize minimal home studio setups and share influences from technological advances in recording.

1. Digital Composition
A practical investigation into processes
that "dehumanise" a performance - with
specific reference to djent.
Joshua White
March 2015

2. Abstract
This study investigates studio production techniques that dehumanise a performance,
developed through technological advancements and the mass production of home
recording setups; specifically related to the genre of djent. The research approach
consists of a literary review that predominantly takes place online, using sources such
as video tutorials as there is no record of djent being studied by a scholar. The
practical research took place in a studio environment to recreate the sound of djent
and experiment with its distinct sonic characteristics. Research reveals that
production processes related to djent crossover with influence from dance music as
both are created from home-studios. Both genres could not have been created without
affordable technology, as they rely on minimal production setups and audio/MIDI
sequencing. It was concluded that the dominantly dehumanising factor through the
production process is the programming of MIDI drum sounds, as it does not require a
physical human performance. Other factors also included the sequencing of audio,
quantisation, pitch correction and digital composition.
Keywords: djent, dehumanisation, clinical production, sonic experimentation.

3. Acknowledgements
Performance
Sam Teather - Guitar, Bass Guitar & Co-Writer
Josh White - Programming, Producer & Co-Writer
Dudley Ross - Solo Guitar
James Ganney - Vocals & Lyrics
Research
Dan Weller - Interview
Misha Mansoor - 'How To' Videos

4. Contents
Acknowledgements
Abstract
1. Introduction
2. Methodology
3. Literary Review
Etymology and Genre Identity
The Sonic Elements of Digital Music
The Birth and Rise of Home Recording
4. Practical Work
Instrumental Preparation and Setup
Audio and MIDI Sequencing
Electronic Music Production and Sonic Experimentation
5. Conclusion
6. Bibliography
7. Discography
8. Appendices
5
7
9
13
17
19
21
24
27
28
32
34

5. !5
Introduction
The study of musicology covers a wide variety of subjects, including in-depth
research into modern genres of popular music. This essay will look at one particular
genre of metal that has no record of being analysed by a scholar: “djent” (pronounced
with a silent "d"). A term used by key performers within the scene, such as Periphery;
TesseracT; Sikth and Messhugah, to define a power chord performed on seven or
eight string guitars often in dropped tuning such as F, Bb, Eb, Ab, Db, Gb, Bb, Eb
(got-djent.com, 2010). Complex ‘human activity’ is a phrase used by Widmer and
Goebl (2004, p.203) to define music. For the purpose of this essay ‘human activity’
will be defined as the realtime, unprocessed and unedited instrumental performance;
as opposed to a digitally reconstructed/composed performance which will henceforth
be defined as "digital composition”. The main focus of this project will be an
investigation into production processes and studio techniques that dehumanise a
performance, by taking away from the human activity. Thomson (2011) portrays djent
as an ‘onomatopoeic microgenre’, however this is a contested by others such as
Periphery’s lead guitarist Misha Mansoor who describes djent as a ‘movement’ or
‘scene’ within heavy metal (MetalSucks, 2006). Using opinions of established artists
and those involved in the djent community, a justification to declare djent an
independent genre will be explored.
Particular attention will be paid to the creation of djent and a proposed link between
the distinct sonic trademarks of the genre, and the technological advancements of

6. !6
recording mediums made during the 21st Century. Frith and Zagorski-Thomas (2012,
pp. 77-83) take a comprehensive view on technological advancements in recent years
and discuss the notion of the ‘project studio’ ; home-recording setups became1
increasingly prevalent around the same time as the rise of the Internet. This highlights
further research questions that will help to indicate the level of ‘human activity’ that
remains at the end of the djent production process: How has the development and
mass production of home recording setups affected the sonic trademarks of djent?
Firstly, to make this connection a conclusive definition of “djent” will be required, as
well as a contextualisation of the genre — how it is created, and the fundamental
elements that separate djent from other sub-genres under the metal umbrella:
Mansoor (2011b) defines djent as: “an onomatopoeia for that really hard metallic
picking sound of four notes”. Existing djent albums such as TesseracT’s (2010) debut
release One, and Periphery’s (2010) self-titled album Periphery, validate the four-note
chord mentioned by Mansoor which assist in defining the sound of djent: The drop-
tuned distorted guitars play a prominent role in the music as well as the extensive use
of studio production techniques, compound time signatures (11/8, 7/8 etc.) loud non-
dynamic drum beats, the tonality of the drum sound and syncopated rhythmic
patterns. One prevalent extra-musical characteristic shared by both records is the
clinical purification that has taken place to achieve the high fidelity of audio
production and a distinct sonic tonality. Some of these features and studio techniques
are shared with modern electronic music genres (I.E. dubstep and house); a possible
connection between djent and electronic music will be explored.
A ‘type of small-scale recording facility’ (p. 82).1

7. !7
Methodology
The research for this study will be divided into two sections; the first will be in the
form of a literary review and the second will be a practice-based research. The literary
review will extract information from books, journals, online videos, online interviews,
articles, websites and existing listening material. A large proportion of this research
will take place online, due to djent being academically unstudied. Members of well-
established djent artists often construct online material such as articles for online
magazines, interviews, video tutorials, instrumental setups, live setups and studio
recording setups. These focus on: etymology, genre specific production techniques,
genres with similar production setups (such as electronic music), the history of djent,
influences and recording mediums. Significant reference will be made from Misha
Mansoor, who is considered one of the frontrunners of the djent scene; in both terms
of production techniques and writing techniques, Mansoor (and other members of
Periphery) often share(s) ideas amongst an Internet founded audience (Thomson,
2011). As djent was birthed through the sharing of guitar riffs and song ideas on
internet forums (got-djent.com, n.d.), some evidence used throughout this essay will
be derived from those forum discussions. Another key source of information is the list
of questions (appendix 7) asked by the author and answered by guitarist and producer
for British band Sikth, Dan Weller (2015).
The practical study investigates the studio production techniques and compositional
approaches related to djent that dehumanise a performance. An attempt will be made
to re-create the distinct sonic characteristics and performance techniques that already

8. !8
exist within the scene, in order to analyse the level of ‘human activity’ that remains at
the end of the project. This particular study will take place in the studio environment,
with equipment similar to what is presently being used by established djent artists;
both studio equipment and instrumental setups will be reflected. The recorded
material will contain influence from established djent artists: Meshuggah; TesseracT;
Periphery; Monuments; Sikth and Northlane in an attempt to establish and replicate
the sonic trademarks of djent. An experiment will also take place by adding electronic
music production elements to the created djent tracks, to analyse the production
techniques used across both genres and determine if the two genres sonically overlap.

9. !9
Literary Review
Etymology and Genre Identity
DJ’s are often associated with choosing recorded music from existing artists for
automatic playback at an event, on the radio etc. "Turntablists" create new music
through the manipulation of existing sounds and recordings during a live
performance. The term "turntablism" was coined in 1995 by DJ Babu to distinguish
this particular form of DJing. However, turntablism actually existed two decades prior
to the invention of the term with artists such as Grandmaster Flash and the Furious 5
(Katz, 2010, pp. 124-126). It is a common occurrence that terms used to describe
certain acts (musical and extra-musical) can become the name of that act: Katz (2010,
p. 126) refers to the art of "breakdancing", where Turntablists used “looping” to2
create instrumental breaks, during which individual dancers would showcase their
talent. Thomson (2011) mentions that Swedish band Meshuggah and British band
Sikth pioneered the term djent years before it was recognised as a genre. Prior to this,
artists that performed this style of music were using djent as a term for the distinct
sound of a particular four-note palm-muted chord (Mansoor, 2011). There is
noticeable debate across the the djent community that questions whether djent should
be declared an independent genre, a sub-genre under the metal umbrella or a term for
a guitar chord. Some take a much simpler view on the subject: 'if people are referring
to it is a genre, then it is one. […] usage determines etymology, not vice
versa.’ (MetalSucks, 2015).
“backspinning” a vinyl record to a specific point, creating a repetition of a musical passage.2

10. !10
A breakdown (in metal) is often characterised as the half-time heavy instrumental
section where the guitars; the bass guitar; and the drummers kick pedal, are all being
performed in rhythmic unison. It usually involves the repetition of a single low note
strummed in a variety of rhythmic patterns. During a live performance, it is the
section where the audience take part in a violent manner of dance known as
“moshing”, a type of live activity that occurs across metal, punk and even some
hardcore dance music — is this perhaps the metal equivalent of the breakdancing
section in turntablism? As Steve Terreberry (2014) discusses in his comical video
How To Be DJENT! One particular performance and structural aspect that separates
djent from other genres under the metal umbrella is the intricacies of the breakdowns,
which are often polyrhythmic in nature. British band Sikth have been labelled "djent"
by the media and its audience, but Dan Weller (2015) states he is "baffled" by the
association between Sikth and djent. When asked what defines an artist as being
"djent", his response was "I have no idea". This is evidence to confirm that the
definition of a djent artist is still inconclusive.
Djent shows notable musical influence from sub-genre predecessors under the metal
umbrella known as “metalcore”, “screamo”, “hardcore” and “dethcore/deathcore”;
formed from a blend of punk and heavy metal. For the purpose of this essay, these
three sub-genres will be referred to collectively as “metalcore”. Each sub-genre
displays different attitudes regarding the performance of the music, but the basic
foundations and characteristics are strongly based around: a blend of screamed and
melodic vocal lines, two electric guitarists, a bass player and a drummer with a double
kick pedal. The sonic trademarks of metalcore albums such as Phobia (Breaking

11. !11
Benjamin, 2006), Stand Up and Scream (Asking Alexandria, 2009) and With Roots
Above and Branches Below (The Devil Wears Prada, 2009) have transferred to djent
music along with the fans of the scene. Alex Webster (from metalcore band Cannibal
Corpse) states that “if you have metalcore bands occasionally doing a tour with a
death metal band, it’s kind of a fan exchange” (MetalSucks, 2007). A prevalent feature
in djent is the syncopated, compound time-signatures such a 7/8, 11/8, 5/4 etc. which
is a structural technique used sparsely in metalcore. This influence is taken from a
different side of the metal scene known as “progressive metal” (prog-metal) and
“progressive rock” (prog-rock) communally referred to as “prog”; which in turn was
also influenced by rhythm and harmony structures in classical music. This includes
artists such as King Crimson, Yes, Rush, Wishbone Ash and Pink Floyd.
Prog, metalcore, djent and parts of commercial electronic music (IE dubstep) all aim
towards a sonic clarity in production. But there are evident differences in the way they
are composed and the processes that are undertaken to achieve the sonic clarity. This
differentiation can be directly linked to the recording mediums available during the
time periods that the music was recorded — King Crimson (1969) In the Court of the
Crimson King had to be recorded uniquely in an analogue configuration, with no easy
way to edit the performance (expect for the physical splicing of tape). Whereas3
modern genres of music including djent, metalcore and dubstep can be easily altered
and even composed with non-destructive editing software. Misha Mansoor shows4
To join (two pieces of film, for example) at the ends.3
Editing that preserves the original material and logs any amendments, which can be digitally4
recovered.

12. !12
this use of software and editing techniques in his guitar recording video tutorial (Top
Secret Audio, 2014a). He demonstrates use of “double-tracking”, “digital looping”
and “panning” — the guitar phrase is performed twice, one track is panned left and
one is panned right to achieve a wide guitar sound. It can then be digitally cut at the
start and end of the phrase to form a tight section which can then be repeated
(looped). The influence of looping (as discussed earlier) reflects back to the art of
turntablism in the 1970s and has progressed from the physical movement of a vinyl
record, to a digital studio production technique. As a studio technique it partially
removes elements of ‘human activity’, as it is possible to edit out any performance
errors by the repetition of one perfect take.

13. !13
The Sonic Elements of Digital Music
Certain audio production techniques (such as multitracking and double-tracking) can
be used across a wide variety of genres, and by a wide range of producers to make a
track sound more powerful by filling the stereo spectrum (Borthwick & Moy, 2004, p.
141). Other techniques however, have been developed through technological
advancements: 'Rap [...] shifted into a more aggressive terrain during the 1980s with
the incorporation of sampled elements such as [...] drum loops' (Borthwick and Moy,
2004, p.153). Drum looping is another technique that has progressed from the
physical switching of analogue (tape) recorded loops, to a software function that
allows the user to digitally programme instruments to the finest detail; otherwise
known as MIDI (musical instrument direct interface) sequencing. Electronic music is
one genre that is significantly influenced from studio production techniques,
especially MIDI sequencing. Recent electronic music sub-genres such as dubstep, are
created in a digital format through the sequencing of software instruments and the
manipulation of existing audio (audio sequencing). Many modern styles of music
including djent and dubstep have integrated these techniques into their compositional
approach. Misha Mansoor demonstrates his use of MIDI sequencing to create a drum
performance using Toontrack’s Superior Drummer (Top Secret Audio, 2014b).
Paul White (1995) states: ‘When you summarise the way a musician composes using
a sequencer, it isn't really too different from the way a traditional composer works’.
Both forms of composition start with by testing a musical idea (often on a keyboard)
which is documented either through notation, or a digital recording of the
performance through a MIDI instrument. Both require the composer to bring in

14. !14
performers to play the finished composition after any alterations have been made. As
long as the composer’s work is reproduced as accurately as possible, it does not really
matter if the finished piece is performed by an orchestra or a bank of synths: ‘has
anyone ever accused Stravinski or Beethoven of being cheats, because they couldn't
play all the orchestral instruments themselves? I think not.’ (White, 1995). Hamilton
(1990, p.326) agrees with White and states that: ’The more interested composers
became in protecting their artistic output, the more they tended to notate every
detail.’. Djents founding bedroom guitarists took on the role of composer/arranger by
transferring rhythmic guitar parts into a MIDI kick/snare phrase, which lacks the
dynamic detail of a natural human performance. As the genre grew to be more
popular, artists were continuing to replicate this unconventional and non-dynamic
MIDI sound — it became part of djent’s distinct tonality.
Djent guitarists strive for the perfect instrumental tone and always try to achieve a
perfect take. Simply playing the parts all the way through the track has the potential to
contain natural human errors such as slight timing fluctuations and unwanted noise
(fret noise etc). To eliminate these errors during the recording process, performers will
record small parts of a phrase at a time to ensure each segment is perfectly in time.
The segments can be used to compose other guitar phrases by re-sequencing them into
any order that the writer chooses: ‘Music in the last century has been transformed by
the concerted quest to replace the human performer/composer/producer of sound with
mechanical and then digital means’ (Bloustien, Peters et al, 2008, p.27). During the
production stage, unwanted noise can be cut out by manually removing parts of the

15. !15
audio file (or applying a noise gate ). This process creates the very “choppy” (tightly5
gated) guitar sound which can be heard prominently on the Singularities album by
Northlane (2013). Both of these processes particular types of audio sequencing
technique, that dehumanise a recorded performance by tampering with the behaviour
of sound.
Unlike vintage production processes where the main objective for the engineers
involved in making the records was to provide a “more faithful” transmission (Eno,
1948, in: Cox & Warner, 2010, p. 128), djent could be considered an unreal reflection
of real-life acoustics and natural human performance. However the digital tone that is
so consistent within djent is true to its own “sound-world” as discussed by Zak III
(2009, p.308):
In an atmosphere of sonic experimentation, engineers, musicians, producers and
audiences came to appreciate the expressive qualities of electronically manipulated
sound. In the process, the foundation was laid for what has become a commonplace
of pop music record production: that recordings assert their own versions of
acoustic reality, and that a recording’s sound-world is defined by its makers
through a process of creative distortion of real-world musical events.
During the early stages of djent, recording budgets were minimal so using sequencing
programmes (such as Superior Drummer) as a drum performance was both convenient
and inexpensive. As some djent artists became more successful, sequencing was used
as a way for musicians such as Mansoor, to compose drum performances that
A device thats mutes a signal when it falls below a set threshold.5

16. !16
Periphery’s drummer Matt Halpern could then learn and record in a professional
studio (Top Secret Audio, 2014c). Some of the patterns are still unconventional and
require an experienced metal drummer to perform, but Mansoor writes specifically
with Halpern in mind. In a YouTube video with Top Secret Audio (2015c), Mansoor
states “I can’t play that […], that can be tricky. Matt can play stuff like that so I
always leave it in.” ‘In some ways, the sequencer is better than the written score,
because it can play back a part exactly as you played it in the first place’ (White,
1995). The samples used in modern drum sequencers are also recorded to an
extremely high quality with the additional ability to edit patterns, change the shape of
the drum sounds and control velocity; all of which can be changed at any point in
time. With a recorded human drum performance, technology allows for timing
alterations but no flexibility in velocity shifts, drum patterns or drum sounds (without
replacing/doubling the audio with a MIDI sample). This may be the reason that many
djent artists still show preference to programmed drums, and why it is such a popular
tool amongst home studio setups.

17. !17
The Birth and Rise of Home Recording
Since the punk era in the 1970s, musicians started to take a DIY approach to
recording, an ethos that influenced more mainstream rock music. ‘The studio
equipment is seen as practically another instrument by rock musicians, who developed
in their ability to ‘act as self-contained productions units.’ (Kealy, 1979, in: Frith &
Goodwin, 1990, pp. 215-216). The djent scene was birthed through musicians
producing their own music from their project studios, using minimal gear. Digital
guitar amp simulators (such as the Line 6 POD or Fractual Audio Axe FX) were
revolutionary in terms of the high quality of audio they could produce and the
convenience of not having to mic up an amplifier cabinet: ‘A key technological
development for the community was good-sounding affordable home studio
gear.’ (MetalSucks, 2006). With djent artists often producing their own music, it puts
them in the position of the painter, they are working directly onto a substance and
always retain the ability to paint a bit out or add a piece (Eno, 1948, in: Cox &
Warner, 2010). The genre and its distinctive sound has been driven forward by
bedroom guitarists using virtual amp setups and computer recording programmes
(Thomson, 2011). Weller (2015) explains that home recording was responsible for the
creation of djent, and that without drum programming and DI's (Direct Interfaces) the
scene would simply not have existed.
In his book The Poetics of Rock, Zak III (2001, pp. 97-99) discusses the pristine
clarity of digital recording and how producers often use vintage recording equipment
to bring analogue warmth to recordings. Analogue equipment can be an expensive
investment, one that can be avoided within the djent community as the sound of the

18. !18
genre derives from the shared love of 'clinical' production and 'perfection' (Weller,
2015); this has created the distinct digital tone that is the foundation for djent’s sonic
tonality: ‘New technologies, for example, have bought about particular changes in the
way we engage with music’ (Bloustien, Peters et al, 2008, p. 25). With substantial
dependence on technological advances and the increasing possibilities of the Internet,
music creators and consumers now engage with the art through digital methodology.
The home-recording studio has been the preserve of electronic music for some years
now; with dubstep, house and techno being produced by artists in their bedrooms.
Online file-sharing company Napster placed fear across the music industry as it
threatened established networks. For modern generations of music including the
online-founded djent scene, it presented opportunity as a way for artists to record
parts for each other and share their ideas online (Thomson, 2011). It is for this reason
that djent and other computer dependent genres have no definitive geographical base
(MetalSucks, 2009). In the context of home recording and the djent community, you
will see below a discussion and analysis of a practical study undertaken by the author.

19. !19
Practical Work
Instrumental Preparation and Recording Setup
The practice based research for this project took place in a controlled studio setting, in
an attempt to replicate the production environment and equipment used by existing
djent artists. The hardware, software and instrumental setups have been specifically
chosen with reference to to the discoveries made during the literary review section of
this essay. A 6 string Dean Vendetta guitar with an 8 string set (less the two highest
strings) tuned to G, C, F, A#, D#, G was performed though an Axe-FX digital guitar
processing unit, to achieve the distinct digital tone demonstrated in Periphery’s
YouTube tutorials (Adam Nolly Getgood, 2013a) — the specific distorted guitar tone
used is a direct reflection of TesseracT’s own Axe FX tone called FAS Modern, with
an added low-cut equaliser set at 100hz to remove any unnecessary bass frequencies
(MetalSucks, 2006). A DI signal was also taken from the guitar tracks to enable re-
amping later on if required.
It was decided early on that the project would contain a vocal for at least some of the
tracks, as most established djent bands (excluding Animals as Leaders and The Helix
Nebula) contain a vocal part (either melodic or screamed). The vocals were recorded
using a Rode NT1 condenser microphone with no processing added during recording,
assigning complete equalisation and dynamic control at the mixing stage; a
representation of working in a digital format. The bass guitar was a 4 string Fender
special run Japanese half jazz half precision. Most djent bands use 5 or 6 string basses
to match the 7 or 8 string guitars, however with limited equipment a 4 string was the

20. !20
only option available. The bass tone (see appendix 3.3) consisted of a blend between a
DI signal and an Axe FX guitar amp to add some distortion, as demonstrated by Adam
Nolly Getgood (2013b).

21. !21
Audio and MIDI Sequencing
The demo guitar tracks were composed using a line 6 digital guitar amplifier at a
project studio (see appendix 2.1, 2.3, 2.4 and 2.5 for demo versions); material that
became the rhythmic foundation for the interplay between the kick and snare. The
final drum sounds on the tracks are MIDI sequenced performances using Superior
Drummer 2.3 with the addition of Periphery's own preset drum sounds by Nolly
(appendix 3.6). The Superior Drummer default Avatar kit (appendix 3.5) was used
initially, but after juxtaposing this with the Nolly pack it was clear that the default
kick and snare samples lacked weight and punch; a sonic distinction that is desired by
the djent community. Mansoor often uses slight timing and velocity adjustments to
humanise a non-human performance (Top Secret Audio, 2014b). The Logic MIDI
sequencing (“piano roll”) window offers a function called “humanize”, which
randomly shift note timing, velocity and length within user-defined parameters.
The “humanize” function can remove some of the rhythmic unison between the
instrumentation, so another method is to manually move certain parts of a beat which
allows for greater control over exact note positioning and timing without affecting
note length or velocity. In this instance (appendix 3.8), the ride cymbal has been
moved slightly behind the snare, to emulate how a drummer would perform that
phrase (Top Secret Audio, 2014a). Appendix 3.7 demonstrates the same drum pattern
as a quantised performance, which subsequently sounds less natural. With reference6
to Singularities (Northlane, 2013), most of the drum hits are programmed at full
velocity to compose a desired un-dynamic but punchy performance. To give the
A digital technology that snaps audio/MIDI notes to a user defined beat (IE 1/4 note)6

22. !22
impression of a more dynamic drum performance, ghost notes were added to fill in
the gaps between full velocity hits (see appendix 6.1 and 6.2 for screenshots); ghost
notes are a natural element of human performance that can also transform a static
pattern into a linear groove, demonstrated in appendix 3.9 and 3.10. Programming the
drums is a clear example of dehumanising (Weller, 2015) as it often represents
unconventional drum patterns and contains no physical performance of an instrument.
That be being said, djent producers are beginning to incorporate techniques that add
details of human performance to reduce the level of dehumanisation.
The electric guitar tracks (and some bass parts) have been gated to remove any
unwanted noise between phrases, creating a tight phrase or note that is part of the7
djent guitar sound. One method would involve inserting a noise gate onto the guitar
tracks, to remove any signal that falls below a set threshold. For this project the
preferred method was to manually gate the audio (see appendix 5.1) by removing
sections of a file, allowing greater control over the start time (attack); end time
(release) and threshold settings. Appendix 3.1 confirms that without gating, the
performance contains displeasing sounds such as amp noise and hand movements
between the phrases. Appendix 3.2 demonstrates the same guitar phrase with the
discussed manual gating. Cutting audio in this way expresses an extremely fast attack
and release time that may sound un-natural in some genres, but this is a recognisable
sonic characteristic of djent. It is also another procedure that takes away from the
human activity by removing imperfections and therefore dehumanises the
performance.
Abrupt fades between audio and silence achieved through a noise gate with fast attack/release times7

23. !23
In the context of cutting audio, unedited instrumental recordings may contain
imperfections such as timing or pitch fluctuations, elements that demonstrate human
activity. One systematic approach to removing these errors is to quantise the audio
using programmes such as Logics Flex Time. The elimination of mistakes can also be
achieved by recording smaller sections of a complete musical phrase, then compiling
the recorded material to form a take. Although both processes remove elements of
human activity, it could be argued that the latter is less dehumanising than the former
as the recorded performance remains unedited (in relation to altering the behaviour of
sound). However appendix 3.20 demonstrates that take compilation can easily become
digital composition, as initially the pinch harmonic (illustrated in appendix 5.2) was
not written as part of the original riff (see appendix 3.21). The pinch harmonic was
recorded after the song was written, as an experiment to see if it could be placed in the
context of an existing phrase to create a new riff. As heard in appendix 3.22 a guitar
performance has also been digitally composed by recording three notes, and
structuring them into a rhythmic pattern (see appendix 5.4 for a visual representation).
Although digital composition diminishes the original intentions of a recorded
performance, it is a convenient tool that djent producers may use post-recording
instead of having to re-record a phrase or record a new part.

24. !24
Electronic Music Production and Sonic Experimentation
Dubstep (and other dance music) relies on technology to compose tracks using
various techniques such as sub-drops (bass-drops), reversed audio, filter sweeps,
“glitched” (cut and re-sequenced) audio samples, auto-tune and looping; an example
that demonstrates at least three of these elements is ‘Scary Monsters And Nice
Sprites’ by Skrillex (2010). As part of an experiment for this project, some of the
above techniques were used in the context of djent, to see if dance music elements
could be added to the genre: 'When the platform of making music happens to be your
computer, you tend to make music like dance music' (Skrillex 2012). It is important to
note that some of these techniques are already being used by some metal and djent
artists (IE Parkway Drive and Northlane), but not to the extremity of dubstep. This
practical experiment will also test the level of dehumanisation (if any) that the dance
music elements portray.
Appendix 4.3 visually represents how pitch correction software (Flex-Pitch) was used
on the melodic vocal, to ensure that all notes were perfectly in tune. Taylor Larson
(co-producer for Periphery II) explained that Spencer Sotelo (lead vocalist for
Periphery) required no vocal tuning as his performance was “flawless” (Periphery,
2015c). However with reference to appendix 3.13, it is clear that the vocal recordings
for this project were not “flawless” and required some tuning to achieve the sonic
perfections of djent (see appendix 3.12 for tuned vocal). To take this dehumanising
process even further, the possibilities of digitally composing vocal harmonies has
been explored. This involved using Melodyne to reshape the structure of the original
recorded performance into a new melody (ITB Studios, 2009). The digitally

25. !25
composed harmony sounds un-natural and robotic when heard in isolation (see
appendix 3.11) but in the context of ‘Track 4’, the un-natural elements are hidden
behind the more prominent instrumentation (such as drums and guitars). Although the
digital harmony is not an accurate representation of the human voice, composing this
way is extremely convenient if recording time is limited, the vocal performance is
inconsistent or to programme an idea for a singer to perform.
‘Letter Experiment’ by Periphery (2010) demonstrates a vocal “glitch” (or “stutter)
technique that involves splicing audio and repeating small sections of a phrase (see
appendix 4.2), this is often a single syllable/word taken from a melody and can be
heard in appendix 3.15. For this project, the “glitch” technique has also been used on
a clean guitar chord as demonstrated in appendix 3.4. As well using the “glitch”
technique, the chord has also been reversed to act as a build up from the introduction
heard on ’Track 1’ (see appendix 4.5). By combining these two methods, the original
intention of the performed chord (see appendix 3.16) has been altered. It could argued
that changing the behaviour of sound is a process that dehumanises a performance,
however in this case (and in the case of dance music) it could also be argued that the
producers intention is not to alter the original sound, but to create a new sound/
instrument based on existing material. For example Skrillex (2010) uses vocal
recordings as the foundation to build a MIDI instrument, effectively transforming a
human activity (the natural sound of a voice) into a MIDI performance.
Dance music often uses a riser to build up tension between sections of a track or as a
lead up to a breakdown or drop, this can consist of filter sweeps or reversed audio

26. !26
samples. ‘Scary Monsters and Nice Sprites’ uses a filter sweep as an introduction to
the song, a technique also used by Australian metal band Parkway Drive (2010) to
bring dance music elements to the metal realm on their track ‘Sleepwalker’. This
technique was replicated for the introduction of ‘Track 3' (see appendix 3.18) but for
the purpose of sonic experimentation it was decided that the a riser would be applied
as a transition between two sections. The main reason for this test was the guitar tone
between the verse/breakdown and chorus’ during ‘Track 1’ had been accidentally
altered during recording; the riser took the focus off of the change in tonality. The first
chorus uses a reversed crash cymbal (appendix 3.14) with an underlying bass line
while the second uses a filter sweep (appendix 3.19). A visual representation of the
two types of riser are illustrated in appendix 4.4 (reversed crash) and appendix 4.1
(introduction filter sweep).

27. !27
Conclusion
Through research presented in this essay, there is evidence to suggest that djent can be
declared an independent genre, due to its distinct sonic characteristics. However there
is dispute around this statement as some still refer to djent as a movement or scene
within metal. The literary review revealed processes that occur during the production
stage of djent that dehumanise a performance. Although there are many dehumanising
processes (audio sequencing, pitch correction and digital composition etc) drum
programming/sequencing has been identified as the clearest example, since the digital
representation is constructed without the physical performance of an instrument.
Unestablished djent artists may be restricted to drum programming and audio
sequencing because of minimal production setups, or a lack of funding to pay for the
recordings of real instruments and amplifiers. This has led to the distinct digital
tonality of the genre. That being said, artists are starting to use various systematic
measurements that add or preserve elements of human activity, to counteract the
dehumanisation that occurs during the production process. As recording budgets have
increased for popular djent artists such as Periphery and Tesseract, drum
programming has become a way for band members to digitally compose a
performance for the drummer to learn and record. Research suggests that without the
mass production and affordability of project studios, drum programming software and
digital guitar amplification setups; djent would not have existed. The same could also
be said for modern electronic music genres such as dubstep as both genres have a
dependence on technology.

28. !28
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Discography
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Breaking Benjamin. (2006) Phobia. [CD]. UK: Hollywood Records Inc.
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Ferret Music.
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DJ Babu. (1996) Super Duck Breaks. [CD]. USA: Stones Throw Records.
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The Helix Nebula. (2014) Meridian. [CD]. UK: The Helix Nebula.
King Crimson. (1969) In the Court of the Crimson King. UK: Island.
Northlane. (2013) Singularity. [CD]. UK: We Are Unified.
Parkway Drive. (2010) Deep Blue. [CD]. UK: Resist Records, under exclusive licence
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Periphery. (2010) Periphery (Special Edition). [CD]. UK: Periphery LLC.
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Periphery. (2014) Clear. [CD]. UK: Century Media Records Ltd.
Periphery. (2015a) Juggernaut: Alpha. [CD]. UK: Century Media Records Ltd. under
exclusive license from Periphery.
Periphery. (2015b) Juggernaut: Omega. [CD]. UK: Century Media Records Ltd.
under exclusive license from Periphery.

33. !33
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Gut Records Ltd.
Skrillex. (2010) Scary Monsters and Nice Sprites EP. [CD]. UK: WEA International
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34. !34
Appendices
1.0 - Recorded Material
1.1 - Track 1
1.2 - Track 2
1.3 - Track 3
1.4 - Track 4
2.0 - Demo Recordings
2.1 - Track 1 (line 6 guitar, default Superior Drummer kit, without intro track)
2.2 - Track 2 (line 6 guitar, default Superior Drummer kit)
2.3 - Track 3 (line 6 guitar, default Superior Drummer kit)
2.4 - Track 4 (line 6 guitar, default Superior Drummer kit)
3.0 - Additional Audio Samples
3.1 - Non-gated guitar
3.2 - Gated guitar
3.3 - Bass tone
3.4 - Glitch effect clean guitar
3.5 - Default superior drummer setting
3.6 - Periphery superior drummer setting
3.7 - Quantised programming
3.8 - Manually humanised programming
3.9 - Un-dynamic drum sample
3.10 - Dynamic drum sample
3.11 - Solo digitally composed vocal harmony
3.12 - Lead vocal with pitch correction (flex pitch)
3.13 - Lead vocal without pitch correction
3.14 - Reverse crash cymbal as a “riser”
3.15 - Vocal glitch
3.16 - Clean guitar chord
3.17 - Low G drone note
3.18 - Filter sweep intro
3.19 - Filter sweep into chorus
3.20 - Breakdown with dubbed pinch harmonic
3.21 - Original breakdown
3.22 - Digitally composed guitar rhythm

35. !35
4.0 - Electronic Music Production Techniques (Screenshots)
4.1 - Filter sweep
!
4.2 - Stutter effect
!

36. !36
4.3 - Flex Pitch
Tuned vocal
!
Untuned vocal
!
4.4 - Reverse audio
4.5 - Glitch effect
!

37. !37
5.0 - Guitar Editing (Screenshots)
5.1 - Manual gating (to remove unwanted fret noise/harmonics)
A - Guitar phrase with gating
!
B - Guitar phrase without gating
!
5.2 - Sample replacement (IE recording pinch harmonics separately and moving them
into position)
!
5.3 - Creating a drone note with using a looped guitar sample
!

38. !38
5.4 - Digitally composing rhythms by re-sequencing guitar phrases
!

39. !39
6.0 - MIDI sequencing (Screenshots)
6.1 - Un-dynamic groove example (without ghost notes)
!
6.2 - Dynamic groove example (with ghost notes)
!

40. !40
7.0 - An Interview with Dan Weller:
Q1. What is your definition of the term "djent".
A1. A metal movement that has taken huge influence from Swedish band Meshuggah.
Q2. Do you class "djent" as a genre/sub-genre under the metal umbrella? Why?
A2. I don't use the term djent. Clearly it's one of many sub genres that are created
online these days.
Q3. Sikth have been labelled to be "djent" by its audience and even by the media. In
your opinion, what defines a band as being "djent"?
A3. I'm always baffled by our association wife [sic] 'djent'. I have no idea.
Q4. Some "djent" artists/producers use audio and midi sequencing to programme
drum performances and "fix" guitar phrases. Were these techniques used in the
creation of any Sikth recordings?
A4. No drum programming was used. Though there was some protools tidying here
and there.
Q5. In your own opinion, what studio production techniques "dehumanise" a
performance? Are there any that are specific to djent?
A5. Programming the drums would be the clearest example of 'dehumanising'. The
'djent' community is built upon a shared love for 'clinical' production and 'perfection'
so lots of editing is implemented to achieve that sound.. Which all sucks out a lot of
soul and 'human' feel.
Q6. Can "djent" be created without the manipulation of audio? IE a live recording.
A6. With extremely good musicians yes.
Q7. What effect has the home-recording studio had on the "djent" production process?
A7. It's created it - simple. Djent wouldn't exist without drum programming and DI's.