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Screenshot of the comments I received from my assignment for the 'Your Music Production' module

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1.1 Areas I want to improve on based on my feedback from 'Your Music Production Module' (LO2 + LO3): 

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1.1 Areas I want to improve on based on my feedback from 'Your Music Production Module' (LO2 + LO3): 

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For the assignment for this module -in relation to my feedback from the last module- I aim to improve on these three areas:

1. I want to be able to enhance the low-end presence within my track by gaining a better understanding as to how to mix and master for lower frequencies.

2. I want to implement dynamic variation within both tracks I create for this module.

3. I want to ensure my transitions to different sections of my composition are smoother.

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All of the underlined text in this Padlet is a clickable hyperlink that will direct you to whatever the text is referring to.

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1.1 Areas I want to improve on based on my feedback from 'Your Music Production Module' (LO2 + LO3)

1.2 What will success look like for this module? (LO2)

1.3 SMART targets (LO2 + LO3)

1.4 Brainstorming some rough ideas for my tracks (LO2 + LO7)

1.5 Gibbs reflective cycle for week 1 (LO7)

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1.2 What will success look like for this module? (LO2):

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1.2 What will success look like for this module? (LO2):

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For this module, I would view myself as successful if:

1. I am able to improve upon the three areas I stated in the previous post (post 1.1).

2. I am able to complete all deadlines on time according to their respective due dates.

3. I am able to demonstrate to myself that I have improved my understanding of how to compose, mix, and master a track.

4. I am able to produce two tracks that I would be happy enough with to upload and add to my personal portfolio.

I believe being able to complete these would successfully aid me in getting one step closer to my end goal and why I wanted to study at Waterbear, which is to become a film/game soundtrack composer as these smaller successes would improve my ability to create better soundtracks and build up a creative portfolio to showcase to any potential employers/contractors for my intended career within the music industry.

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1. Enhancing Low-End Presence in Mixing & Mastering

SMART Target:

By 17/02/2025 and before 14/04/2025, I will research at least three different techniques that enhance low-end presence, out of this research I will then apply some of those techniques to my mix as I see fit. I will then compare the frequencies using a spectrum analyser to check for a more balanced EQ for the low-end. I will also seek feedback with my mentor to validate my improvements and aid me to improve on my work more.

2. Implementing Dynamic Variation in both of my tracks SMART Target:

By 17/02/2025, I will analyse two different professionally produced tracks that utilise dynamic variation and note how/why it is used. I will then create part of my track before 17/02/2025 without dynamic variation and then make a new version of the track that uses shifts in dynamics. I will then compare both versions of my track and document how the change in dynamics aided the expressiveness of my music. I will then gain feedback on how well I implemented dynamics and how I can improve my use of dynamics within my tracks through the submission of my work for my formative assignment and through meetings with my mentor.

3. Smoother Transitions Between Sections SMART Target:

By 17/02/2025 and before 14/04/2025 I will research at least three different transition techniques and apply the ones I feel would work best within each composition. I will test at least two different transition approaches within each track to determine which would work better within my composition. I will gain insight from my mentor and feedback from my formative assignment as to whether I accomplished an effective and smooth transition or not, and if not, then how I could rectify that issue.

4. Producing Two Portfolio-Worthy tracks

SMART Target:

I will aim to complete the final mix and master both my tracks at least one week before my summative assignments submission date (14/04/2025). I will ensure that both of my tracks meet Sony's Loudness Standards for their games of -23 LUFS (Taylor & Taylor, 2012) and consider Spotify's Loudness Standards of -14 LUFS (Spotify, 2025). This will require me to, when mastering, achieve -14 LUFS to ensure it sounds right with Spotify's standards, and then boost it to comply with Sony's standards so I am able to know each track will work at both standards. Doing this will demonstrate my ability to make a mixed track that works in two different settings.

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1.4 Brainstorming some rough ideas for my tracks (LO2 + LO7):

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1.4 Brainstorming some rough ideas for my tracks (LO2 + LO7):

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As a rough outline for the two tracks I will be creating for this module, the two tracks will be presented as two conceptual DAW-based compositions that will be works of my own, however, they will be heavily inspired by compositions I enjoy and am inspired by for each of the respective pieces. Both tracks will be composed, recorded, mixed, and mastered solely by me.

The genres I am considering working in are ambient music, orchestral music, adventure, LoFi, chiptune, and 8-bit as I intend to create music in the form of instrumental soundtracks. As for the styles I consider implementing into my tracks there are neo-classical, minimalism, impressionistic piano, nostalgic aesthetics, and sound design-driven composition.

As my two tracks must contrast at least two of these forms; Tempo, Genre, Arrangement, Lyric/Subject Matter, and Instrumentation/Timbre I will ensure that both of my tracks are a different genre, and timbre while also having different instrumentation from each other. As a result of this, they will be very separate from each other as they will be completely different tracks with different ideas fuelling them.

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2.1 My Creative Development SWOT Analysis (LO2)

2.2 My practice routine for this module (LO3)

2.3.1 My mood board playlist for track 1 (LO2 + LO7)

2.3.2 My mood board playlist for track 2 (LO2 + LO7)

2.4.1 A rough sketch of my ideas for track 1 (LO2, LO3 + LO7)

2.4.2 A rough sketch of my ideas for track 1 (LO2 + LO7)

2.5.1 A rough sketch of my ideas for track 2 idea 1 (LO2, LO3 + LO7)

2.5.2 A rough sketch of my ideas for track 2 idea 1 (LO2 + LO7)

2.6 Gibbs reflective cycle for week 2 (LO7)

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2.1 My Creative Development SWOT Analysis (LO2):

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2.1 My Creative Development SWOT Analysis (LO2):

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Here is my completed SWOT analysis for this module.

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2.2 My practice routine for this module (LO3):

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2.2 My practice routine for this module (LO3):

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Here is my completed Personal practice routine for this module.

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2.3.1 My mood board playlist for track 1 (LO2 + LO7):

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2.3.1 My mood board playlist for track 1 (LO2 + LO7):

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This playlist reflects that nostalgic feeling I get when I hear the Minecraft soundtrack. As a result of me replaying this game recently I immediately got sucked into the atmosphere conveyed through the soundtrack by C418 and knew I wanted to create a piece inspired by the songs in Minecraft.

The track Subwoofer Lullaby particularly struck a chord within me through its beautiful yet simple and repetitive melody accompanied by soft pads to provide some atmospheric texture I found myself encapsulated once again by this track, listening to it on repeat for quite a while. I believe with this track the simplicity in it was key to evoke this meditative state it hit me with. I would love to replicate this feeling within my first track and to do so I will be utlising very few instruments and taking a more minimalistic approach to my writing with very few instruments playing at once and utilising dynamics within my piano and the music box I intend to use to emphasise the melodic content, I also aim to take this approach within my use of synth pads within this song, using swells to transition to new sections and then eventually have pads only section to bridge my piece to the eventual outro where my piano and music box slowly decrease in volume and fade out completely, left once again with the pads.

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Share your videos with friends, family, and the world

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2.3.2 My mood board playlist for track 2 (LO2 + LO7):

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2.3.2 My mood board playlist for track 2 (LO2 + LO7):

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The idea behind the inspiration for my first idea I had for track two was the track The Dark World from The Legend of Zelda 25th Anniversary Special Orchestra CD. This track has that rhythmic marching feel to it which perfectly highlights the adventurous tonality of Zelda as a series of games and I wanted to attempt to create that same feeling of triumph within my musical composition. I love the use of the orchestra in this reimagining of the track that I grew up with and it truly highlights how it is essential for music to accompany each section of a game to highlight environmental storytelling. I particularly love how the orchestra transitions from the slower tempo within the intro to a much faster and more triumphant-sounding ensemble. This effect details how unsure the hero Link is at the start of his journey and then, through the change in tempo and instrumentation, shifts into a more triumphant feel as a result of our hero proving his self-worth.

The Zelda franchise is very near and dear to my heart and as a result that is one of the main reasons I want to compose for video games because the Zelda soundtracks are iconic and without a doubt timeless.

I find the use of the brass section to echo this triumphant feel of the track to be very inspiring and as a result the main focus for my second track will be the brass section, along with a steady pulsing rhythmic beat, and the use of transitions to demonstrate development within my piece.

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Mood board for Track 2 idea 1 from MPO100

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Share your videos with friends, family, and the world

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My mind map to show my ideas for track 1

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2.4.1 A rough sketch of my ideas for track 1 (LO2, LO3 + LO7):

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2.4.1 A rough sketch of my ideas for track 1 (LO2, LO3 + LO7):

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My flow chart to show a rough song structure for track 1

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2.4.2 A rough sketch of my ideas for track 1 (LO2 + LO7):

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2.4.2 A rough sketch of my ideas for track 1 (LO2 + LO7):

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This flow chart provides a rough structure for my first track and how I will be able to utilise certain instruments to create successful transitions.

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My mind map to show my ideas for track 2 idea 1

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2.5.1 A rough sketch of my ideas for track 2 idea 1 (LO2, LO3 + LO7):

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2.5.1 A rough sketch of my ideas for track 2 idea 1 (LO2, LO3 + LO7):

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My flow chart to show a rough song structure for track 2 idea 1

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2.5.2 A rough sketch of my ideas for track 2 idea 1 (LO2 + LO7):

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2.5.2 A rough sketch of my ideas for track 2 idea 1 (LO2 + LO7):

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This flow chart provides a rough timeline of my song to demonstrate how I will be able to accomplish successful transitions and how I will incorporate dynamics within my composition to portray a sense of triumph and maintain the adventurous theme throughout the song.

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Highlighted text are key words/events within a post that relate to my aims/SMART targets so I can keep track of when and where I am focussing on meeting the targets I have set myself.

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My project proposal plan for this semester

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3.1 My Project Proposal plan (LO2 + LO7):

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3.1 My Project Proposal plan (LO2 + LO7):

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Here is my completed Project Proposal plan for this module.

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My action plan and timeline for this semester

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Here is my completed Action plan and Timeline for this module.

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PDF containing the clickable hyperlink for my video pitch

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As padlet is not letting me upload my video pitch, I will attach a pdf above with a hyperlink for my pitch.

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Screenshot of the MIDI for my Minecraft inspired track

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3.4.1 Track one - Minecraft inspired track intro [MIDI] (LO2 + LO7):

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3.4.1 Track one - Minecraft inspired track intro [MIDI] (LO2 + LO7):

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For this composition, I have chosen to utilise the key of C Major to create my track. I feel like C Major provides me with a bright yet neutral tonal foundation which supports my minimalistic approach for this track. To keep within my chosen genre of ambient music I introduced some added chords to allow my chords to have a dreamier feel to them, I also utilised omitted chords to maintain the neutral feel of the track, while my track is in the key of C Major, I do want some slight emotional variation so I believe using the omitted chords provides a neutral palette for this track and helps it evoke different emotions within different people.

The main focus for this track is the music box with support from the piano, I have done this by having the music box play the lead melody with the piano playing the chord progression, and due to the minimalistic style I am going for I shall mostly maintain this ideology as it will reinforce the structure of my minimalistic ambient production. My approach to writing the melodic content for this track was to incorporate a stepwise motion to maintain a smooth flow which I believe compliments the ambient genre. I also incorporated arpeggios for the melody along with having repetition and motifs to reinforce the ambient genre as ambient music incorporates a lot of repetitive features and motifs (Source).

In terms of the transition from my solo music box to introducing the piano I opted for approaching it through smooth layering of the two instruments along with the softer velocity of the piano notes which makes the introduction of the piano feel unobtrusive and feel natural as it adds an extra layer of warmth through playing supporting chords while avoiding being in your face and unnatural. However, I do plan to change the velocity of my track to add some extra dynamic variation and reinstate a human feel to the song.

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Audio of my Minecraft inspired track's intro

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3.4.2 Track one - Minecraft inspired track intro [Audio] (LO3):

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3.4.2 Track one - Minecraft inspired track intro [Audio] (LO3):

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Here is the audio relating to the previous post.

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Screenshot of the MIDI for my Zelda inspired track

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3.5.1 Track two - Zelda inspired track intro [MIDI] (LO2 + LO7):

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3.5.1 Track two - Zelda inspired track intro [MIDI] (LO2 + LO7):

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For this composition I have decided to utilise D Mixolydian as the focus throughout this track, while D Mixolydian is a mode, the way I am incorporating it within this track is for it to act as the key for this piece. I believe in doing so I can create that heroic adventurous feel I seek to portray from my inspiration from The Legend of Zelda series of games. I introduced a snare drum to encapsulate this marching theme and drive the adventurous style for this piece. At first, I thought the cello and bass would work well in this situation, however, I am thinking of replacing the cello with a brass section to add fanfare-style elements to the track.

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Audio of my Zelda inspired track's intro

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3.5.2 Track two - Zelda inspired track intro [Audio] (LO3):

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3.5.2 Track two - Zelda inspired track intro [Audio] (LO3):

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Here is the audio relating to the previous post.

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Screenshot of the MIDI for my Minecraft inspired track's first verse

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3.6.1 Track one - Minecraft inspired track verse one [MIDI] (LO2 + LO7):

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3.6.1 Track one - Minecraft inspired track verse one [MIDI] (LO2 + LO7):

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For the verse, in order to show development while sticking with the repetitive motif for this song I decided to transpose a few of the notes from the music box's melody to a slightly higher octave in order to add a slight variation in timbre. In doing this I am still keeping the ambient feel of the track and sticking with the minimalistic approach for this track, but adding a slight difference to ensure the track doesn't feel too repetitive.

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Audio of my Minecraft inspired track's first verse

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3.6.2 Track one - Minecraft inspired track verse one [Audio] (LO3):

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3.6.2 Track one - Minecraft inspired track verse one [Audio] (LO3):

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Here is the audio relating to the previous post. For some strange reason the audio for the piano isn't getting bounced when I sent this section on its own so it's only the music box alteration present, however, the piano chords I used remained the same.

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Screenshot of the MIDI for my Minecraft inspired track's second verse

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3.7.1 Track one - Minecraft inspired track verse two [MIDI] (LO2 + LO7):

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3.7.1 Track one - Minecraft inspired track verse two [MIDI] (LO2 + LO7):

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For this section, I wanted a build up to take place as I am planning on having a solo piano part to take place playing chords with added sustain through MIDI CC's in order to once again change the timbre of the piece and provide a dynamic shift and thus a smooth transition as the piece enters a slower section which I aim to fill with long pads and short pads to provide some harmonic content or texture to the piece.

I accomplished this by altering the melody slightly but maintaining the motif of arpeggiated harmonies that flow in a stepwise motion. In order to add some more dynamic variety, I incorporated some layered notes within the music box to emphasise specific phrases within the piece, I did this by pasting parts of the melody and shifting them up an octave higher to layer with the original melody and add an extra layer of variation to the piece.

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Audio of my Minecraft inspired track's second verse

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3.7.2 Track one - Minecraft inspired track verse two [Audio] (LO3):

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3.7.2 Track one - Minecraft inspired track verse two [Audio] (LO3):

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Here is the audio relating to the previous post.

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3.1 My Project Proposal plan (LO2 + LO7)

3.2 My Action plan & Timeline (LO7)

3.3 My video pitch (LO7)

3.4.1 Track one - Minecraft inspired track intro [MIDI] (LO2 + LO7)

3.4.2 Track one - Minecraft inspired track intro [Audio] (LO3)

3.5.1 Track two - Zelda inspired track intro [MIDI] (LO2 + LO7)

3.5.2 Track two - Zelda inspired track intro [Audio] (LO3)

3.6.1 Track one - Minecraft inspired track verse one [MIDI] (LO2 + LO7)

3.6.2 Track one - Minecraft inspired track verse one [Audio] (LO3)

3.7.1 Track one - Minecraft inspired track verse two [MIDI] (LO2 + LO7)

3.7.2 Track one - Minecraft inspired track verse two [Audio] (LO3)

3.8 Reflection on track 2's direction (LO7)

3.9 Gibbs reflective cycle for week 3 (LO7)

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4.1 My views on quality vs quantity (LO)

4.2 My new mood board playlist for track 2 (LO2 + LO7)

4.3.1 My new sketch of my ideas for track 2 (LO2 + LO7)

4.3.2 My new sketch of my ideas for track 2 (LO2 + LO7)

4.4.1 Track two - new Zelda inspired track intro [MIDI] (LO2 + LO7)

4.4.2 Track two - new Zelda inspired track intro [Audio] (LO3)

4.4.3 Track two - new Zelda inspired track intro [Strings Dynamics] (LO2 + LO7)

4.5.1 Velocity alterations to Track 1 intro [MIDI] (LO2 + LO7)

4.5.2 Velocity alterations to Track 1 intro [Audio] (LO2 + LO7)

4.6 Gibbs reflective cycle for week 4 (LO7)

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5.1 Carrying out relevant Research for Your Creative Development (LO2)

5.2.1 Adding pads to track one [MIDI] (LO2 + LO7)

5.2.2 Adding pads to track one [Audio] (LO3)

5.3.1 Adding more pads to track one [MIDI] (LO2 + LO7)

5.3.2 Adding more pads to track one [Audio] (LO3)

5.4.1 Adding the outro segment to track one [MIDI] (LO2 + LO7)

5.4.2 Adding the outro segment to track one [Audio] (LO3)

5.5.1 Adding bass to the strings section of track two [MIDI] (LO2 + LO7)

5.5.2 Adding dynamics bass to the strings section of track two [MIDI] (LO2 + LO7)

5.5.3 Adding bass to the strings section of track two [Audio] (LO3)

5.6.1 Track two, verse two - added Oboe and Harp arpeggios [MIDI] (LO2 + LO7)

5.6.2 Track two, verse two - added Oboe and Harp arpeggios [Audio] (LO3)

5.7 Conversation with Ben Berkenbosch (LO2, LO3 + LO7)

5.8.1 Track two, verse two - altered dynamics for Oboe [MIDI] (LO2 + LO7)

5.8.2 Track two, intro and verse two - altered dynamics for Piano [MIDI] (LO2 + LO7)

5.8.3 Track two - altered dynamics for Oboe and Piano [Audio] (LO3)

5.9 Gibbs reflective cycle for week 5 (LO7)

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6.1 My Influences (LO2 + LO7)

6.2 Origins of my chosen genres (LO2 + LO7)

6.3 Email enquiry to Marcus Warner (LO7)

6.4.1 Added transition to second verse and sketch of second verse chords - MIDI (LO2 + LO7)

6.4.2 Added transition to second verse and sketch of second verse chords - Audio (LO3)

6.5.1 Verse three idea for Zelda inspired track - MIDI (LO2 + LO7)

6.5.2 Verse three idea for Zelda inspired track - Audio (LO3)

6.6.1 Added harp to verse 3 of Zelda inspired piece - MIDI (LO2 + LO7)

6.6.2 Added harp to verse 3 of Zelda inspired piece - Audio (LO3)

6.7 My Business Archetype (LO2 + LO7)

6.8 Gibbs reflective cycle for week 6 (LO7)

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7.1 My 'WHY' as a musician (LO2 + LO7)

7.2 My Procrastination Quiz results

7.3 My final look at my Zelda piece structurally - MIDI (LO2 + LO7)

7.4.1 Modulation for the violin counter melody - MIDI (LO2 + LO7)

7.4.2 Modulation for the violin counter melody - Audio (LO3)

7.5.1 Fade-ins and fade-outs on string sections - MIDI (LO2 + LO7)

7.5.2 Fade-ins and fade-outs on string sections - Audio (LO3)

7.5.3 Fade-ins and fade-outs on string sections - Audio (LO3)

7.6 Gibbs reflective cycle for week 7 (LO7)

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1.1 References list using Harvard referencing:

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1.1 References list using Harvard referencing:

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Baggström, M. (2020) How to go from Piano Sketch to String Arrangement. Available at: https://www.youtube.com/watch?v=pBmrErGihrg&t=546s (Accessed: 13 February 2025).

C418. (2011) 'Subwoofer Lullaby', Minecraft - Volume Beta. Available at: https://youtu.be/ibUOxEBxVsE?si=2blyPHf9ITjs6KRZ (Accessed: 29 January 2025).

Eno, B. (1978a) Ambient 1: Music for Airports [Liner notes]. New York: Polydor Records (Accessed: 05 March 2025).

Eno, B. (1978b) Ambient 1: Music for Airports. Available at: https://www.youtube.com/watch?v=vNwYtllyt3Q (Accessed: 05 March 2025).

Gisonna, N. (n.d.) Lo-Fi Music, Encyclopædia Britannica. Available at: https://www.britannica.com/art/lo-fi-music (Accessed: 05 March 2025).

González-Espinoza, A. and Plotkin, J.B. (2023) Quantifying the evolution of harmony and novelty in Western Classical Music, arXiv.org. Available at: https://arxiv.org/pdf/2308.03224 (Accessed: 05 March 2025).

Izhaki, R. (2008) Mixing audio: Concepts, practices, and Tools. Focal Press. (Accessed: 18 February 2025).

Kaetzel, S. (2009) ‘A Brief Guide to Orchestration’, Gamedev.net, 7 December. Available at: https://www.gamedev.net/articles/audio/music-and-sound-fx/a-brief-guide-to-orchestration-r2718/

Kataoka, M., Iwata, Y. & Wakai, H. (2017) 'Mipha's Theme' - The Legend of Zelda: Breath of the Wild Original Soundtrack. Available at: https://www.youtube.com/watch?v=W65cdepG8Q0&list=PLcpyvQQmQIyhsuW-Ak8-8HBDSQFgO9pLN (Accessed: 11 February 2025).

Kondo, K. (2011) 'The Dark World' - The Legend of Zelda 25th Anniversary Special Orchestra CD. Available at: https://www.youtube.com/watch?v=Ye5TV9pa_4Y&list=PLcpyvQQmQIygMtjh9vEi233IkuAwDdi_1&index=4 (Accessed: 29 January 2025).

Kuschel, K. (2020) Kevin Kuschel’s YouTube channel, YouTube. Available at: https://www.youtube.com/c/kevinkuschel (Last Accessed: 19 February 2025).

Kuschel, K. (no date) The basics of mixing and mastering orchestral music, Beginner’s Guide To Orchestral Music Production. Available at: https://www.becomeaprocomposer.com/guide (Accessed: 17 February 2025).

Newhouse, B. (2024) Orchestration: How to write for an orchestra – Berklee Online, Berklee Online Take Note. Available at: https://online.berklee.edu/takenote/orchestration-how-to-write-for-an-orchestra/ (Accessed: 17 February 2025).

Norton, O. (2024) Understanding the roles of different instruments in an orchestra, rocktron. Available at: https://www.rocktron.com/understanding-the-roles-of-different-instruments-in-an-orchestra/ (Accessed: 04 February 2025).

Roberts, M.S. (2024) Why are orchestras arranged the way they are? Classic FM. Available at: https://www.classicfm.com/discover-music/why-orchestras-arranged/#:~:text=At%20most%20orchestral%20concerts%20today%2C%20you%E2%80%99ll%20see%20the,double%20basses%2C%20with%20the%20brass%20section%20behind%20them. (Accessed: 04 February 2025).

Rosenfeld, D. (no date) What does Daniel use to make music? C418. Available at: https://c418.org/2017/01/26/what-does-daniel-use-to-make-music/ (Accessed: 17 February 2025).

Rubin, J.H. (2024) Techniques of orchestration, Music Composition Theory. Available at: https://open.lib.umn.edu/musiccomposition/chapter/type-i-orchestration/ (Accessed: 18 February 2025).

Spotify (2025) Loudness normalization, Spotify. Available at: https://support.spotify.com/us/artists/article/loudness-normalization/ (Accessed: 05 February 2025).

Stuart, K. (2014) How Daniel Rosenfeld wrote Minecraft’s music, The Guardian. Available at: https://www.theguardian.com/technology/2014/nov/07/how-daniel-rosenfeld-wrote-minecraft-music (Accessed: 05 March 2025).

Taylor, G. and Taylor, M. (2012) Video Games and Loudness Standards: Interview with Sony’s Garry Taylor, Designing Sound. Available at: https://designingsound.org/2012/07/30/video-games-and-loudness-standards-interview-with-sonys-garry-taylor/#:~:text=The%20recommendations%20from%20Sony%20Worldwide,just%20games%20on%20our%20platforms. (Accessed: 05 February 2025).

White, P. (2025) Sound design for ambient music, Sound On Sound. Available at: https://www.soundonsound.com/techniques/sound-design-ambient-music (Accessed: 17 February 2025).

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8.1 A reflection on this module so far (LO7)

8.2.1 Modulation for the other strings - MIDI (LO2 + LO7)

8.2.2 Modulation for the other strings - Audio (LO3)

8.3.1 Altered velocities for my Music Box - MIDI (LO2 + LO7)

8.3.2 Altered velocities for my Piano - MIDI (LO2 + LO7)

8.3.3 Altered velocities for the outro section - Audio (LO3)

8.4.1 Automation for the pads section for track one - MIDI (LO2 + LO7)

8.4.2 Automation for the pads section for track one - Audio (LO3)

8.5 Gibbs reflective cycle for week 8 (LO7)

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9.1 My analysis of track one so far (LO2 + LO7)

9.2 My analysis of track two so far (LO2 + LO7)

9.3 Your Creative Development Checklist

9.4 Track one - Music Box subtractive EQ (LO2 + LO7)

9.5 Track one - Piano one subtractive EQ (LO2 + LO7)

9.6 Track one - Piano two subtractive EQ (LO2 + LO7)

9.7 Track one - Pads subtractive EQ (LO2 + LO7)

9.8 Track one - Compression and saturation for Music Box and Piano (LO2 + LO7)

9.9 Track one - Compression for Pads (LO2 + LO7)

9.10 Track one - My mix window (LO2 + LO7)

9.11 Gibbs reflective cycle for week 9 (LO7)

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10.1 Track one - Music Box post compression EQ (LO2 + LO7)

10.2 Track one - Piano one post compression EQ (LO2 + LO7)

10.3 Track one - Piano two post compression EQ (LO2 + LO7)

10.4 Track one - Short Reverb settings (LO2 + LO7)

10.5 Track one - Long Reverb settings (LO2 + LO7)

10.6 Track one - Compression on the Master fader (LO2 + LO7)

10.7 Track two - Violin lead Mixing (LO2 + LO7)

10.8 Track two - Violin support Mixing (LO2 + LO7)

10.9 Track two - Viola support Mixing (LO2 + LO7)

10.10 Track two - Cello support Mixing (LO2 + LO7)

10.11 Track two - Bass Mixing (LO2 + LO7)

10.12 Track two - Piano Mixing (LO2 + LO7)

10.13 Track two - Harp Mixing (LO2 + LO7)

10.14 Track two - Oboe Mixing (LO2 + LO7)

10.15 Track two - Air EQ settings (LO2 + LO7)

10.16 Track two - Compression settings on the Master fader (LO2 + LO7)

10.17 Track one - Mastering (LO2 + LO7)

10.18 Track two - Mastering (LO2 + LO7)

10.19 Track one and two LUFS (LO2 + LO7)

10.20 My Reflective statement (LO2 + LO7)

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1.1 References list using Harvard referencing

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3.8 Reflection on track 2's direction (LO7):

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3.8 Reflection on track 2's direction (LO7):

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Upon reflecting on the work I have done for track two, and all of the parts I did not display on my Padlet, I have decided I should move on from that project and shift focus onto a new track idea. In short, the marching track I was originally creating left me feeling highly dissatisfied and in some ways empty, I had no passion for that project after spending about 4 hours in total working on it. In addition to this, the track overall gave me this depressing feeling every time I worked on it which led me to decide on creating a completely different track. However, I am relieved I realised this now rather than later as I am still able to compile new sketches for my new second track as well as have enough time to make some large progress in the development of my track before the formative deadline.

As a result of many things going wrong for me this year, I want to make a more sombre composition over my previous marching idea. I have some plans for how I can accomplish this and have already started compiling a playlist of tracks that inspire me to create this piece. I will, however, maintain strong links to The Legend of Zelda franchise as inspiration for my soundtracks as I am still incredibly inspired by them and have thought of a few tracks that would be suitable inspiration for this composition.

As a result of my new track being more similar to that of my Minecraft track, I wanted to highlight the differences I will ensure I incorporate, as requested by the assignment brief for the two tracks to "demonstrate contrast through one or more of the following: Tempo, Genre, Arrangement, Lyric/Subject Matter, Instrumentation/Timbre". The guaranteed differences between the two tracks will be: Genre, Arrangement, Instrumentation/Timbre.

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4.1 My views on quality vs quantity (LO7):

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4.1 My views on quality vs quantity (LO7):

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Overall, I strive for both quality and quantity in my work. However, from my standpoint, quality is more important, as I aim for my music not to be rushed.

In addition to this, the field of work I aim to get into, being a soundtrack composer, it is important for me to have a wide-spanning portfolio of ideas for tracks and completed tracks in many different genres and styles as this would give me a wide portfolio for potential employers to look into and also provide me with material that is ready to be finished for certain areas I may be involved with when I am a working composer, for example, sync licensing opportunities as if I have many different types of tracks that are short compositions when the opportunity arises for working on music for a piece of media I will already have the structure for the ideal musical composition for the scenario, be it an advertisement for a company or a cinematic trailer to name a couple of examples.

That being said, if the variety of tracks I make is not of a high enough standard then it will harm my chances of being employed through opportunities such as sync licensing, micro licensing, and overall being employed as a composer for films/games/TV as it is vital for the music I make to be well made to a certain degree. The reason I say this to a certain degree is that in my head everything I make has to be perfect but it never will be perfect as my standard for quality gets higher the closer I get to achieving my previous standard for quality on a track, this is something I am trying to come to terms with and surpass as no one is perfect and there will always be some flaw found in any piece of art as art is entirely subjective, what may be considered a masterpiece by one person may be perceived as a complete disgrace by another.

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4.2 My new mood board playlist for track 2 (LO2 + LO7):

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4.2 My new mood board playlist for track 2 (LO2 + LO7):

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With my idea for track two taking a new form, I wanted to create a new playlist to reflect the tonality I aim to portray within track two of a more melancholic theme. My reasoning for this is the emotive subtext behind a piece of music drives me to focus on how the music will impact the listener through the emotional storytelling of a piece of music.

The track in particular that I have drawn inspiration from is Mipha's Theme from The Legend of Zelda Breath of the Wild, the idea behind this melancholic and delicate-sounding piece is reflected within its instrumentation and the techniques used throughout the piece of music having piano as the tonal centre of the piece as it remains throughout the song while becoming softer as more instruments are introduced to allow that introduction to be more impactful while still incorporating the piano to act as an anchor and make the transitions and dynamic shifts seem less abrupt, allowing them to flow seamlessly when these changes occur. The usage of layered strings with the piano provides a shift in timbre and deepens the emotional impact by having them blend with the tonality of the piano and not overpower it too much unless it is done to create a build-up for a transition, while the usage of woodwinds to play the counter melody for the piano conveys this sombre feeling as the track is trying to fill a large space with very few instruments.

These ideas have inspired me to create my new track by providing me with some techniques I aim to incorporate within my work, in particular, the usage of strings to build up a transition and the use of woodwinds to provide a simple yet emotional melody for the song along with utilising the piano as a tonal centre for my piece to enable smoother transitions which is one of the areas I aim to improve within this module.

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Mood board for Track 2 idea 2 from MPO100

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Share your videos with friends, family, and the world

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My mind map to show my new ideas for track 2

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4.3.1 My new sketch of my ideas for track 2 (LO2 + LO7):

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4.3.1 My new sketch of my ideas for track 2 (LO2 + LO7):

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My flow chart to show my new rough song structure for track 2

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4.3.2 My new sketch of my ideas for track 2 (LO2 + LO7):

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4.3.2 My new sketch of my ideas for track 2 (LO2 + LO7):

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This flow chart provides a rough structure for my first track and how I will be able to utilise certain instruments to create successful transitions.

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Screenshot of the MIDI for my Sombre Zelda inspired track's intro

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4.4.1 Track two - new Zelda inspired track intro [MIDI] (LO2 + LO7):

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4.4.1 Track two - new Zelda inspired track intro [MIDI] (LO2 + LO7):

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For the intro section of this piece, I opted for strings and piano in the Key of D Minor as I feel this key will allow me to convey the sombre emotion I aim to convey through this piece.

I utilised the piano's chord progression within the legato string section to emphasise the chord progressions tonality, however, to layer my instruments effectively I took the highest register notes of the chord for the violins, the middle register of the chords notes for the violas, and the lowest register of the notes for the celli (Baggström, 2020), doing this ensured that my mix will not be as muddy as it was in my last assignment as my instruments are not playing whole chords, instead they are splitting the chord amongst the different ranges to allow the timbre of each instrument to create the chord rather than each instrument playing a chord and muddying the mix.

For each of the string sections to fit into each of their respective registers I made sure they were also played at varying octaves from one another with the violas being an octave lower than the violins, and the celli being an octave lower than the violas, in doing this I can keep each respective instrument within their respective range, creating a more defined and balanced mix.

The piano plays the whole chords alongside the strings section as well as playing the melody in a mostly stepwise motion to allow the melody to flow naturally, there are some uses of large leaps for the melody to have some degree of expression to add to the emotive tonality of my track.

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Audio for my Sombre Zelda inspired track's intro

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4.4.2 Track two - new Zelda inspired track intro [Audio] (LO3):

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4.4.2 Track two - new Zelda inspired track intro [Audio] (LO3):

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Here is the audio relating to the previous post.

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Here is a screenshot containing MIDI CC1 for the dynamics of my strings section

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4.4.3 Track two - new Zelda inspired track intro [Strings Dynamics] (LO2 + LO7):

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4.4.3 Track two - new Zelda inspired track intro [Strings Dynamics] (LO2 + LO7):

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To add dynamics to my strings I utilised MIDI CC1 to introduce natural swells within each instrument using both crescendo and decrescendo in a cyclical nature. In doing this I have been able to humanise the string section using rhythmic breathing to provide some alterations to the dynamics of each note over time which is in line with one of my set goals for this module.

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Here is a screenshot detailing the now altered velocities for Track 1's intro section

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4.5.1 Velocity alterations to Track 1 intro [MIDI] (LO2 + LO7):

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4.5.1 Velocity alterations to Track 1 intro [MIDI] (LO2 + LO7):

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To have varying dynamics within this piece I have randomised the velocity of each note to provide a more human-like feel to the track.

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Here is the audio for the velocity changes made to the intro

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4.5.2 Velocity alterations to Track 1 intro [Audio] (LO2 + LO7):

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4.5.2 Velocity alterations to Track 1 intro [Audio] (LO2 + LO7):

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Here is the audio relating to the previous post.

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5.1 Carrying out relevant Research for Your Creative Development (LO2):

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5.1 Carrying out relevant Research for Your Creative Development (LO2):

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1. Kuschel, K. (no date) The basics of mixing and mastering orchestral music, becomeaprocomposer. Available at: https://www.becomeaprocomposer.com/guide (Accessed: 17 February 2025).

2. Rosenfeld, D. (no date) What does daniel use to make music?, C418. Available at: https://c418.org/2017/01/26/what-does-daniel-use-to-make-music/ (Accessed: 17 February 2025).

3. White, P. (2025) Sound design for ambient music, Sound On Sound. Available at: https://www.soundonsound.com/techniques/sound-design-ambient-music (Accessed: 17 February 2025).

4. Newhouse, B. (2024) Orchestration: How to write for an orchestra – berklee online, Berklee Online Take Note. Available at: https://online.berklee.edu/takenote/orchestration-how-to-write-for-an-orchestra/ (Accessed: 17 February 2025).

5. Rubin, J.H. (2024) Techniques of orchestration, Music Composition Theory. Available at: https://open.lib.umn.edu/musiccomposition/chapter/type-i-orchestration/ (Accessed: 18 February 2025).

6. Izhaki, R. (2008) Mixing audio: Concepts, practices, and Tools. Focal Press. (Accessed: 18 February 2025).

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Screenshot of the MIDI for my added pads to track 1

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5.2.1 Adding pads to track one [MIDI] (LO2 + LO7):

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5.2.1 Adding pads to track one [MIDI] (LO2 + LO7):

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For this section I have added some synth pads to add an extra atmospheric layer to my piano section, I utilised volume automation in order to create some swells while to pads play to add dynamic texture to the synth pads.

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5.2.2 Adding pads to track one [Audio] (LO3):

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5.2.2 Adding pads to track one [Audio] (LO3):

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Here is the audio relating to the previous post.

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Screenshot of the MIDI for my extra added pads to track 1

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5.3.1 Adding more pads to track one [MIDI] (LO2 + LO7):

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5.3.1 Adding more pads to track one [MIDI] (LO2 + LO7):

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Like in the previous section I have also added some synth pads to add an extra atmospheric layer to my piano section, I utilised volume automation in order to create some swells while to pads play to add dynamic texture to the synth pads.

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Audio for my extra added pads to track 1

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5.3.2 Adding more pads to track one [Audio] (LO3):

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5.3.2 Adding more pads to track one [Audio] (LO3):

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Here is the audio relating to the previous post.

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Screenshot of the MIDI for the outro of track 1

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5.4.1 Adding the outro segment to track one [MIDI] (LO2 + LO7):

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5.4.1 Adding the outro segment to track one [MIDI] (LO2 + LO7):

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For the outro section of this track, I aim to have verse two be played as shown in posts 3.7.1 and 3.7.2, then introduce pads towards the end of verse two to allow for a resolution from the faster pacing in verse two by using the pads as a way to reduce the intensity and create a more calming soundscape once again, these pads will also act as a transition. Then I aim to reintroduce verse two at a quieter timbre and progressively get quieter until the ending.

This screenshot displays the MIDI for the outro of my Minecraft-inspired piece which is a repetition of verse two but with altered velocities so that the playing is quieter, and in the section where it is just the piano chords it progressively gets softer until the ending which adds to the calming dynamics I aim to portray through this piece.

I have yet to add the pads into the outro for this piece, but I aim to do that after the feedback from my formative assignment has been received.

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5.4.2 Adding the outro segment to track one [Audio] (LO3):

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5.4.2 Adding the outro segment to track one [Audio] (LO3):

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Here is the audio relating to the previous post.

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Screenshot of the MIDI for my Sombre Zelda inspired track's intro with added bass

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5.5.1 Adding bass to the strings section of track two [MIDI] (LO2 + LO7):

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5.5.1 Adding bass to the strings section of track two [MIDI] (LO2 + LO7):

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I felt my track was lacking some low-end depth and that was because I forgot to add the bass to the string ensemble. To add the bass I copied the celli but at an octave lower where the bass fits more balanced in the mix. I also bridged the repeating notes that were next to each other on the celli and bass to blend them into one note rather than two of the same notes to make it feel more natural.

By adding bass in this way, I can enhance the low-end presence within my track. In my last track, the bass played chords, muddying the mix. This new way of approaching it with layers defines the bass more and allows it to sit more balanced within my mix.

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Added bass, moved midi to link together and play legato, and overlap a lil.PNG

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Screenshot of the altered dynamics for the celli and bass for my Sombre Zelda inspired track's intro

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5.5.2 Adding dynamics bass to the strings section of track two [MIDI] (LO2 + LO7):

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5.5.2 Adding dynamics bass to the strings section of track two [MIDI] (LO2 + LO7):

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As I have combined the repeating notes as mentioned within the previous post, I had to alter the dynamics to ensure they had a human-like characteristic, my solution to this was to keep the crescendo when the note gets played and hold that for slightly longer before decrescendoing which adds to the expressiveness of the celli and bass.

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Audio for my Sombre Zelda inspired track's intro with added bass

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5.5.3 Adding bass to the strings section of track two [Audio] (LO3):

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5.5.3 Adding bass to the strings section of track two [Audio] (LO3):

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Here is the audio relating to the previous post.

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Screenshot of the MIDI for my Sombre Zelda inspired track's second verse

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5.6.1 Track two, verse two - added Oboe and Harp arpeggios [MIDI] (LO2 + LO7):

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5.6.1 Track two, verse two - added Oboe and Harp arpeggios [MIDI] (LO2 + LO7):

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Here I have added harp arpeggios and an oboe melody to play over my piano chords. The use of arpeggios creates a flowing motion representative of the water themes throughout Mipha's Theme, the track I drew inspiration from for this piece, and my use of oboe for the melody allowed me to create my desired melancholic emotional setting while keeping with the flowing theme through the use of step-wise motion within the melody.

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Audio for my Sombre Zelda inspired track's second verse

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5.6.2 Track two, verse two - added Oboe and Harp arpeggios [Audio] (LO3): 

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5.6.2 Track two, verse two - added Oboe and Harp arpeggios [Audio] (LO3): 

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Here is the audio relating to the previous post.

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Screenshot of my conversation with Ben Berkenbosch on Discord

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5.7 Conversation with Ben Berkenbosch (LO2, LO3 + LO7):

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5.7 Conversation with Ben Berkenbosch (LO2, LO3 + LO7):

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As part of my mentor's task, I was asked to reach out to artists to gain some insight into how I could make it in the industry I aim to get into. In order to do this, I joined Kevin Kucshell's Discord server, which is full of semi-successful composers and creatives as well as hobbyists and beginners. I felt that this wide-spanning community would aid me in my efforts and journey to becoming a composer for media.

After commenting on this server after almost a week I recognised the name of a composer I listened to, Ben Berkenbosch, and saw this as an opportunity to reach out to him through Discord's direct messaging.

Ben Berkenbosch is a composer from the Netherlands boasting about 90,156 monthly listeners on his Spotify with one of his tracks also being featured on BBC Radio 3's Ultimate Calm podcast. I find his work truly inspirational and aim to learn as much as I can through him. Although he isn't a massive artist, Ben Berkenbosch does compose music full time and as a result of this I wanted to gain some helpful information as to how I could get my foot in the door to start creating my instrumental pieces as he does and from my conversations with him I have gained some helpful tips in getting my music out there through the usage of music distributors such as DistroKid and sync+micro licensing opportunities along with advising me to not only just create music but to use other media formats such as YouTube to talk about my projects and promote any other services I may offer, for example, Tutoring as Ben does, in doing this I will be able to have multiple different forms of income that would fund my creative efforts whether it is an album/EP release or composing for media.

Moving forward I would like to also communicate with Marcus Warner, a composer and songwriter from the UK who has had an impact on the music I want to create, more notably from his 2016 album Oceans.

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My first conversation with Ben Berkenbosch

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Screenshot of the MIDI for the dynamics of my oboe melody

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5.8.1 Track two, verse two - altered dynamics for Oboe [MIDI] (LO2 + LO7):

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5.8.1 Track two, verse two - altered dynamics for Oboe [MIDI] (LO2 + LO7):

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To add to the dynamics of my Oboe within this track, I added short breaks after some of the MIDI sections to allow for breaths within the melody which provides a more human-like characteristic to this section. I utilised MIDI CC1 to make the passage more flowing and dynamic along with some randomised velocities for the notes to further reinstate the human feel to the track.

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Screenshot of the MIDI for the dynamics of my piano

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5.8.2 Track two, intro and verse two - altered dynamics for Piano [MIDI] (LO2 + LO7):

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5.8.2 Track two, intro and verse two - altered dynamics for Piano [MIDI] (LO2 + LO7):

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In order to humanise the piano I used randomised MIDI note velocities to make the playing feel more natural and dynamic.

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Audio for both the dynamics for my oboe and piano

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5.8.3 Track two - altered dynamics for Oboe and Piano [Audio] (LO3):

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5.8.3 Track two - altered dynamics for Oboe and Piano [Audio] (LO3):

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Here is the audio relating to the previous post.

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YouTube playlist of my musical influences

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This playlist contains the main tracks that have influenced me to create music as a whole. I draw heavy inspiration from each of these tracks and the artists behind them as they have allowed me to take a leap into the world of music production for both games and film.

The tracks I have selected to analyse:

As required by this post I will analyse how selected tracks have influenced my approach to creating music. The tracks I have chosen to focus on are:

This is Berk - John Powell

Instrumentation - Strings (violins, violas, cellos, basses), Brass (horns, trumpets, trombones, tuba), Woodwinds (flutes, oboes, clarinets, bassoons), Percussion (timpani, snare drum, cymbals, bass drum), Bagpipes, Dulcimer, Bodhrán, Choir, flute and horn.

Genre/sub-genres - Genre (Film score / orchestral soundtrack), sub-genres (Cinematic orchestral, Celtic-inspired film music, epic fantasy score).

Tonality/mood - Heroic and adventurous

Slightly playful and rustic at points (reflecting Viking culture)

Rhythm - 4/4 steady and driving rhythm.

Melody - Singable and memorable themes with sequencing (repeated melodic patterns).

Dynamics - Very dynamic starting at more intimate volumes and rising to booming dynamics, utilises crecendos and decrescendos, dynamic contrasts between intimate folk sections and epic orchestral sections.

Arrangement - Introductory build-up, Primary theme introduction, Development, Climax and then Resolution.

Performance features - Expressive horn solos. Aggressive string runs during climaxes. Percussion features for drive and energy allowing movement to take place. Bagpipes and ethnic instruments for texture and to link with the Celtic themes. Choir to add grandeur and mystery during key moments.

Cultural significance / historical context (if appropriate) - "This is Berk" is often cited as one of the greatest examples of modern film scoring, blending orchestral tradition with folk elements to create a highly emotional and cinematic experience and often proving that animated film scores could be epic too.

Davy Jones - Hans Zimmer

Instrumentation - Solo music box, Strings (violins, violas, cellos, basses), Brass (French horns, trombones, tuba), Pipe organ, Percussion (timpani, bass drum, cymbals), Harp, Choir and synth pads.

Genre/sub-genres - Genre (Film Score / Soundtrack), sub-genres (Orchestral, Gothic Romanticism, Dark ambience).

Tonality/mood - Mood is tragic, foreboding, and melancholic.

Rhythm - Slow to moderate tempo with a heavy dragging rythms.

Melody - Simple and memorable motifs across all sections with different instrumentations.

Dynamics - Starts off very soft and gradually builds up for tension. Frequent swells, crescendos, and decrescendos. Very dynamic with sudden contrasts being made.

Arrangement - Introduction, Development, Climax, Coda.

Performance features - Expressive rubato in the music box section, Legato phrasing in strings, bold Brass tonality with a sombre quality, swelling vibratos in strings section.

Cultural significance / historical context (if appropriate) - Part of the Pirates of the Caribbean franchise's iconic musical identity. Hans Zimmer created a character theme for Davy Jones that mixes vulnerability with foreboding power. Popularised the use of Music Box complementing orchestral elements to allow for emotional story telling.

Mipha's Theme - Hajime Wakai, Manaka Kataoka, Yasuaki Iwata

Instrumentation - Piano, Strings (Violins, Violas, Cellos), Harp, Synth pads, Woodwinds (flute, soft clarinet), Very faint chimes (celesta).

Genre/sub-genres - Genre (Video Game Soundtrack), sub-genres (Ambient/Neo-Classical, Minimalist classical, Emotional instrumental ballad).

Tonality/mood - Mood is fragile, nostalgic, melancholic, and tender. The tonality makes the track feel like a reflection of memories.

Rhythm - Very free flowing (like water).

Melody - Very simple melody repeated with subtle variations.

Dynamics - Very soft to moderate level (never loud). Not incredibly dynamic to maintain the fragility of the track.

Arrangement - Intro, First statement, Development, Restating the first statement, Outro.

Performance features - Heavy use of rubato in the piano, soft legato strings, arpeggiated harp, swells and fades on strings along with the piano phrases being played, pedaling piano for flow.

Cultural significance / historical context (if appropriate) - A piece of music for the incredibly successful game The Legend of Zelda: Breath of the Wild. A beautiful reflection of the scene within the game accompanied by this track, allowing for deeper emotional storytelling to the audience.

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Here is a playlist of the tracks that I both adore and am greatly inspired by.

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6.2 Origins of my chosen genres (LO2 + LO7):

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6.2 Origins of my chosen genres (LO2 + LO7):

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Track one (Minecraft Inspired track) -

Within this track the genre of Ambient LoFi OST plays a big part in defining the musical direction of this piece. The key aspects within my track that helps define the genre are; Slow tempo, Minimalism (less is more for instrumentation), repetition of motifs and melodies, sustained notes, atmospheric texture, gradual dynamic changes, and organic sound design.

For the genre of Ambient LoFi OST's origins, I am going to split the two genres apart first. Ambient music as a genre in terms of success dates back to the 1970s when the first successful ambient album was pioneered by Brian Eno, this album was 'Music for Airports' (Eno, 1978a), in this Eno states that ambient music was initially "pioneered by Muzak Inc. in the fifties" and as a result was just called Muzak as a genre, however, after creating his album the term ambient music was coined by Eno where he states that ambient music is ''defined as an atmosphere, or a surrounding influence: a tint". As for LoFi as a genre it originated in the 60s with bands like The Beach Boys employing the use of distorted cassette tape sounds adding hisses to their recordings (Gisonna, n.d.), fast forward to the 90s and the 2000s and LoFi as a genre evolves closer to what it is today being described as static music incorporating loops (Gisonna, n.d.) to take a more stripped down approach focusing on making easy to listen to catchy beats that adds a certain dreamy quality to the track. As for Ambient LoFi OST as a genre from what I have been able to disect from research, C418's Minecraft soundtrack was the first to break through with Ambient LoFi as a genre for a soundtrack, though there is mention of inspiration from the works of Eno as mentioned previously (Stuart, 2014).

Track two (Zelda Inspired track) -

Within this track the genre of an Orchestral Fantasy OST plays a large role in defining the musical direction for this composition, however, it is taken in a more sombre and emotive direction. The key aspects displayed within this track that help define its genre are; Layered instrumentation, Melodic emphasis, Modal and Tonal harmony, Dynamic contrast, Expressive instrumentation (incorporating different techniques and swells), and flowing motifs to emphasise the fantasy elements.

The genre of Orchestral Fantasy OST has roots in both the Baroque and Classical eras of music in tandem with the rise of fantasy literature and eventually the adaptation of fantasy in both TV and film, however, this idea of orchestral fantasy music evolved throughout the Westernisation of orchestral music as a whole (González-Espinoza & Plotkin, 2023).

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6.3 Email enquiry to Marcus Warner (LO7):

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6.3 Email enquiry to Marcus Warner (LO7):

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Here is an email I wrote to Marcus Warner enquiring about how I as a beginner composer could break into the industry.

UPDATE (06/04/2025): I sadly have not recieved a reply to this email.

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Screenshot of the MIDI for the transition from verse 1 to verse 2 along with the sketch of verse 2 on piano

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6.4.1 Added transition to second verse and sketch of second verse chords - MIDI (LO2 + LO7):

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6.4.1 Added transition to second verse and sketch of second verse chords - MIDI (LO2 + LO7):

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Here I have recorded a transition with the intent of utilising a swelling strings section to transition to the next section of my piece.

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Audio for the transition from verse 1 to verse 2 along with the sketch of verse 2 on piano

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6.4.2 Added transition to second verse and sketch of second verse chords - Audio (LO3):

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6.4.2 Added transition to second verse and sketch of second verse chords - Audio (LO3):

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Here is the audio relating to the previous post.

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Screenshot of the MIDI for my 3rd verse along with the transition

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6.5.1 Verse three idea for Zelda inspired track - MIDI (LO2 + LO7):

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6.5.1 Verse three idea for Zelda inspired track - MIDI (LO2 + LO7):

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Here I utilised the strings section yet again to bridge the gap between the previous section and the next, however, I implemented a break for the string players to allow for some suspense before my whole orchestra came in for what I would consider the climax of my song.

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Transition and third verrse ss zelda.PNG

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Audio for my 3rd verse along with the transition

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6.5.2 Verse three idea for Zelda inspired track - Audio (LO3):

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6.5.2 Verse three idea for Zelda inspired track - Audio (LO3):

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Here is the audio relating to the previous post.

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Screenshot of the MIDI for my added harp to verse 3 of my Zelda inspired piece

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6.6.1 Added harp to verse 3 of Zelda inspired piece - MIDI (LO2 + LO7):

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6.6.1 Added harp to verse 3 of Zelda inspired piece - MIDI (LO2 + LO7):

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Here are the added harp arpeggios to verse 3, I have utilised the same pattern as earlier in the song. However, I have added another octave to add more of that mystical energy to my song for the climax.

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Audio for my added harp to verse 3 of my Zelda inspired piece

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6.6.2 Added harp to verse 3 of Zelda inspired piece - Audio (LO3):

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6.6.2 Added harp to verse 3 of Zelda inspired piece - Audio (LO3):

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Here is the audio relating to the previous post.

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Here is the PDF for my business archetype research I have done.

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Regarding my work for this module my 'WHY' would be linked with the music I aim to create and my goal career. As a result of this, my 'WHY' would be that I aim to create these tracks to convey certain emotions purely through listening, if I can prove I can do that successfully it will aid my music in the future as to be a composer for film and games, successfully using music for emotional storytelling is a very useful skillset to have.

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Here is my procrastination quiz results. As displayed by the data I am definitely a pleaser with some slight perfectionist qualities, and a fair few warrior qualities, however, most of my answers for the warrior question were due to my ADHD.

This quiz has proved to be insightful in highlighting some of the reasons for the moments when I procrastinate.

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A screenshot of the MIDI showing how my Zelda inspired piece looks

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7.3 My final look at my Zelda piece structurally - MIDI (LO2 + LO7):

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7.3 My final look at my Zelda piece structurally - MIDI (LO2 + LO7):

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I have decided to alter the structure of my piece slightly to allow for smoother transitions between different sections of my piece and to improve the sense of flow within my track.

I have also decided to remove all dynamic, volume, and expression automation from my piece to try again with the newer structure and make sure it is more fluid throughout the piece.

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Screenshot of the MIDI displaying the modulation I have added and a volume fade-in

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7.4.1 Modulation for the violin counter melody - MIDI (LO2 + LO7):

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7.4.1 Modulation for the violin counter melody - MIDI (LO2 + LO7):

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Here is a look at the dynamic automation I have programmed using modulation. I tried to implement a smooth-flowing motion with this automation using subtle crescendos and decrescendos to achieve this effect.

Furthermore, I have also included a fade-in as the feedback from my formative suggested that the strings come in too suddenly, therefore I have implemented a fade-in to make their entrance smoother.

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Audio displaying the modulation I have added and a volume fade-in

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7.4.2 Modulation for the violin counter melody - Audio (LO3):

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7.4.2 Modulation for the violin counter melody - Audio (LO3):

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Here is the audio relating to the previous post.

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Screenshot of the MIDI displying the fade-ins and fade-outs used for my string section

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7.5.1 Fade-ins and fade-outs on string sections - MIDI (LO2 + LO7):

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7.5.1 Fade-ins and fade-outs on string sections - MIDI (LO2 + LO7):

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Linking back to the recommendations to add fade-ins for string sections from my formative feedback, I have also implemented this practice into my other string sections to allow for gradual fade-ins and fade-outs. In doing this the entrance of my string sections feels less obtrusive than if they just suddenly came into the mix.

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Audio detailing the faded in strings in the intro of my Zelda inspired piece

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7.5.2 Fade-ins and fade-outs on string sections - Audio (LO3):

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7.5.2 Fade-ins and fade-outs on string sections - Audio (LO3):

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Here is the audio relating to the previous post.

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Audio detailing the other faded in strings of my Zelda inspired piece as well as the fade-out

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7.5.3 Fade-ins and fade-outs on string sections - Audio (LO3):

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7.5.3 Fade-ins and fade-outs on string sections - Audio (LO3):

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Here is the audio relating to the previous post.

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8.1 A reflection on this module so far (LO7):

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8.1 A reflection on this module so far (LO7):

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1. Your project development for this module (2 x recorded tracks) against projected timelines & targets.  What needs to change between now and the deadline, how and why?

Overall my work is progressing well, but slightly slower than I aimed initially, this is due to me being busy with many other things in life and wanting to spend a long time tweaking the tracks.

The work that is left to do is re implementing dynamics to both tracks, add some synth pads to my first track before the outro section and then mix and master both tracks.

2. Formative & peer feedback received – what are the key areas to work on?

The key areas to work on are humanising slightly, which I have been doing, and ensuring I mix to enhance low-end presence.

3. Your personal practice for this module – is it working? How do you know?

My practice routine is working a bit as I am finding it easier to create and add to my music with fewer moments where I feel like I am lost with what to do next.

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Screenshot detailing the modulation I have programmed on the violin section

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8.2.1 Modulation for the other strings - MIDI (LO2 + LO7):

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8.2.1 Modulation for the other strings - MIDI (LO2 + LO7):

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I have utilised the modulation controller within ProTools to program crescendo's and decrescendo's within my strings section and to create swells within my piece through a natural flowing manner, in doing this I will be able to increase the dynamics with in this track.

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Audio of the modulation I have programmed on the strings section

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8.2.2 Modulation for the other strings - Audio (LO3):

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8.2.2 Modulation for the other strings - Audio (LO3):

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Here is the audio relating to the previous post.

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Screenshot of the MIDI for the changed velocities for the music box section of track one

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8.3.1 Altered velocities for my Music Box - MIDI (LO2 + LO7):

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8.3.1 Altered velocities for my Music Box - MIDI (LO2 + LO7):

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To humanise my track more I manually edited the velocity of the music box within my track, in doing this I was able to choose the intensity of each note to my desired effect and then using the randomise function within ProTools, I randomised the velocities very slightly to avoid the sound being too static.

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Screenshot of the MIDI for the changed velocities for the piano section of track one

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8.3.2 Altered velocities for my Piano - MIDI (LO2 + LO7):

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8.3.2 Altered velocities for my Piano - MIDI (LO2 + LO7):

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To humanise my track more I also manually edited the velocity of the piano within my track, in doing this I was able to choose the intensity of each note to my desired effect and as I mentioned in the previous post I used the randomise function within ProTools, I randomised the velocities very slightly to avoid the sound being too static.

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Audio for the outro section of track one

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8.3.3 Altered velocities for the outro section - Audio (LO3):

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8.3.3 Altered velocities for the outro section - Audio (LO3):

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Here is the audio relating to the previous post.

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Screenshot of the MIDI for the automation of my pads section

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8.4.1 Automation for the pads section for track one - MIDI (LO2 + LO7):

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8.4.1 Automation for the pads section for track one - MIDI (LO2 + LO7):

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I utilised MIDI CC11 to program flow within my pads section and allow for subtle rises and falls within my track, in doing this I was able to prevent the pads from being too static while remaining as background ambience without the intent of being too intrusive.

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Audio for the automation of my pads section

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8.4.2 Automation for the pads section for track one - Audio (LO3):

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8.4.2 Automation for the pads section for track one - Audio (LO3):

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Here is the audio relating to the previous post.

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9.1 My analysis of track one so far (LO2 + LO7):

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9.1 My analysis of track one so far (LO2 + LO7):

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Arrangement/Structure - The arrangement for this is having music box playing the main melody with piano playing supporting chords and pads for texture for a build up to the next section.

Instrumentation and timbre - Instrumentation (Music Box, Soft Piano, Electric Piano, Soft Synth Pads), Timbre (Soft, Warm, Dreamy, Nostalgic, blend of Organic and Synthetic elements).

Production Techniques - Sparse arrangement, Altered velocities, softer dynamic ranges, lowered velocities and volumes for outro segment, reverbs, EQ, Compression, Saturation, Layered textures, Automation, Humanisation, panning.

Rhythm - Simple flowing rhythm.

Time signature - 4/4.

Tempo - 115 bpm.

Genre - Ambient LoFi Soundtrack.

Feel - Dreamy and nostalgic. Almost meditative.

Performance Techniques - Pedaling, Flowing melodic content with minimal leaps, simple repeated chord progression, swelling synth pads.

Dynamics - Natural dynamics that aren't obtrusive.

Texture - Quite thin texturally to keep with the simplistic and minimalistic aims for the track, some areas are medium texturally where there are more layers within the track for build up.

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9.2 My analysis of track two so far (LO2 + LO7):

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9.2 My analysis of track two so far (LO2 + LO7):

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Arrangement/Structure - Piano playing main melody, Solo violin and solo Oboe playing counter melody in the intro with the Oboe playing the main melody when piano only plays supporting chords. Harp play ing accompanying arpeggios with piano, strings sections providing swells and transitions eventually building up into a full orchestral section.

Instrumentation and timbre - Instrumentation (Piano, Harp, Oboe, Strings - Violin, Viola, Cello, Bass), Timbre (Soft, sombre, emotional).

Production Techniques - Long strings patches used, Long Oboe patches used, breath, modulation and expression editied with automation through MIDI CCs, EQ, Reverb, panning, humanisation, velocity editing, layering, swells, fade-ins and fade-outs.

Rhythm - Flowing rhythm.

Time signature - 4/4.

Tempo - 120bpm - 110bpm (Outro).

Genre - Fantasy soundtrack, orchestral soundtrack.

Feel - Solemn and mysterious feel.

Performance Techniques - Longs for strings and oboe patches, arpeggios, flowing melodic lines with few leaps, instrumental layering to build chords, crecendos and decrescendos, expressive playing, breath notes.

Dynamics - Subtle dynamics to maintain a solemn feel, but use of dynamics for expression.

Texture - Thin to thick layers for build up and emotional effect depending on the sections playing throughout the piece.

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Screenshot of my Creative Develpment Checklist results

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9.3 Your Creative Development Checklist:

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9.3 Your Creative Development Checklist:

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I still have to implement the Gibbs Reflective Cycle throughout my work. I still have to produce a reflective statement. I still have to hand in my work.

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Screenshot of my EQ settings for the music box featured on track one

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9.4 Track one - Music Box subtractive EQ (LO2 + LO7):

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9.4 Track one - Music Box subtractive EQ (LO2 + LO7):

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Initially, when I first EQ'd my track I used both subtractive and additive EQ on one EQ plugin, when I shared my progress with my mentor of me feeling something was not quite right with the sound, my mentor advised me to only use subtractive EQ, then compression, then saturation if I choose to, and lastly another EQ if I feel it is neccessary.

The screenshot above details the subtractive EQ I implemented on my Music Box track for track one. As displayed in the EQ band, I cut the lows at about 100Hz by -6dB to reduce the low-end and reduce muddiness. Then I reduced the mids at about 1kHz by roughly 2dB to reduce the abrasiveness of the music box a little without compromising clarity. Lastly, I reduced the high mids just past 2kHz by slightly higher than 2bD, roughly 1.8dB, to tame the high mids and reduce the abrasiveness of the music box. I did not reduce the highs as they are very subtle and I felt they did not need reducing. For both the mids and high mids I implemented a dynamic threshold to trigger the change when the audio goes above the threshold, I set this to be smooth to avoid the harshness of the activation.

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Screenshot of my EQ settings for the main piano featured on track one

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9.5 Track one - Piano one subtractive EQ (LO2 + LO7):

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9.5 Track one - Piano one subtractive EQ (LO2 + LO7):

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For the EQ of my main piano track, I rolled off the low end very slightly just past the 30Hz mark by about 3dB to cut off some of the unnecessary rumble but still allowed the lows to remain present within the mix. I gently reduced the low mids slightly past the 200Hz mark by roughly 2dB to further reduce muddiness, for this I implemented a dynamic threshold to only trigger when the signal goes above this and set it to smooth so that it is not a harsh change in the sound. Finally, I cut the mids and highs just before the 2kHz mark by about 3dB to prevent harshness within the sound.

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Screenshot of my EQ settings for the second piano featured on track one

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9.6 Track one - Piano two subtractive EQ (LO2 + LO7):

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9.6 Track one - Piano two subtractive EQ (LO2 + LO7):

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For my second piano track, I reduced the lows with a smooth gradual cut at around 75Hz by roughly 3dB to reduce muddiness. Implemented a wide and shallow cut within the mids sitting just before the 1kHz mark by just above 3dB allowing for a gentle scoop to reduce harshness within the high mids and mids ranges, I also implemented a dynamic threshold to trigger this when the signal goes above the set mark, like the previous instances I used the smooth setting to make it feel more natural. Finally, I implemented a smooth gradual cut to the highs just before the 10kHz mark as not a lot of the signal uses these highs, but when they do it is very abrasive sounding, so I used this to tame that abrasiveness without losing the high frequencies completely.

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Screenshot of my EQ settings for the pads featured on track one

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9.7 Track one - Pads subtractive EQ (LO2 + LO7):

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9.7 Track one - Pads subtractive EQ (LO2 + LO7):

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For the EQ on my synth pads for track one, I implemented smooth cut lows just before the 50Hz mark by just below 3dB to reduce the harsh muddy sound that was present. Next, I implemented a large cut to the mids roughly around the 300Hz mark by slightly below 6dB to heavily reduce the harshness of the pads, however, I implemented a dynamic threshold at around the 3dB mark to maintain the midrange qualities of the pads and set it to smooth to allow for the change to be subtle.

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Screenshot of the compressor and saturation settings for the music box and piano featured on track one

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9.8 Track one - Compression and saturation for Music Box and Piano (LO2 + LO7):

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9.8 Track one - Compression and saturation for Music Box and Piano (LO2 + LO7):

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For this, I implemented some light compression and some light saturation for the music box and piano tracks. I accomplished this by creating an Aux track and using it as a send to each of the tracks. This light compression tightened the overall sound. I set the attack to be relatively fast and the release to be subtly fast and used the makeup to boost the volume of the instruments. As for the saturation, I added a very small amount to allow for added warmth and character to these instruments.

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Compression and Saturation on Music box and Piano tracks.PNG

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Screenshot of the compressor settings for the pads featured on track one

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9.9 Track one - Compression for Pads (LO2 + LO7):

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9.9 Track one - Compression for Pads (LO2 + LO7):

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For this compression I created another Aux track and used it as a send for the pads track within track one. I set the ratio to 2:1 for some light compression to tie in the overall sound of the synth pads and reduced the output gain to reduce the volume of the synth pads further as they were very overpowering before.

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Screenshot of the mix window for track one

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9.10 Track one - My mix window (LO2 + LO7):

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9.10 Track one - My mix window (LO2 + LO7):

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Here is the screenshot of my mix window as a whole. In particular I included the faders for the sends I have created so I can talk about them with included visuals.

For the music box, I have set the fader for the send (compression and saturation) to +6dB as I wanted it to be included in most of the sound but still have a small amount of the original sound remaining.

As for the piano send (compression and saturation) I set that to +4dB as I also wanted it to be included in most of the sound but still have a little more of the original sound remain compared to the music box.

With the second piano send (compression and saturation) I set that to +9dB as I wanted the sound to be more tamed by the compression and saturation to reduce harshness.

Finally, for the synth pads send (compression) I set the fader to +4dB to allow the compression to tame most of the the sound, however, still maintain the natural sound of my subtractive EQ performed previously.

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Screenshot of my additive EQ settings for the music box featured on track one

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10.1 Track one - Music Box post compression EQ (LO2 + LO7):

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10.1 Track one - Music Box post compression EQ (LO2 + LO7):

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For the additive EQ for my music box track I boosted the lows at around 200Hz by 3dB in order to enhance the notes played in the lower register, I boosted the mids just past the 1kHz mark by roughly 2dB to slightly enhance the presence of the music box within the mix and then I boosted the highs at around the 10kHz mark by about 2dB for the same reason.