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When we are lost in the euphoric moments of dance floor bliss, it is easy to forget about the skill and effort it takes to make the music that elevates us.The dance floor isn't the place for conversations on the advantages and disadvantages of particular digital audio workstations or pieces of hardware.Perhaps that is why many studies of electronic dance music culture (EDMC) engage with the socio-cultural contexts that have underpinned the development of its various styles and scenes, and in contrast, the studio, and its role in the production of EDM, remains comparatively underexplored territory.That said, many of the key scholars of EDMC have engaged with the production technologies, sonic aesthetics and compositional structures of EDM, including Mark Butler, Hillegonda Rietveld, Graham St John and Sarah Thornton.More broadly, there is the now-established field of the art of record production, with the Association for the Study of the Art of Record Production, its annual conference, and the Journal on the Art of Record Production.This field draws on a hybrid mix of practitioners, academics, theoretical models and research methodologies.This special edition of Dancecult on production technologies and studio practice in EDMC is intended to add to this existing work, and to lend further attention to the behind-thescenes endeavours that generate the music that drives the dance floor.As the essays in this issue demonstrate, analysis of production in EDM revolves around much more than merely studio work.Structural qualities, media discourse and globalisation are just some of the various topics given attention by the contributors.This variety, together with the increasing prominence of the study of the art of record production, indicates that there is much interest in the studio practice that informs EDM creation.On a broader scale, this seems like part of a larger shift in popular music studies and musicology in general towards examining the sound of the music and way that it is made/performed.
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