Indeed, the use of noise in electronic music has increased, and consequently, music created with

electric instruments now has a large realm of possible sounds within its arsenal. It is hard to determine
just how many sounds there are that can be heard, but with the use of computers, it is easily possible
use any combination of Schaeffer’s five basic tape techniques to create an endless amount of distinct
sounds, starting either from recorded noise or from computer generated sounds. Two recent electronic
artists that utilize such methods are Dan Deacon and G-REX.
Dan Deacon wrote “The Breakaway” (2018) as part of the score to a documentary about the
final year of a professional cyclist’s career. This piece is meant to portray the part of the bike race when
the cyclist decides to make his move to get ahead and move to the front of the pack. Dan Deacon starts
with preexisting sounds and sculpts his music from there, often using short samples, sometimes even
zooming in on one cycle of a waveform, and then making synthesizer sounds from that. He says that in
making his music, he strives to create sounds that you haven’t heard before.
G-REX released his debut EP Rift in 2018. It is Halloween-themed and a large influence for it
came from the sounds and music from horror films. The sound design of horror films plays a vital role in
provoking the tension and fear of the movie, without it, the movie would not have the same effect. G-
REX works, on average, with around 180 tracks to add subtle accents and sounds to keep the track
driving. One sound that G-REX says is his favorite in the track is a cell phone ringtone with a frequency
shifter on it and a different distortion effect that gives it a weird swinging sound. In Rift, G-REX describes
trying to make sounds that he hasn’t heard in bass music.