Dubstep is a very specialized genre of EDM, characterized by the signature sound of heavily modulated basslines taking up most of the sound, at least during the drop. The first thing you should do, is listen to a wide variety of music that would be considered “Dubstep” to get an idea of the type of sound you are going for (Knife Party, Virtual Riot, Skrillex, Mt Eden, Zeds Dead, Flux Pavilion to name a good eclectic selection).

Once you have a good idea of what you want sound-wise, you need a Digital Audio Workstation. Some industry standards for electronic music are FL Studio (PC only), Ableton Live (PC and Mac), and Logic Pro (Mac only). Get the one that fits your workflow best, and read the manual and watch tutorials about how to use most features in your DAW.

Ok, now you have a DAW and know how to use it, so time to make some Dubstep!

First, get some synthesizers. In-DAW synths are ok, but they usually don’t have the full capability of some third-party synths. Do know this: SOUND DESIGN IS THE MOST IMPORTANT PART OF MAKING DUBSTEP. If you don’t have cool sounds, you’re missing the point of dubstep. Here are the two most widely used synthesizers in the Dubstep community:

1. Massive by Native Instruments, $149:

This synthesizer offers three wavetable oscillators with a great selection of diverse and unique wavetables. With the included filters and effects, this is an extremely powerful workhorse for anything from synth leads to destructive and formidable bass growls and wubs. It also has a couple thousand presets that are great for pretty much any genre.

2. Serum by Xfer Records, $189:

This is the same type of synthesizer as Massive, but has a slightly cleaner sound, and offers manual wavetable editing as well. You can literally upload a .png image and turn it into a wavetable. Cymatics.fm - The #1 Site For Serum Presets, Samplepacks, & More! has some great tutorials and presets for this synth, and you will not be disappointed by any sound you pull out of this thing.

There are also other synths you could add to your collection, but these are absolutely essential.

Once you watch enough tutorials about how to make awesome cool dubstep noises with these, you can make a dubstep song. The general structure of dubstep is Intro - Buildup - Drop - interlude (similar to the Intro) - Second buildup - Second Drop - Outro. Write a good melody and chord progression for your intro and interlude, and then have those flow into a buildup using some risers and snare rolls or something. For the drop, use some nice punchy, full drum samples for a half-time beat (kick on 1, snare on 3). You want your snare to punch around 200hz, with a short tail. Another VERY IMPORTANT THING is Sidechain Compression. You want everything in your mix to be ducked out every time a kick and snare hits, so make sure you have a compressor on every one of your tracks that is sidechained to every impulse from your drums. Then go crazy with your sounds in the drop. Write a drum beat and just fill it in with all your cool bass sounds you have been designing. As you watch your tutorials, you will probably get a better idea of how things work. Barely Alive has some great tutorials on youtube for how they mix and produce their songs.

Have fun!

As someone who's been deeply involved in the music world, I've often heard the term "musical genius" tossed around like confetti.

🎉 But does being a so-called "genius" really make you a better music producer? Let's dive into this and unravel the myth.

Understanding the Role of a Producer

First off, it's crucial to distinguish between being a music producer and simply producing music.

A music producer's job isn't just about creating or recording music; it's about getting the best performance out of artists and connecting with them on a personal level.

It's less about innate musical genius and more about emotional intelligence, communication, and guidance. 🎤✨

A producer must have a good ear for how music should sound to resonate with listeners.

However, their success often hinges on their ability to build trust and rapport with artists.

The more comfortable the artist feels, the more likely it is that they will produce exceptional material. Therefore, the essence of a good producer is in their ability to connect and coach, rather than purely their musical prowess.

The Myth of the Musical Genius

While the term "musical genius" is often glorified, it's worth noting that very few individuals truly fit this description.

I've even been called a "musical genius" at times—by high school teachers and concert-goers.

While flattering, such labels can sometimes hinder rather than help. They can create a false sense of satisfaction and stop us from striving to improve. 🌟💡

It's more common than not for people to equate being a musical genius with producing great music. In reality, musical genius is rare and not a prerequisite for producing outstanding music.

Many successful producers are not "geniuses" but are instead highly skilled at leveraging tools, loops, sound kits, and their knowledge to create something unique. 🎹🔊

The Power of Determination and Skill

So, do you need to be a musical genius to be a successful producer? The answer is a resounding no. What truly matters is intense drive, curiosity, and the willingness to learn.

You don’t need to be born with extraordinary talent to excel in music production.

With the plethora of free resources, sound kits, and tutorials available today, anyone with passion and dedication can achieve greatness. 📚🎧

Here’s a personal tip: Instead of focusing on whether you're a musical genius, channel your energy into learning and experimenting. Whether it’s through trial and error or guided learning, your growth as a producer will come from continuous practice and improvement.

Embracing Growth Over Genius 🌱

Music production is as much about persistence and dedication as it is about skill. By focusing on these areas, you'll likely find that your abilities and understanding of music will deepen significantly.

And if you're looking for ways to boost your brainpower and improve your learning curve, check out this free guide on increasing brain power.

It’s an invaluable resource that helped me personally and could be a game-changer for you too!

So, embrace the journey of growth and learning. Even if you don’t consider yourself a genius, you can still produce incredible music. 🎵🔥

Final Thoughts

In conclusion, being a musical genius isn't a requirement for producing great music. What's more important is your dedication, willingness to learn, and ability to connect with artists and audiences. Focus on these aspects, and you'll find success in your musical endeavors.

For more tips on enhancing your mental capabilities and maximizing your creative potential, don’t forget to check out the free guide on boosting brain power.

Keep creating, keep learning, and let your passion for music lead the way! 🚀🎶

This is something I have thought about a lot, as I myself am a massive fan of the stuff and have been for a very long time. I have also studied quite a bit of music theory and will only give my thoughts based on things I have heard from people I have learned from who are either professors of music theory or genuine researchers of music theory.

I will start with what I think is most important. I went to a great public lecture once from a researcher of music (wish I remembered the name of the person) and they made one main claim which was that peoples’ brains mostly responded to music in a positive way when they started to have an expectation setup that was then very nicely delivered upon.

This seems ubiquitous in pretty much all popular and classical music. For instance in sonata form an idea is introduced and the listener basically knows that there will be a big triumphant recapitulation of that idea later on. Basically all pop music has some ‘hook’ that will keep coming back and often be lead up to like in a bridge and then delivered upon by the triumphant return of the hook. To me dubstep takes this, shown in research to be one of the most, if not the most, satisfying parts of music for a listener, and takes it to the max, where the ‘drop’ is the huge payoff the listener is expecting and waiting for, and almost every song has a really epic and anticipation building lead up to this payoff.

If you want to put this to the test just observe yourself as a listener for if you get ‘that tingly feeling’ in a song and where that feeling occurred. The research would suggest it will come around that moment when things have been built up and subsequently delivered on. So to me, everything else from here on comes secondary and is much less important.

Of these less important things in my view, We can also observe the general song structure of most of these songs which more or less follow a similar structure to most popular styles of music. I actually personally find a lot of dubstep to have much more interesting variants of, say, a song that mainly fluctuates between ‘A and B sections.’ This could also easily tie back to my first point, though, because if we have a lead in section A and the drop section B, the song will often build future AB’s to be even more dramatic, interesting, and fulfilling. Whereas, for instance, I think a lot of pop music has extremely minimal variation when long patterns are repeated multiple times in a song.

Then there are the things like ‘danceability’ and the general bass heavy sound. This is where I think it is easy for someone to instantly dismiss dubstep, because they are just genuinely turned off by the overall sound. To me it reminds me of rock and roll with heavy distortion. I believe there are people who would be fans of rock and roll but then when heavy distortion is applied to the guitars they just lose interest or say it’s terrible because they just don’t like what is essentially the timbre of the sound. I also personally think dubstep is the best music to dance to, but this is again subjective and it is easy for others to disagree.

Finally I will comment on a few smaller points, each of which are mostly based on one’s tastes. I will also say why I personally like them, or why I find them advanced or interesting or both. First dubstep is known for its syncopation. I get tired of most songs being 4/4 where everything pretty much lands on a beat and there doesn’t seem to be any real ‘groove.’ I find dubstep typically has interesting beats and even some beats that are genuinely intellectually stimulating. There is also the ‘wobble.’ The most straight forward way of obtaining this is, say in a DAW, to take a low pass filter knob of a synth and to program it to go up and down based on a sine wave that is synchronized to the beat of the song. Once again I find this very interesting and would go as far as to say this is intellectually stimulating. Where else in music do you see people creating interesting rhythms based on manipulating the period of a sine wave? Dubstep does a lot of sampling which can be enjoyable when they remix a song you really like by recycling samples from it but whilst still creating something very new. Finally if we return to the concept of the ‘sound’ of dubstep, it is usually very bass heavy and there is lots of crazy filtering and often distorted sounds. Again I like this as I actually genuinely enjoy this sound (always loved heavy metal for instance). But again on top the sounds sometimes are very interesting when you see how they are made. Some of the people making this music are incredibly talented at synthesizing new and cool sounds. There are so many knobs and buttons on the synths being used that you can totally push the limits of what sounds come out of your headphones and there is no where else really that you can experience these kinds of sounds.

Ok that is probably overkill so I will leave it at that :) thanks for asking I’ve been meaning to pen my thoughts on this for a long time now!

For someone who begins his production with dubstep from ‘Day-1′ will take no time to be an ace in genres like derivatives of dubstep,hybrid trap,future bass,etc.

Songs with really huge dubstep drops aren't really difficult to cook these days, as soundpacks and samples from Cymatics and Virtual Riot become the spoon-feeders here.

But for a professional,building something new from an FM synth,or some ‘Serum Init preset' becomes quite difficult at times.

Music is getting updated everyday with something new in it.

For someone who is used to progressive house from the beginning of time, dubstep might prove to be a challenge on a different level.

P.S.- Dubstep and has proved to be quite difficult for me,and I am still trying to cope with basics. I began with future bass. I found it easier :) .

Dubstep has become quite diverse, spreading beyond its origin as a UK Garage offshoot, but still focused on being being bass-heavy, syncopated electronic music in a tempo of 138-142 bpm. That said, there are a few subgenres and historically related genres that do have established usage among established musicians, labels, and journalists, though in the end there is a lot of crossover.

2step - The genre of Garage that served as proto-dubstep, through influential productions by Zed Bias and Horsepower Productions, among others. Unlike dubstep, it focuses on uptempo pacing and heavy use of syncopated breakbeats. It is often noted that works by Burial are more arguably more 2step than "typical" Dubstep, as his music references older Garage music.
Half-step - Lesser used descriptive term for releases that focus almost entirely around slower 70bpm rhythms instead of 140bpm. Certain early works by FWD>> DJ's Skream, Benga, Loefah, and Digital Mystikz can be described as such. These works especially rely on sub-bass as a driving force, but contain even sparser mid-range melodies, triplet rhythms, and minor-key notes to create more "dread."
Future Bass, Future Garage, Bass Music, and "Post-Dubstep" - These are terms that have emerged in wake of the style diversification of dubstep as well as it's growth in popularity as an electronic dance music style (see Brostep below). Future Bass has become a self-description used by notable dubstep artists, for example the name of a compilation by Soul Jazz Records. Bass Music is a common "catch-all" term used by many fans and producers. Post-Dubstep has been used by many journalists to describe newer diverse productions evoking other genres (house, dnb/jungle, 2step, r&b, early 90s rave), especially those closer to 130bpm tempo, such as the work of James Blake, Joy Orbinson, FaltyDL, Mount Kimbie, and many other artists since 2010. Future Garage has largely replaced Post-Dubstep when referring to these artists.

Closely related genres:
UK Garage - The ancestor of 2step, Dubstep, Grime, Bassline, and UK Funky. Dance music that emerged in the UK in the early 90s, inspired by House music in the US.
Grime - Emerged in early 2000s and coinciding very much with Dubstep and sharing its tempo of around 140bpm, Grime is dark, bass heavy, and most importantly focuses on MC vocals. Wiley and Dizzee Rascal are the best known artists of the genre, and many producers also make Dubstep and 2step music.
Bassline/UK Funky - Essentially contemporary developments of UK garage. Bassline is centered around Sheffield, UK. Both are around130-135bpm and tend to have 2step and 4/4 dance rhythms, vocal choruses, and a variety of percussive elements borrowed from other genres.

Other influential genres:
Dub - The genre of reggae developed in the 70s that remixed and re-edited existing tracks into ore instrumental songs focusing on percussion, bass, and sound effects. Echo, reverb, and other studio effects formed an essential part of the process, as does the concept of sonic "space." Dubstep has often referenced dub and reggae (the work of Digital Mystikz and The Bug for example) but is not directly related in terms of development, just musically similar. Prominent London DJ Youngsta, of Rinse FM, has noted that use of reggae and dub contributed to the term dubstep being adopted by those at the label Tempa as well as at Ammunition Promotions, who ran the club Forward>>
Dub Techno - Techno music that shared the techniques of Dub music, emerged in the 90s in Germany with works by Basic Channel, Pole, and Monolake. Like Dub, it has been influential but not directly related. Techno artists like 2562 and Martyn both began producing dubstep in the mid-2000s and infused Techno traits into Dubstep, but they are not Dub Techno producers.
Wonky - A broad term to describe various electronic productions that use off-kilter rhythms, odd time signatures, and detuned/pitchbent syhtms and melodies, usually in hip-hop tempos. Brainfeeder (LA) is a notable collective that has been associated with the sound. Some producers like Rustie and Joker have made Dubstep productions described as "wonky" but it is not a subgenre of Dubstep.
Juke/Footwork - variants of Ghettohouse music of Chicago, created for local dance styles. Tempo is around 150-160bpm and utilizes odd time signatures and triplet beats. Has had influence on some Dubstep releases including Addison Groove's "Footcrab," which retain the dubstep bpm range but utilize juke/footwork rhythms.

Other "-steps" - Most other "subgenres" are merely one-off tongue-in-cheek descriptions in this format: verb+"-step" and at most can describe one artist or release, and therefore aren't genres at all. Example: gorestep (oft to describe Brogore's productions.) Emostep, drillstep, blah blah. Mostly youtube tags anyway.

The most popular joke "subgenre" is Brostep, (or Bruvstep in the UK) a disparaging term aimed at the glitchy, noisy, and "dirty" sounding dubstep that focuses especially on bass drops and production more akin to EDM and Electro-house. Many point to works by veteran producers Coki and Rusko as the origin, though the latter has come out vocally as against the "subgenre." Datsik, Skrillex, Nero, DZ, and a plethora of others (I won't try listing them all) have been labeled as such. Some fans have cheekily adopted the term and likewise other Dubstep fans have begun calling Dubstep by other names (Future Bass, Bass Music, Post-Dubstep). Critics aim that typical Brostep tracks share nothing more than the tempo and "drop" formula of Dubstep, lack heavy sub-bass and bass, "Dub" elements, syncopation, and instead focus on mid-range leads and 4/4 beat patterns. Ironically, "Brostep" has become the most popular form of Dubstep recently.

Hopefully this answers the question as best as possible. I agree that genre names can become arbitrary and arguably useless to a degree, but when used in terms of historical context or musical descriptions they can become quite important and helpful.

Making "good" electronic music is a very subtle art.

Because, on the one hand, good electronic music means listening to what the machine wants to do in some sense. On the other hand you have to not become a prisoner of the machine or of the conventions that it spawned.

For example, dozens of rock bands had the TB303 years before Chicago House producers invented Acid. But because they spent their energies trying to make it act like a substitute for a real bass player, they missed the extraordinary sounds and vibes that it could produce. The TB303 totally wants to make Acid if you'll let it and work with it on that.

And you can work with it on something amazing today, because Acid is still a vibrant and exciting sound even 30 years later.

OTOH, if your Acid jam sounds exactly like Plastikman in 1993 you've become a prisoner of the conventions that that machine spawned. You are as clichéd as any retro-rocker plodding through 12 bar blues riffs on an electric guitar.

The same is true of all electronic genres. Dubstep came from people finding that their software synths could be tweaked to produce extraordinary wobble basslines. At a time where the rush of 2-step garage was wearing off, to be replaced by an empty, desolate melancholy, and the pressurized anger of reggae filtered through grime / eski-beat.

The sound couldn't have come from anywhere else but that London scene and those influences. But it also couldn't have happened without those software synths wanting to make those wobbles, if you just tickled them the right way.

What happened next was that programmers packaged up those sounds. I've not used NI Massive but my understanding is that, yes, it wants to make *that* dubstep sound, the way the TB303 wants to make Acid.

But good music is about the "soul" of something. And understanding the soul of something is to understand how breaking the rules and conventions can give you more of the feeling rather than less of it.

I'm rambling .. tl;dr : dubstep is "easy" because there are plenty of "machines" which come prepacked with the sounds that "signify" dubstep. Like all electronic music, good dubstep is hard because you need to know both how to listen to what the machine wants AND how to creatively break its pre-packaged conventions so as to advance the art of expressing the feelings of the genre.

First u need to gather a collection of bits and pieces u want to use from the track to be remixed. At least a couple. Something to build upon. Clip out a vocal sample during a part in the song where the vocal is isolated from other instruments. Clip out a drum sample or loop where they are again isolated. Clip out an instrument or 2. Create a toolkit from which to work with. It's much harder and more limiting to try to reconstruct a track using loops in which all instruments are present. All you can do then is reorder and trigger them differently. With isolated instruments and loops you are able to actually redesign the song y'know?

After that there after any number of different ways to approach a remix. You can throw down one of these loops and start building upon it. You can make a dubstep beat and then add your clips to that beat. Whatever makes you feel good.

Ultimately you will probably want to layer your own percussion, instruments and samples on top and underneath your bits and pieces of the old track. Once you start reconstructing the old track things will probably start sounding out of whack and you will want to fill in the gaps with whatever. Even though the original track was mastered you will need to do it again obviously.

There's no definitive way to remix any track. Aphex Twin returned remixes that sounded nothing like the original. But usually a remixer likes the original material and just wants to add their own flair.

Chop out what you like, rearrange it, add your own sounds, remaster it.

Dubstep is a subcategory of electronic. So all dubstep is also electronic music / EDM.

To the degree that you can cleanly separate genres, dubstep is characterized by

• a 140ish BPM tempo that feels slow because the kick is only on the 1 and the big snare on the 3, rather than the kick being 1–3 or 1–2–3–4
• a lot of harmonically rich “dirty” bass sounds. Often with various effects on them to make them active (eg. filters sweeping in, in a typical wob-wob effect, often with resonance and distortion to add further higher harmonics. Basically the more dynamic and in-your-face the bass sound, the better.
• some other high busy and clattery snares or percussion instruments. Trap tends to have some very busy, ticky hi-hats. In dubstep, this higher frequency percussion is rarely a hi-hat.
• original UK dubstep had a connection with reggae, and with dub (obviously). It was slow, dark, cinematic, “pressure”. Associated with THC and ketamin.
  
  For example :

• A second wave of English dubstep tended to bring in more high frequency synths. Eg.

• which brings us to the infamous rise of American dubstep :

What you hear here, is more high-frequency, more melodic, and more totally outrageous filter sweeps and distortion through the harmonics of the “bass”.

What it retains is that beneath all the excitement is that lazily lolloping kick / snare. It’s around 140 BPM, but with the kick only on the 1 and the snare only on the 3, it feels only “half-speed”. Which makes it surprisingly “slinky” and “sensuous” given what else is actually happening in the music.

TLDR; to be dubstep, bass has to be the most prominent, dominant sound, and with a lot of interest and action and movement in terms of filter sweeps and other effects. But it also needs that half-speed kick / snare to give it either a sensuousness or a sense of heaviosity and pressure.

Related :

Phil Jones (He / Him)'s answer to Who created the first dubstep track and which year was it released?

The tempo - 140bpm that is set in half time.

This gives the artists the ability to add a perceived tempo then cut it in half and create a "drop." The sensation and surprise of the grimy, filthy bass when coupled with half time makes for a high energy environment and output/outlet for the listener (when in the appropriate atmosphere).

For some, it is an acquired taste, and for others it meshes perfectly with genres of the past.

Think alternative rock and punk; these music genres have been providing a heavy drop in half time (e.g. august burns red, a day to remember, as i lay dying). The hardcore scene has been doing this for years. I believe that many members of this scene have acquired a similar taste for dubstep.

Additionally, the dubstep sound has many inspirations in the hip-hop/reggae dub scene in recent years. The UK's hip-hop sound has been a major influencer (and innovator) behind the dubstep genre.

Collaborating that concept with electronic innovation, i.e. oscillators, midi, sampling, clipping, etc, the end result is a creative mash of new sound that the average music listener has never heard before; A skanky, filthy, heavy dub, that is easy to groove to.

Dubstep.

You have to have a computer or apple product that was made past 2014.

buy / download one of the following softwares.

some are paid. some are free. hence why i put download next to buy.

Soundbridge - Free - Windows, Mac

Cakewalk by Bandlab - Free - Windows

LMMS - Free - Windows, Mac, Linux

Serato Studio - Free - Windows, Mac

Ableton Live 11 - Varies in price. - Windows, Mac, I’m unsure about linux but I think it does.

Cubase - Varies in price - Windows, Mac, Linux

FL Studio - Varies in price - Windows, Mac

Logic - I forgot the price - Mac, IOS (apply exclusive)

what are the pros to paid softwares?

its usually a premium product with features baked in and certain softwares offer cool deals such as free lifetime updates. Customer support is better too.

cons of paid software?

its paid and no one likes paying for stuff. and sometimes the stuff your paying for isn’t needed.

pros of free software?

its free and costs literally nothing. except complicated messes. we’ll get into that o.o

cons of free software?

because its free it doesn’t come with instruments or good customer support which means making music is a technical mess if your new to it.

talk to the community. and learn. they wont bite. just dont be a jerk. make friends and learn from everything you encounter in the indsutry. beware of scam labels too. that shit stings.

Ooh, that hurts. The chords in dubstep tend to be darker, more mischievous. Also, a huge difference is the drums. Trap music employs a kick with a drawn out sub, called an 808. It's snares/claps are usually short and lack bass, some artists layer a pluck of some sort underneath it for depth. The hi hats are EQed similar to the snares, little or no bass and extremely short, to make it easier for rolls. Dubstep drums on the other hand are bass boosted. The short, hard hitting kick is cut off at around 40 - 70 hz so it doesn't interfere with the subbass, which plays under every main sound that happens on top (some producers choose to just boost the bass in the sounds themselves, but the majority don't). The snare is bass boosted and compressed heavily, so that it hits with a pshh or kshh sound, usually with a nice airy downlifter immediately after it. The hi hats play a huge part in the fullness of the drop, they fill in the space behind the song so that out doesn't sound empty. Dubstep cymbals are more realistic than trap, and hit in routine quick succession in the beat, usually with rides panned lightly to each side hitting at half time. The sounds are a huge difference between Trap and Dubstep. Trap drops tend to have one or two sounds repeating a tune as the drums get more complex or there's a small variation in the tune, but other than that it's pretty simple. Dubstep on the other hand utilizes many sounds in the drop. Then there's a break, then a variation of the first one, sometimes even an entirely different drop. The sound design is called into question a lot more in dubstep, because the sounds must be high quality or the mix will sound bad. Trap doesn't use as many sounds in it, so the producer has more time to focus on each individual one, making for a clearer mix and less layers to buffet each other.
In the end, dubstep is wayyyyy different than trap in many ways.

Here's an example of each:
Bone N Skin - On Fire (DatPhoria remix)
Ship Wrek - Back in the Hood

Based off of what I told you, see if you can discern which is dubstep, which is trap.

This debate could run and run - i don't think you'll ever get everyone to agree on a definition. Personally, i would define dubstep as a style of music that grew out of dark, dubby 2-step garage from the UK in the late 1990s / early 2000s. It is distinctive in its emphasis on heavy, deep basslines - hence the dub - and stepping beats (generally kick drum on the first and third beat and syncopated snares) - hence the step. Its roots are generally agreed to be in South London, and particularly centred around the Big Apple record shop in Croydon. I would highly recommend The Roots of Dubstep album on Tempa recordings as a good starting point for an introduction to the evolution of the genre.

Dubstep is widely considered one of the most difficult forms of EDM to make. The genre is no f*ink joke to produce. No, a 6 year old can't make that music in Logic.

A dynamic and well-made piece is going to have 60 or more tracks, and quite a few changes in motifs, with builds and drops.

Skrillex can probably play guitar better than you (yes, he is very capable). He's no slouch in music knowledge, but there is much more to dubstep, namely that it's built heavily around sound design from scratch. I've heard some famous EDM producers call dubstep an extreme form of applied technology, and I'd say that sounds accurate to me.

I would say a dubstep track probably takes a month of dedicated and focused work. I know my stuff is nowhere near complex as dubstep, and I take a month on a single track.

The dubstep highlights, after its peak in mid 2000’s, were:

• in 2009 appereance of Borgore, wich was the first to introduce the “vocoder pig” in the sound and make the first mainstream hardcore song(just look for Nympho).
• somwhere in the 2000’s the appeareance of glitchop (wich was a merger of sub genres one of wich was dubstep
• somwhere in the 2010’s the appeareance of robots in dubstep (example: Torqux&Twist) and culminating with Tranformers movie franchise. From that moment all that is robot is dubstep.
• in 2013 appearence of Skrillex that combined the feeling of hardcore sound with robots and pushed the genre into what is now known EDM
  
  Dubstep as it appeared first time (Caspa, Rusko, Benga, Mala, Loefah and so on) does not exist anymore, the genre went from that into Grime and EDM.
  
  Grime still goes well and will go well in the hip hop scene of UK. For now it seems that EDM is the “dubstep” scene (ex. Zomboy).
  
  As a subnote there were other subgenres of dubstep that appeared and died off in couple of years. (example: SPL, Roomate, Flux Pavilion, Zeds Dead). Trap was somewhat influenced by the dubstep scene but it died off quickly. And drumstep was mid 2010’s dubstep pushed to 170 bpm, also died off really quick.

People, often mis use the term Producer. The role of a Producer is primarily to get the best performance out of an artist. Thye usually have a good handle on how music should sound to get a good reception, but they also need to be able to connect with the artist. The more the artist feels comfortable with a Producer, the better the chances of recording wonderful material. So, we you can surmise, part of being a good Producer has nothing to do with music, and a lot to do with the ability to connect and coach others on a very humal level.

Some people use the term producer, to mean to record music. As in, how do I produce music? This is very different than being a Producer.

Hi! ^.^

First of, Dubstep is a sub-genre of EDM, or electronic music.

It is characterized by its “half step” drums, which means that out of 4 beats in one bar, kick and snare hit on first and third beat (when you count to 4 in the tempo of the song, kick, hi hat and snare will hit like Kick-Hat-Snare-Hat, and that’s 4, or 1 bar). Now, that doesn't mean that Dubstep is strictly limited to that drum pattern only, but as long as it maintains something similar to that “half-step” pattern, and alongside some other characteristics, it should be Dubstep.

Since I started with rhytm and drums of Dubstep, let's continue with drums characteristics.

• Kicks - In Dubstep, kicks are most often very bright (meaning that the higher frequencies of the kick are much louder than in other genres, sometimes sounding similar to the snare). They hit hard and give a very heavy feeling, punchy feeling.
• Snares - Can be very roomy, with quite a lot of reverb, or sometimes much shorter and snappier but still very punchy. Snares usually have quite accentuated lower frequencies, merging nicely with the kick, giving a very heavy, steppy feeling, slow beat.
• Cymbals - Hi hats usually follow kick and snare by going between them. Open Hi hats, rides, crashes etc. can be added according to artist’s liking.

Next up, the bass. (And the melodies)

Dubstep often uses very aggressive basses, growls, heavy sub-bass and stabby-punchy-gritty basses as well, they are usually dark and grim, very harsh. Since it is music and every Dubstep song depends on the artist, I wont go into too much detail about that, but I will try and categorize it into 4, in my opinion, most common “groups” or directions of Dubstep, if you will, based on the drop. In no particular order, there are:

• Dubstep songs where there is a heavy growly bass at the beginning of the drop followed by, seemingly sporadic, basses in some rhytm, differently pitched, as well as some higher-pitched, screechy breaks at the end of the bar.
• Dubstep songs that don't have many hard growls, if any, and are very melodic, but usually the drop melody is consisted of around 2 different sounds (that are still basses though) rich in low, mid and even high frequencies at once.
• Dubstep songs that accentuate that “rhythm” part of the genre. The drop is usually repetitive, with very specific sound designs for the bass and other sounds. These songs can be sorted under the sub-genre called Riddim Dubstep. It can also be described as wonky, bouncy, gritty etc.
• Dubstep songs that have vocals in the drop, that are not as dark and grim, but still have growls and wubs and all the Dubstep sounds you might expect. They’re usually brighter and happier, I guess.

Hope that this helps. I'm no expert, I'm talking from what I know and what I've listened to so far.

Simon provided a brilliant answer with great information about some of the tools electronic musicians use to create a composition or production. Go read that first. Thanks Simon! I'm going to share some of the things I've learned through my experiences in the electronic music industry.

Don't worry too much about your DJ gear right now if you're more interested in making music. Producers and DJ's, while closely related, are very different roles in the EDM business. There are many DJ's who became producers and producers that had to learn to DJ once their music came into high demand; however each use different tools and skill sets to accomplish very different results. I recommend starting with one if you don't have experience with either. Once you are consistently making semi-pro quality productions, check back with Quora for our recommendations regarding what you will need to start performing.

You are going to need about 10,000 hours of practice and learning for your new skill. Writing, producing, and playing music of any type is a creative process and a skill with a learning curve that varies for each person depending on their experience. If you wanted to start producing punk music, where would you begin? How many guitar sounds do you want? Drums? Bass? Would you start booking gigs before you learn to play an instrument?

Keep in Mind: The production quality of a musical composition is not correlated to the price or type of tools used to create it. Skilled producers are like fine woodworking craftsmen. Whether building something by hand or using power tools, woodworkers are constantly honing and developing skills as well as learning new technology to produce something better than the last thing they made.

Good Luck!

Some of the best Dubstep Prouducers i have been following :-

1. Skrillex - His tracks like First of the year ( Equinox) , Bangarang , Scary monsters and Nice sprites are one of kind and outstanding work in Dubstep.
2. Knife party - The duo splitting from the pendulum have some remarkable tracks like Bonfire , centipede and many more .
3. Nero - The female duo specialise in dark vocal Dubstep and drum and bass . Thier tracks like Promise , innocence and Me and you can get you hooked to it.
4. Flux Pavillion - His tracks are catchy and have nice beats . Gold dust is one of his prominent works in Dubstep
5. Zomboy - Have been following him sInce the starting . A consistent producer with fresh stuff. His debut track Organ donor speaks for itself .
6. Deadmau5- Pure gold ! His approach to wide variety keeps it classy .

And many more … :)