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I decided to use the same kick drum sample from the A1 track, but use a harsh equaliser to create a very muffled and subdued sound from the sample. This helps contribute to the low fidelity, more relaxed ambient version of the lead club track that I aim to create.

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I opted to use the same effects on the mastering chain for all three tracks, with different values on their parameters, to create a cohesive sound experience when listening to the EP. I decided to keep things simple, to help contribute to the old school sound I was aiming for, and avoid over processing. The chain begins with an EQ, removing <20hz as well as >20Khz frequencies from the mix, as these are out of the range of most listening environments and can contribute to a crowded mix.

Next, I added a Tape Recorder, an API channel strip for a slight boost to midrange frequencies, Ozone 10 for stereo imaging and light compression and finally a loudness meter and limiter.

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I began by using Pigments Wavetable for my lead sound, starting from the Soft Glow preset, I opened up the cutoff filter to allow a brighter, more prominent sound, as well as turning down the 'MONO' macro to ensure it is wide and full in the mix. I played in the pattern using my Ableton Push, which affected the velocities and gave it a more natural feel. I opted for this input technique to give it a more fleeting and distance feel, whilst it is the lead line I wanted it to have space and movement, which varying velocities help to achieve.

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This lead was then processed using ShaperBox 3 on a 'stutter' preset, to combine a prominent lead influenced by Maya Jane Coles production, with processing and sounds very similar to Linkin Park's more hip-hop inspired production with the use of scratching/glitching effects.

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Influenced by Maya Jane Coles, I opted to use a rim hit sample as the main snare/clap in my track. This can help stray away from the traditional sounds used but still sound like a house track due to their placing. This was ran through a plate reverb send to give it some space and air, as well as a more organic feel.

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I added a stab from the DX7 V from Arturia, on a tweaked 'DX Grand' preset. This has a very classic sound to it and I chose a Minor 7 chord as this was very commonly used in early house music as well as today. This is the influence from Tuccillo's classic house style coming into my production, as it has a familiar sound that we can relate to, to juxtapose the more unpredictable lead line. I ran this through a tape-delay send to have it compliment the other main elements following its hit and also to not sound dry and abrupt.

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Next, I added a drum break sample loop from Clyde Stubblefield. I chose this as it has a nice groove and natural feel to the rhythm, similar to traditional house music samples from the 90s (Tuccillo Style). To process this, I removed the low end to allow my original kick hit and bassline to punch through uncontested, then adding a metallic phaser, Shaperbox and two autofilters.

These effects are used to create movement within the sample, and the Shaperbox was configured using a 'stutter' preset to give it that hip-hop, Linkin Park style glitch.

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For the master channel, I added a small boost of 2db to the 1KHz range and a reduction of 2db to the 200hz low end, using the api channel strip VST to add a small amount of 'analog' warmth and saturation to the track in the process. This was to make sure the bass wasn't overpowering the track, and also to give more mid presence to the percussion and lead elements. This was after an EQ cut of anything below 20Hz and everything above 20KHz, to clean up frequencies outside of human hearing / speaker ranges.

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I applied a small amount of input and gain matched with the output so I could control the saturation effects on the sound and not be misled by volume increase. The 900 tape setting provided a strong warmth presence to the low end so I opted for this setting. Using this on the mastering chain helped add the warmth I was looking for on the entire mix.

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I chose to attempt recreate the bass sound from a recently released techno track by Funk Assault titled "Signing your own post"

I originally attempted using the Behringer Poly-d synth, but found it didn't have a dark enough tone, so opted for the Novation Basstation instead.

Once I had a suitable stab, I used Soundtoys plate reverb and tremolo to give it some space and movement just like in the original track.

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Influence is the effect or cause that pushes you to do something/work towards a goal, making things happen.

Inspiration is something stimulating a feeling of desire to do something, with no clear intention, generating new ideas within us.

I feel like the two overlap in certain areas, I may be influenced and inspired by the weather for example.

Sources of inspiration:

Books, other people’s music / success, attending concerts / raves

Early influences:

Family music taste, being surrounded by rock/heavy music from an early age followed by electronic music in my teens.

Changes:

The live aspect, crowd reactions to music, connecting with audiences, being in a DJ environment has motivated me more than ever. Watching the influence my music has on others motivates me to keep creating better music.

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- Produce a demo for this Friday that has clear influences from my chosen artists (Maya Jane Coles, Tuccillo and Linkin Park) and ideas of the direction I would like to take the EP.

- Complete background research on my chosen three artists to further understand their origins, influences and what aspects specifically of their style that have had a direct impact on the way that I make music, by next Friday.

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Tech House originally began in the UK club scene in the early 90s, with artists such as Terry Francis, Nathan Coles and Eddie Richards - Who later formed the well established 'Wiggle' party. Other artists such as Green Velvet and Jamie Jones helped to push the sound to a global audience.

(https://www.beatportal.com/features/beatports-definitive-history-of-tech-house/)

(https://www.youtube.com/watch?v=74wlkDluLN0&ab_channel=ResidentAdvisor)

The key elements include a BPM of 124-130, 4/4 kick pattern, Techno influenced basslines (acid, sub), but with the groove and percussion of house drums (swing, classic 909/707 drum machines). It is also repetitive in nature much like Techno, often with subtle catchy lead lines making it perfect for the club. Tracks are usually 5-7 minutes in length, with a minute intro and outro, often with two 'drops' (can be very subtle, such as a filter sweep).

Vocals are not always present, when they are it is usually in a spoken word style or chopped as opposed to a traditional lyrical chorus, hook etc.

Some key early tracks include -

Housey Doingz - Gobstopper (1996)

https://www.youtube.com/watch?v=AFm2NVoL8EE&ab_channel=mokachino

Pure Science - Say it (1999)

https://www.youtube.com/watch?v=iJnVcOR86jM&ab_channel=DeepDown

The raw, imperfect feel provides more natural groove and gives the tracks rhythm and character. This will be partly due to the equipment used in the 90s having quirks and not being as 'clean' or over processed as music and techniques today. This is an aspect that has really influenced me, a track can have intentional character traits, giving it a rough sound, but still be well produced and thought out. Trying to align a track to a 'perfect' level or mix, using specific sounds is what has made the modern tech house scene uninspiring, the soul and character from tracks is missing.

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What Happened To Tech House? | Resident Advisor

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https://soundcloud.com/cramermusic/sets/formative-y2/s-wBBl0SCKOwn?si=e198b06ae86540f68c76693b05b9b730&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

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Contact: cramermusic@mail.com Resident @colourcodesldn Based on the South Coast of England, Cramer's passion for music began at an early age. With a background in classical piano, Cramer's sound and

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The two work in progress tracks I have submitted both have clear influences from my chosen case study artists. The prominent, more melodic, lead elements from Maya Jane Coles, a tight focus on house groove from Tuccillo, combined with breaks and stutter/scratch effects similar to Linkin Park.

I believe these elements need refining further, along with defining a more cohesive sound throughout the EP as a whole. Currently the two tracks feel similar with their repetitive, rolling nature meant for the dancefloor, but lack any crossover with sounds or overall feel. I could improve this by incorporating some of the processing techniques from the A side on the B side, as well as focusing on the intros and outros of each to make them blend together more seamlessly.

In addition to this the tracks do not have the level of grit and warmth that I would like them to have, so this is something I can focus on in the mastering stage as well as focusing on certain elements to either saturate or run through some emulation plug-ins of older hardware.

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Huerta - Hit the Bit (Phonica Records)

Very low fidelity overall

Masked and muffled upper frequencies, bass remains prominent

Old School sound / hardware processed

Drums sound compressed / low resoultion

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Sound recreation

Composition programming

Genre hallmarks

Production mixing

Originality

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Using the imager, I have made everything in the lower, sub 200hz range, mono by applying -100 stereo width. This helps keep the kick and the bass front and centre in the mix, whilst also being compatible and translate to club systems that are often in mono. Next, I applied some light 'Vintage Compression' on a medium attack and release setting to add some subtle glue to the mix, as well as some hardware emulated tonality.

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At the end of the chain, I used Youlean Loudness Meter to ensure my track was at the right LUFS levels (average loudness). It sat at around -13 LUFS which is around the level that tracks are played back on major streaming services as a normalisation. This is the target I aimed for so that I can have an accurate representation of how these tracks will be heard if they were distributed for general listening.

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Post formative, I have decided to add a VST called Tantra to the lead line, and automate the dry/wet signal throughout the track to stop the lead line from growing repetitive and uninteresting. I began on a preset, then altered the levels of each parameter to create my own effect. For example, I lowered the distortion to 0 and removed the low frequencies added using the EQ. This added filter modulation and glitch effects, which give movement to the sound, whilst showing evolution of key elements as the track progresses. A key feature from Maya Jane Coles tracks.

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To give the low end sufficient weight and warmth, I ran it through a Neve Preamp on the Bass Synth setting, before using Trackspacer which works similarly to sidechaining, however only ducks clashing frequencies with the kick as opposed to the entire output of the bass. This allows for the kick to punch through, but the bass remains present and full within the mix.

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For my second track, I am creating more of a 'B-Side' sound, less elements than the A1, longer in length, but with the same focus on a prominent low end for the club. When processing the low-end (kick and bass channels) I have applied some light Glue Compression, which helps provide cohesion by taming the louder punches of each channel. Then, some subtle saturation to add warmth and presence, before two auto filters which are automated at various parts of the track, such as filtering out the low end for the introduction.

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I automated two parameters of the bass (Timbre and Time), which was made using DX7. DX7 is a classic instrument used by Tuccillo and provides a strong house feel. It is also the instrument used in A1 for the chord stab, so helps to provide some familiarity within the EP. The middle section is where there is the most variation with this sound, as it is the peak time of the track.

This is layered with a simple sine wave created using Operator, to help fill out the lower harmonics as the DX7 does not provide much information in this frequency range.

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My percussion group, which includes drum racks for hats, snares and claps, as well as top loops, is ran through a Pultec EQ, providing a subtle boost the the higher frequencies. This adds some 'shine' and air to the mix, whilst giving the percussion more presence. Using this emulation also adds some saturation to the channels, contributing to that old-school sound synonymous with early house music and Tuccillo's production style.

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I used some vocal chops layered over the top of the track to provide and extra layer of groove and movement. This is very similar to what Tuccillo did in his recent track 'The Waves' (Example at 02:00). I used the Metallic Ableton effect, automating the feedback, as well as an Auto Pan to keep the vocal moving and varying. This helps to create unpredictability within the track and keep it interesting for the listener, without incorporating more elements.

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To help create tension and fill out some of the mid-range within the mix, I added a string instrument to create a drone effect. A slow LFO is controlling the filter cutoff, providing movement, with a very heavy sidechain giving it a pulsing effect. This is comprised of one long held note, which changes to an octave up in the breaks to act as a riser.

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I have decided to make this track longer in length, focusing on fewer elements and how they can develop over the duration of the track. This is closer to the style of Tuccillo, where as the other track was closer to Maya Jane Coles, providing a contrasting second track to the EP whilst using similar instruments and production techniques.

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I used Pigments for the bass again, to help create a cohesive sound throughout the EP. I automated the filter cutoff to provide variation throughout the track, then processed the bass channel through Trackspacer to shape it around the frequencies of the kick to give both elements space within the mix.

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The drum break that runs throughout the track is the same sample from the A1 track, however the processing is very different. I have used two sends on an audio effect rack, one with heavy distortion from an Amp and overdrive, the other with a Flanger plugin from Arturia. I have then automated the volume of the second send throughout the track to provide some movement and variation to the drum break at different areas of the track. This style of processing is similar to the way Linkin Park process their breaks with an imperfect and distorted sound, that whilst being repetitive, maintains character and variation - like can be heard in their track 'Faint' (1:22 onwards)

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The texture layers used to create space and atmosphere in the track are made up of two samples from the A1 track, created by running the DX7 Chords stabs through a Valhalla Supermassive and resampling this back into a new channel. This is then layered with the same stab ran through Tantra (the same processing technique used on the lead in the main track). The final two channels in this group are a pad sample, that I altered the warp settings off using 'Preserve' on the 1/16th setting to give it a stutter effect, as well as a vinyl crackle sample from an AlliantAudio sample pack. These four combined help to create a sense of space and atmosphere, inspired by the depth of tracks such as 'Pulse' by Maya Jane Coles.

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I extracted the lead channel from my A1 track and shifted the Midi a small amount to give it a delayed and swung feel. I also removed some of the notes to separate it from the main track further, but kept the original synth sound to provide cohesion and similarity with the other track. My intentions with it in this track are for it to sit further back, and be less prevalent in the mix than it was in the A1 track, filling the space and providing atmosphere. To achieve this, I have used auto panning as well as automating two filters to keep it floating in and out of the track, and occupy more of the sides when listening.

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I applied some final touches such as the 'System Noise' effect on the Lexicon Plate Reverb VST from UAD to provide some further warmth and low fidelity feel to the track. I also opted to keep the length much shorter than the other two, as this track is meant more for general listening rather than operating as an extended DJ version. This is similar to what Maya Jane Coles would do, releasing the original version and then a shorter, more streaming service appropriate, edit.