ABSTRACT
Historically, the production of electronic music has tended to be viewed through the lens of traditional pop/rock production techniques. While this may be fine in certain circumstances, upon closer inspection it becomes clear that many traditional practices employed by producers working in a pop/rock paradigm can take on very different definitions when used in the context of modern electronic music production. These potential differences in approach have, for many years, been underrepresented in academic research exploring concepts in audio engineering. In turn, this trend has resulted in a pedagogical gap in the design of teaching and learning programs where electronic music production is concerned.
