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Melodic Techno EP

Concept EP on a particular theme that would be followed througout

Possibilities:
meant to be listened one after the other for further meaning

same theme colours, artwork

study find out what you like and what you dont like, and express it

1st song brings you into the world 
2nd song
3rd song
4th song end strongly, gives the people something to keep in their minds

make sure the flow is right, the pacing of the story and the songs flowing
from up to down, intense and chill,etc.

how do you capture the feeling

practice based on research, you must show how youve used the research and
applied it to your project

Start writing since the beginning, influences, ideas, quotes that can be
used on the reflective critique
Any websites visited save the links for the bibliography

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For lyrics

Start the EP with a phrase that will directly connect to the last 
phrase of the EP. So song 1 connects to song 4

For Storytelling

Create dopamine with suspense, cliff hangers and just by telling
the story atracts focus
Create oxytocin with empathy, generates bonding, you feel human
Create endorphins by making people laugh, atracts focus

layout the problem and then build to the solution

Let the musical complexity grow as the tracks go, thus referencing
that the protagonist is also growing musically. For example, the bass 
line in track 1 would be pretty simple, and in track 4 an arpeggiated
bass line with more energy and complexity. 

Create anticipation from track 1

Track 1

Idea: Protagonist is a musician born in a musicless world and feels
trapped, however, he doesn't know he is a musician and he doesn't 
know there are other worlds.
After many years of building stress and loosing hope he discovers he 
can make music himself and does it to soothe his soul. 
One day he finds a way out of the world and looks for a world with 
music.

The anticipation is created by mentioning he is a musician lost,
stuck in a musicless world while their are other world with music.
It is implied that maybe one day he will find a way to get there.

use of birds to portray freedom



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Aurora - Another different kind of human (step 2)

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Aurora - Another different kind of human (step 2)

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The magical science of storytelling | David JP Phillips | TEDxStockholm

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The clues to a great story | Andrew Stanton | TED

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(5 TIPS) How To Create GREAT PROTAGONIST Characters In Comics & Manga PART 1

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(5 TIPS) How To Create GREAT PROTAGONISTS In Comics & Manga | PART 2

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(10 TIPS) How To Come Up With CHARACTER NAMES For Comics & Manga

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In this post I'd like to talk about nothing. No, I'm not trying to be nostalgic about the hit comedy show Seinfield from the 90s--I'm trying to describe the Japanese word "mu" (often written in kanji as 無), which essentially means "nothing".

Unlike many of the words I talk about in this blog, the word "mu" isn't used that often in everyday conversation. In fact, hearing this word for the first time in months is what triggered me to write this article. You will, however, see this word commonly used in kanji, especially as the first letter of a compound. In these cases, is generally stands for "nothing" or "not":

In English, you'll see we have a few different ways to translate words with "mu", such as "in-", "im-", or "-less", though there are other cases besides these. Regardless, it's good to know 無 can be used this way, as it helps you guess the meaning to new words you may have seen before (ex: 無宗教). While making up your own words is always risky, I think you could add "mu-" to many words and your meaning would still get across. (Note: there are some cases where 無 is pronounced as "bu", like in 無精 ( bushou))

But back to the reason I decided to write a post about this word. While "nothing" roughly captures some of the nuances of "mu", frankly I like the way "mu" sounds and think it's great there is a single-syllable word for the concept of nothingness. I feel that often words that are fundamental or very important in life are written with a small number of characters or syllables (look at many of the parts of the body, for example, many are only one or two characters in Japanese: te, ha, me, kata, ude, ashi, etc.).

Also, 無 has additional connotations to it related to religion or philosophy. For example, besides the normal "nothing" (何もない) definition, my dictionary lists:
〘仏〙事物も現象も全く存在しないこと
This can be roughly translated to:
(Buddhism) the state where absolutely no things or phenomena exist.
Another dictionary ( Goo) has this interesting definition:
禅宗で、経験・知識を得る以前の純粋な意識
Roughly translated to,
In Zen Buddhism, the pure state of consciousness before any experiences or knowledge has been acquired.
For sure, the various deep nuances of this word give it a mysterious atmosphere. Perhaps that is why there is a Japanese magazine named "mu plus" that is about UFOs, unexplanable events, and supernatural powers--although the "mu" there is actually written in katakana as "ム".

Finally, it's convenient to know that the Japanese word for the non-existence of nonliving things, nai (ない) can also be written with the same kanji, 無い ( nai). Its antonym is aru (used for positive existence), which can be written with kanji as 有る or 在る. The former kanji (有) is used in many other words to mean "existence", for example "有無" ( umu), which is hard to find a single word in English for but conceptually captures the duality of something existing or not. This is used in phrases like 有無を確認する ( umu wo kakunin suru), meaning to confirm whether something is present/existing or not.

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"Mu" (無): The Japanese word that means nothing

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In this post I'd like to talk about nothing. No, I'm not trying to be nostalgic about the hit comedy show Seinfield from the 90s--I'm trying to describe the Japanese word "mu" (often written in kanji as 無), which essentially means "nothing".

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For 12 centuries, students of Zen Buddhism who engage in koan study have confronted Mu. What is Mu?

First, "Mu" is the shorthand name of the first koan in a collection called the Gateless Gate or Gateless Barrier (Chinese, Wumengua; Japanese, Mumonkan), compiled in China by Wumen Huikai (1183-1260).

Most of the 48 koans in the Gateless Gate are fragments of dialogue between real Zen students and real Zen teachers, recorded over many centuries. Each presents a pointer to some aspect of dharma, By working with koans, the student steps outside the bounds of conceptual thought and realizes the teaching on a deeper, more intimate, level.

Generations of Zen teachers have found Mu to be a particularly useful tool for breaking through the conceptual fog most of us live in. The realization of Mu often sparks an enlightenment experience. Kensho is something like cracking open a door or glimpsing a bit of the moon behind the clouds -- it's a breakthrough, yet there is more to be realized.

This article is not going to explain the "answer' to the koan. Instead, it will provide some background on Mu and perhaps give a sense of what Mu is and does.

This is the main case of the koan, formally called "Chao-chou's Dog":

A monk asked Master Chao-chou, "Has a dog the Buddha Nature or not?" Chao-chou said, "Mu!"

(Actually, he probably said "Wu," which is the Chinese for Mu, a Japanese word. Mu is usually translated "no," although the late Robert Aitken Roshi said its meaning is closer to "does not have." Zen originated in China, where it is called "Chan." But because western Zen has been largely shaped by Japanese teachers, we in the West tend to use Japanese names and terms.)

Background

Chao-chou Ts'ung-shen (also spelled Zhaozhou; Japanese, Joshu; 778-897) was a real teacher who is said to have realized great enlightenment under the guidance of his teacher, Nan-ch'uan (748-835). When Nan-ch'uan died, Chao-chou traveled throughout China, visiting the prominent Chan teachers of his day.

In the last 40 years of his long life, Chao-chou settled into a small temple in northern China and guided his own disciples. He is said to have had a quiet teaching style, saying much in few words.

In this bit of dialogue, the student is asking about Buddha-nature. In Mahayana Buddhism, Buddha-nature is the fundamental nature of all beings. In Buddhism, "all beings" really does mean "all beings," not just "all humans." And a dog certainly is a "being." The obvious answer to the monk's question "does a dog have Buddha-nature," is yes.

But Chao-chou said, Mu. No. What's going on here?

The fundamental question in this koan is about the nature of existence. The monk's question came from a fragmented, one-sided perception of existence. Master Chao-chou used Mu as a hammer to break up the monk's conventional thinking.

Robert Aitken Roshi wrote (in The Gateless Barrier),

"The barrier is Mu, but it always has a personal frame. For some the barrier is 'Who am I really?' and that question is resolved through Mu. For others it is 'What is death?' and that question too is resolved through Mu. For me it was 'What am I doing here?'"

John Tarrant Roshi wrote in The Book of Mu: Essential Writings on Zen's Most Important Koan, "The kindness of a koan consists mainly of taking away what you are sure of about yourself."

Working With Mu

Master Wumen himself worked on Mu for six years before he realized it. In his commentary on the koan, he provides these instructions:

So then, make your whole body a mass of doubt, and with your 360 bones and joints and your 84,000 hair follicles, concentrate on this one word No [Mu]. Day and night, keep digging into it. Don't consider it to be nothingness. Don't think in terms of 'has' or 'has not.' It is like swallowing a red-hot iron ball. You try to vomit it out, but you cannot. [Translation from Boundless Way Zen]

Koan study is not a do-it-yourself project. Although the student may work alone most of the time, checking one's understanding against that of a teacher now and then is essential for most of us. Otherwise, it's too common for the student to latch onto some shiny idea of what the koan is saying that really is just more conceptual fog.

Aitken Roshi said, "When someone begins a koan presentation by saying, 'Well, I think the teacher is saying ...,' I want to interrupt, "Mistaken already!"

The late Philip Kapleau Roshi said (in Three Pillars of Zen):

"Mu holds itself coldly aloof from both the intellect and the imagination. Try as it might, reasoning cannot gain even a toehold on Mu. In fact, trying to solve Mu rationally, we are told by the masters, is like 'trying to smash one's fist through an iron wall.' "

There is all manner of explanations of Mu readily available on the Web, many written by people who have no idea what they are talking about. Some professors of religious study classes in western universities teach that the koan is merely an argument about the presence of Buddha-nature in sentient or insentient beings. While that question is one that comes up in Zen, to assume that's all the koan is about sells old Chao-chou short.

In Rinzai Zen, the resolution of Mu is considered to be the beginning of Zen practice. Mu changes the way the student perceives everything. Of course, Buddhism has many other means of opening the student to realization; this is just one particular way. But it's a very effective way.

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The Koan Mu, Its Origin and Use in Zen Buddhist Practice

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For 12 centuries, students of Zen Buddhism who engage in koan study have confronted Mu. What is Mu? First, "Mu" is the shorthand name of the first koan in a collection called the Gateless Gate or Gateless Barrier (Chinese, Wumengua; Japanese, Mumonkan), compiled in China by Wumen Huikai (1183-1260).

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"The words that begin and end each line will emphasize the sounds, images, and ideas that are important to the poet."

"a poem should make the reader feel something—not by telling them what to feel, but by evoking feeling directly."

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To learn how to write a poem step-by-step, let's start where all poets start: the basics.

This article is an in-depth introduction to how to write a poem. We first answer the question, "What is poetry?" We then discuss the literary elements of poetry, and showcase some different approaches to the writing process-including our own seven-step process on how to write a poem step by step.

So, how do you write a poem? Let's start with what poetry is.

What Poetry Is

It's important to know what poetry is-and isn't-before we discuss how to write a poem. The following quote defines poetry nicely:

"Poetry is language at its most distilled and most powerful."
-Former US Poet Laureate Rita Dove

Poetry Conveys Feeling

People sometimes imagine poetry as stuffy, abstract, and difficult to understand. Some poetry may be this way, but in reality poetry isn't about being obscure or confusing. Poetry is a lyrical, emotive method of self-expression, using the elements of poetry to highlight feelings and ideas.

A poem should make the reader feel something.

In other words, a poem should make the reader feel something-not by telling them what to feel, but by evoking feeling directly.

Here's a contemporary poem that, despite its simplicity (or perhaps because of its simplicity), conveys heartfelt emotion.

Poem
by Langston HughesI loved my friend.
He went away from me.
There's nothing more to say.
The poem ends,
Soft as it began-
I loved my friend.

Poetry is Language at its Richest and Most Condensed

Unlike longer prose writing (such as a short story, memoir, or novel), poetry needs to impact the reader in the richest and most condensed way possible. Here's a famous quote that enforces that distinction:

"Prose: words in their best order; poetry: the best words in the best order."
-Samuel Taylor Coleridge

So poetry isn't the place to be filling in long backstories or doing leisurely scene-setting. In poetry, every single word carries maximum impact.

Poetry Uses Unique Elements

Poetry is not like other kinds of writing: it has its own unique forms, tools, and principles. Together, these elements of poetry help it to powerfully impact the reader in only a few words.

The elements of poetry help it to powerfully impact the reader in only a few words.

Most poetry is written in verse, rather than prose. This means that it uses line breaks, alongside rhythm or meter, to convey something to the reader. Rather than letting the text break at the end of the page (as prose does), verse emphasizes language through line breaks.

Poetry further accentuates its use of language through rhyme and meter. Poetry has a heightened emphasis on the musicality of language itself: its sounds and rhythms, and the feelings they carry.

These devices-rhyme, meter, and line breaks-are just a few of the essential elements of poetry, which we'll explore in more depth now.

Understanding the Elements of Poetry

As we explore how to write a poem step by step, these three major literary elements of poetry should sit in the back of your mind:

1. Rhythm (Sound, Rhyme, and Meter)

2. Form

3. Literary Devices

1. Elements of Poetry: Rhythm

"Rhythm" refers to the lyrical, sonic qualities of the poem. How does the poem move and breathe; how does it feel on the tongue?

Traditionally, poets relied on rhyme and meter to accomplish a rhythmically sound poem. Free verse poems-which are poems that don't require a specific length, rhyme scheme, or meter-only became popular in the West in the 20th century, so while rhyme and meter aren't requirements of modern poetry, they are required of certain poetry forms.

Sound

Poetry is capable of evoking certain emotions based solely on the sounds it uses. Words can sound sinister, percussive, fluid, cheerful, dour, or any other noise/emotion in the complex tapestry of human feeling.

Take, for example, this excerpt from the poem "Beat! Beat! Drums!" by Walt Whitman:

Red - "b" sounds

Blue - "th" sounds

Green - "w" and "ew" sounds

Purple - "s" sounds

Orange - "d" and "t" sounds

This poem has a lot of percussive, disruptive sounds that reinforce the beating of the drums. The "b," "d," "w," and "t" sounds resemble these drum beats, while the "th" and "s" sounds are sneakier, penetrating a deeper part of the ear. The cacophony of this excerpt might not sound "lyrical," but it does manage to command your attention, much like drums beating through a city might sound.

To learn more about consonance and assonance, euphony and cacophony, and the other uses of sound, take a look at our article "12 Literary Devices in Poetry."
https://writers.com/literary-devices-in-poetry
Rhyme

It would be a crime if you weren't primed on the ins and outs of rhymes. "Rhyme" refers to words that have similar pronunciations, like this set of words: sound, hound, browned, pound, found, around.

Many poets assume that their poetry has to rhyme, and it's true that some poems require a complex rhyme scheme. However, rhyme isn't nearly as important to poetry as it used to be. Most traditional poetry forms-sonnets, villanelles, rimes royal, etc.-rely on rhyme, but contemporary poetry has largely strayed from the strict rhyme schemes of yesterday.

There are three types of rhymes:

Homophony: Homophones are words that are spelled differently but sound the same, like "tail" and "tale." Homophones often lead to commonly misspelled words.

Perfect Rhyme: Perfect rhymes are word pairs that are identical in sound except for one minor difference. Examples include "slant and pant," "great and fate," and "shower and power."

Slant Rhyme: Slant rhymes are word pairs that use the same sounds, but their final vowels have different pronunciations. For example, "abut" and "about" are nearly-identical in sound, but are pronounced differently enough that they don't completely rhyme. This is also known as an oblique rhyme or imperfect rhyme.

Meter

Meter refers to the stress patterns of words. Certain poetry forms require that the words in the poem follow a certain stress pattern, meaning some syllables are stressed and others are unstressed.

What is "stressed" and "unstressed"? A stressed syllable is the sound that you emphasize in a word. The bolded syllables in the following words are stressed, and the unbolded syllables are unstressed:

The pattern of stressed and unstressed syllables is important to traditional poetry forms. This chart, copied from our article on form in poetry, summarizes the different stress patterns of poetry.

2. Elements of Poetry: Form

"Form" refers to the structure of the poem. Is the poem a sonnet, a villanelle, a free verse piece, a slam poem, a contrapuntal, a ghazal, a blackout poem, or something new and experimental?

Form also refers to the line breaks and stanza breaks in a poem. Unlike prose, where the end of the page decides the line breaks, poets have control over when one line ends and a new one begins. The words that begin and end each line will emphasize the sounds, images, and ideas that are important to the poet.

To learn more about rhyme, meter, and poetry forms, read our full article on the topic:
https://writers.com/what-is-form-in-poetry
3. Elements of Poetry: Literary Devices

"Poetry: the best words in the best order." - Samuel Taylor Coleridge

How does poetry express complex ideas in concise, lyrical language? Literary devices-like metaphor, symbolism, juxtaposition, irony, and hyperbole-help make poetry possible. Learn how to write and master these devices here:
https://writers.com/common-literary-devices
How to Write a Poem, in 7 Steps

To condense the elements of poetry into an actual poem, we're going to follow a seven-step approach. However, it's important to know that every poet's process is different. While the steps presented here are a logical path to get from idea to finished poem, they're not the only tried-and-true method of poetry writing. Poets can-and should!-modify these steps and generate their own writing process.

Nonetheless, if you're new to writing poetry or want to explore a different writing process, try your hand at our approach. Here's how to write a poem step by step!

1. Devise a Topic

The easiest way to start writing a poem is to begin with a topic.

However, devising a topic is often the hardest part. What should your poem be about? And where can you find ideas?

Here are a few places to search for inspiration:

Other Works of Literature: Poetry doesn't exist in a vacuum-it's part of a larger literary tapestry, and can absolutely be influenced by other works. For example, read "The Golden Shovel" by Terrance Hayes, a poem that was inspired by Gwendolyn Brooks' "We Real Cool."

Real-World Events: Poetry, especially contemporary poetry, has the power to convey new and transformative ideas about the world. Take the poem "A Cigarette" by Ilya Kaminsky, which finds community in a warzone like the eye of a hurricane.

Your Life: What would poetry be if not a form of memoir? Many contemporary poets have documented their lives in verse. Take Sylvia Plath's poem "Full Fathom Five"-a daring poem for its time, as few writers so boldly criticized their family as Plath did.

The Everyday and Mundane: Poetry isn't just about big, earth-shattering events: much can be said about mundane events, too. Take "Ode to Shea Butter" by Angel Nafis, a poem that celebrates the beautiful "everydayness" of moisturizing.

Nature: The Earth has always been a source of inspiration for poets, both today and in antiquity. Take "Wild Geese" by Mary Oliver, which finds meaning in nature's quiet rituals.

Writing Exercises: Prompts and exercises can help spark your creativity, even if the poem you write has nothing to do with the prompt! Here's 24 writing exercises to get you started.

2. Journal

At this point, you've got a topic for your poem. Maybe it's a topic you're passionate about, and the words pour from your pen and align themselves into a perfect sonnet! It's not impossible-most poets have a couple of poems that seemed to write themselves.

However, it's far more likely you're searching for the words to talk about this topic. This is where journaling comes in.

Sit in front of a blank piece of paper, with nothing but the topic written on the top. Set a timer for 15-30 minutes and put down all of your thoughts related to the topic. Don't stop and think for too long, and try not to obsess over finding the right words: what matters here is emotion, the way your subconscious grapples with the topic.

At the end of this journaling session, go back through everything you wrote, and highlight whatever seems important to you: well-written phrases, poignant moments of emotion, even specific words that you want to use in your poem.

Journaling is a low-risk way of exploring your topic without feeling pressured to make it sound poetic. "Sounding poetic" will only leave you with empty language: your journal allows you to speak from the heart. Everything you need for your poem is already inside of you, the journaling process just helps bring it out!

3. Think About Form

As one of the elements of poetry, form plays a crucial role in how the poem is both written and read. Have you ever wanted to write a sestina? How about a contrapuntal, or a double cinquain, or a series of tanka? Your poem can take a multitude of forms, including the beautifully unstructured free verse form; while form can be decided in the editing process, it doesn't hurt to think about it now.

4. Write the First Line

After a productive journaling session, you'll be much more acquainted with the state of your heart. You might have a line in your journal that you really want to begin with, or you might want to start fresh and refer back to your journal when you need to! Either way, it's time to begin.

What should the first line of your poem be? There's no strict rule here-you don't have to start your poem with a certain image or literary device. However, here's a few ways that poets often begin their work:

Set the Scene: Poetry can tell stories just like prose does. Anne Carson does just this in her poem "Lines," situating the scene in a conversation with the speaker's mother.

Start at the Conflict: Right away, tell the reader where it hurts most. Margaret Atwood does this in "Ghost Cat," a poem about aging.

Start With a Contradiction: Juxtaposition and contrast are two powerful tools in the poet's toolkit. Joan Larkin's poem "Want" begins and ends with these devices. Carlos Gimenez Smith also begins his poem "Entanglement" with a juxtaposition.

Start With Your Title: Some poets will use the title as their first line, like Ron Padgett's poem "Ladies and Gentlemen in Outer Space."

There are many other ways to begin poems, so play around with different literary devices, and when you're stuck, turn to other poetry for inspiration.

5. Develop Ideas and Devices

You might not know where your poem is going until you finish writing it. In the meantime, stick to your literary devices. Avoid using too many abstract nouns, develop striking images, use metaphors and similes to strike interesting comparisons, and above all, speak from the heart.

6. Write the Closing Line

Some poems end "full circle," meaning that the images the poet used in the beginning are reintroduced at the end. Gwendolyn Brooks does this in her poem "my dreams, my work, must wait till after hell."

Yet, many poets don't realize what their poems are about until they write the ending line. Poetry is a search for truth, especially the hard truths that aren't easily explained in casual speech. Your poem, too, might not be finished until it comes across a necessary truth, so write until you strike the heart of what you feel, and the poem will come to its own conclusion.

7. Edit, Edit, Edit!

Do you have a working first draft of your poem? Congratulations! Getting your feelings onto the page is a feat in itself.

Yet, no guide on how to write a poem is complete without a note on editing. If you plan on sharing or publishing your work, or if you simply want to edit your poem to near-perfection, keep these tips in mind.

Adjectives and Adverbs: Use these parts of speech sparingly. Most imagery shouldn't rely on adjectives and adverbs, because the image should be striking and vivid on its own, without too much help from excess language.

Concrete Line Breaks: Line breaks help emphasize important words, making certain images and ideas clearer to the reader. As a general rule, most of your lines should start and end with concrete words-nouns and verbs especially.

Stanza Breaks: Stanzas are like paragraphs to poetry. A stanza can develop a new idea, contrast an existing idea, or signal a transition in the poem's tone. Make sure each stanza clearly stands for something as a unit of the poem.

Mixed Metaphors: A mixed metaphor is when two metaphors occupy the same idea, making the poem unnecessarily difficult to understand. Here's an example of a mixed metaphor: "a watched clock never boils." The meaning can be discerned, but the image remains unclear. Be wary of mixed metaphors-though some poets (like Shakespeare) make them work, they're tricky and often disruptive.

Abstractions: Above all, avoid using excessively abstract language. It's fine to use the word "love" 2 or 3 times in a poem, but don't use it twice in every stanza. Let the imagery in your poem express your feelings and ideas, and only use abstractions as brief connective tissue in otherwise-concrete writing.

Lastly, don't feel pressured to "do something" with your poem. Not all poems need to be shared and edited. Poetry doesn't have to be "good," either-it can simply be a statement of emotions by the poet, for the poet. Publishing is an admirable goal, but also, give yourself permission to write bad poems, unedited poems, abstract poems, and poems with an audience of one. Write for yourself-editing is for the other readers.

How to Write a Poem: Different Approaches and Philosophies

Poetry is the oldest literary form, pre-dating prose, theater, and the written word itself. As such, there are many different schools of thought when it comes to writing poetry. You might be wondering how to write a poem through different methods and approaches: here's four philosophies to get you started.

How to Write a Poem: Poetry as Emotion

If you asked a Romantic Poet "what is poetry?", they would tell you that poetry is the spontaneous emotion of the soul.

The Romantic Era viewed poetry as an extension of human emotion-a way of perceiving the world through unbridled creativity, centered around the human soul. While many Romantic poets used traditional forms in their poetry, the Romantics weren't afraid to break from tradition, either.

To write like a Romantic, feel-and feel intensely. The words will follow the emotions, as long as a blank page sits in front of you.

How to Write a Poem: Poetry as Stream of Consciousness

If you asked a Modernist poet, "What is poetry?" they would tell you that poetry is the search for complex truths.

Modernist Poets were keen on the use of poetry as a window into the mind. A common technique of the time was "Stream of Consciousness," which is unfiltered writing that flows directly from the poet's inner dialogue. By tapping into one's subconscious, the poet might uncover deeper truths and emotions they were initially unaware of.

Depending on who you are as a writer, Stream of Consciousness can be tricky to master, but this guide covers the basics of how to write using this technique.

How to Write a Poem: Mindfulness

Mindfulness is a practice of documenting the mind, rather than trying to control or edit what it produces. This practice was popularized by the Beat Poets, who in turn were inspired by Eastern philosophies and Buddhist teachings. If you asked a Beat Poet "what is poetry?", they would tell you that poetry is the human consciousness, unadulterated.

To learn more about the art of leaving your mind alone, take a look at our guide on Mindfulness, from instructor Marc Olmsted.
https://writers.com/mindful-writing
How to Write a Poem: Poem as Camera Lens

Many contemporary poets use poetry as a camera lens, documenting global events and commenting on both politics and injustice. If you find yourself itching to write poetry about the modern day, press your thumb against the pulse of the world and write what you feel.

Additionally, check out these two essays by Electric Literature on the politics of poetry:

Okay, I Know How to Write a Good Poem. What Next?

Poetry, like all art forms, takes practice and dedication. You might write a poem you enjoy now, and think it's awfully written 3 years from now; you might also write some of your best work after reading this guide. Poetry is fickle, but the pen lasts forever, so write poems as long as you can!

Once you understand how to write a poem, and after you've drafted some pieces that you're proud of and ready to share, here are some next steps you can take.

Publish in Literary Journals

Want to see your name in print? These literary journals house some of the best poetry being published today.
https://writers.com/best-places-submit-poetry-online
Assemble and Publish a Manuscript

A poem can tell a story. So can a collection of poems. If you're interested in publishing a poetry book, learn how to compose and format one here:
https://writers.com/poetry-manuscript-format
Join a Writing Community

writers.com is an online community of writers, and we'd love it if you shared your poetry with us! Join us on Facebook and check out our upcoming poetry courses.

Poetry doesn't exist in a vacuum, it exists to educate and uplift society. The world is waiting for your voice, so find a group and share your work!

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How to Write a Poem, Step-by-Step: Examples and Analysis | Writers.com

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What is poetry? This article covers everything you need to write a poem step by step, including the elements of poetry and writing methods.

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Poetry and music have a lot in common. They're both very personal, and the best poems and songs share a common goal, which is to make you feel one specific thing. Both of these art forms share many similarities while also being unique in their own way.

Music without words has an immediate emotional power that resists translation into words, while poetry has a lasting meaning that cannot be expressed through melody alone.

1. Music and poetry have a lot in common

The simplest and most obvious aspect of the relationship between poetry and songwriting is the way that both rely on rhythm, meter, rhyme, stress patterns, alliteration, and assonance to convey meaning.

2. Both music and poetry are forms of expression

They are both creative acts with the power to change lives. Both music and poetry are often used as an outlet for emotions, providing solace in times of trouble or joy. People can also gain a better understanding of themselves through poetry, while music enables listeners to reveal their deepest feelings through lyrics or tone of voice.

3. Both music and poetry rely on a combination of sound and silence

Whether it's the silences in between musical notes, their timing or the spaces in between words when reciting a poem, silence is an important part of both art forms. Even in bars where poets perform, there are usually long pauses after every sentence. Poetry also uses words that have no sound, such as "shhh!"

4. There are many different types of music and poetry

For example, a person might reference rap music or Shakespearean sonnets when talking about the relationship between music and poetry. These terms refer to different genres within each art form. Rock 'n' roll, jazz, blues, and hip hop are some of the different musical genres. Free verse, haiku, and sonnets with rhyme are popular types of poetry.

5. Music and poetry share similar themes such as love, loss, and life

These themes are so common in both art forms that they have almost become clichés. Music and poetry can be used to express happiness, sadness, anger or any other emotion, as well as various situations such as heartache or recovery from a relationship breakup.

6. Both music and poetry use patterns of words

A rhyme scheme is the pattern followed by words in a poem, while meter defines the number of syllables in each line of verse. Poems also use different rhetorical devices to convey their meaning through sound and rhythm like alliteration (repetition of initial sounds), assonance (vowel sounds) or consonance (consonant sounds).

7. They both use rhythm to create emotion

The rhythm of music is created by the combination of different instruments or notes, while poetry has its own patterns to define the way words are said out loud. Poetry can convey meaning through poetic devices like assonance, alliteration and repetition in its writing style.

8. Poetry can be found in song lyrics while music can be found in poems

Songwriters often use poetic devices in their lyrics and combine them with music. Some bands write songs that tell a story or express an emotion like pain, loss or anger, which is similar to how poets can use words to paint a vivid picture of reality through creative expression.

9. Both music and poetry are timeless

They have the power to connect people over time, making them relevant even when culture and context changes. Despite the wide variety of music and poetry forms, their underlying similarities have allowed their meaning to remain unchanged throughout history.

10. Music can motivate people to create poetry while poetry can inspire musicians

This is because music and poetry both provide a way to understand oneself and the world around them. When people are overwhelmed with strong emotions, either art form can help them express themselves abstractly. This is why many musicians write songs about their own life events while poets frequently reference themes such as love and loss in their work.

Music and poetry have their own unique qualities, but they also share a number of similarities. Both have been around for thousands of years, providing a means to express emotions as well as other abstract ideas, such as love and loss. Although there are many different types of music and poetry, the relationship between these art forms remains unchanged since they both provide a way to express oneself.

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The Relationship Between Music and Poetry - Musical Mum

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Poetry and music have a lot in common. They're both very personal, and the best poems and songs share a common goal, which is to make you feel one specific thing. Both of these art forms share many similarities while also being unique in their own way.

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...Opening Spotify...

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One of Italy's most prominent live acts, Giorgia Angiuli is at the forefront of the melodic techno scene with one of the most recognizable voices around. Constantly looking for new ways of expression, her playful relationship with how she approaches music production is key to her ever-fresh sound. With releases on an array of respected underground labels, including her newly christened UNITED label, she now lands on Tragedie with a collaboration with label owners Teenage Mutants.

To celebrate the release of 'What We Think', her collaboration with Teenage Mutants, Giorgia Angiuli shares 5 tips she applies when recording and processing her voice.
'Hello, my name is Giorgia Angiuli, I am an Italian producer and live act performer and I use my voice almost in all my productions'. 1. Main Vocal Microphones
In the studio, I record it with a Neumann TLM 103 and a preamp by warm audio, the WA73EQ. I love these gears! During my live performances, I sing with a Shure sm58 and a TC HELICON PERFORM V.
2. Ableton
In-studio I record my voice on Ableton Live, without auto warp. I use many Ableton plugins to process it: for example native EQs (I usually do a cut around 250 Hz), the Ableton Ballad Reverb, a compressor, a saturator, Multiband Dynamics, and a Bass Punch - Glue compressor.
3. Fun and layers
I use to record always a minimum of two layers of vocals and very often I pitch the second vocal at minus 5 semitones. To fix the tune I like the Waves Tune and to give more identity to my vocals I use some more creative plugins, for example, The Ovox. You will find many options on this tool and you could use your voice as a synthesizer. It is really funny! In the last months, I also started to like autotune as an expressive tool. I would recommend you this free VST for max for live: BEAT LAB AUTOTUNA.
4. Cutting low frequencies
I like to add, on RETURN, the Valhalla room large chamber with minimum 5s decay and 70 depth and the delay eternity from Arturia. Cutting always the low frequencies (around 90 Hz).
5. Creativity
Recording vocals for electronic music, in my opinion, it is one of the most complicated things, because there are no specific rules it is all about your creativity and you need to create your own style.
Teenage Mutants & Giorgia Angiuli's 'What We Think' is now available via Tragedie. Grab your copy here.

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Giorgia Angiuli shares 5 tips on vocal recording and processing tips - Electronic Groove

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To celebrate the release of 'What We Think', her collaboration with Teenage Mutants, Giorgia Angiuli shares 5 tips she applies when recording and processing her voice. 'Hello, my name is Giorgia Angiuli , I am an Italian producer and live act performer and I use my voice almost in all my productions'.

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If you're working in any genre of electronic music, you'll need a few vocal processing tricks up your sleeve. Learn to produce these 3 sampled-voice styles for whatever you're making - EDM, IDM, glitch, house, ambient techno.

If you're an artist working on the frontiers of electronic music, whether it's ambient techno, IDM, glitch, or numerous other sub-genres, you'll know that the vocal track usually isn't the musical focal point. Indeed, they often don't exist.

Some experimental electronic artists, on the other hand, do incorporate vocals into their music. Holly Herndon is one such musician who comes to mind. Others, like Björk, who is always musically and vocally adventurous, are known to drop warped vocals onto their genre-pushing tunes. Arca, particularly on "Reverie," is another electronic artist who really plays with vocals in his IDM-meets-avant-garde pop stylings.

Our task is to demonstrate 3 unique vocal processing styles for electronic tracks where there's no "lead vocal," but there still is the human voice. For each of the 3 recordings below, we took a dry vocal sample, each time processing it differently with Waves OVox, a powerful vocal resynthesis and vocoder plugin. Listen to the breadth of sounds we managed to create with this single plugin.

1. Futuristic Vocals

Artists like The Knife, Holly Herndon and FKA Twigs regularly warp their vocals in experimental ways. Sure, the voice is an instrument in and of itself, but these artists use music software editing and effects to radically reimagine what the human voice can sound like when the machines get ahold of it.

A good early example of this is Autechre's 1999 remix of D'Breez's "Crazy for Love." It's a track that sits somewhere between classic electro and then modern techno, but the vocal is almost a template for how The Knife's Karin Dreijer would modulate her voice to sound futuristic, synthetic and foreboding.

For our audio clip, we combined two samples. One sample features the vocal lyric "Open up your eyes," while the other says "to another place." After making them into one larger sample, we used OVox to augment the vocal, giving it a futuristic sound.

Opening up Waves OVox, we set the Note Mapper to D - Maj Yesterday. Then we set OVox 1 to Hollow with a Formant Filter of 4.17, and OVox 2 to Comby with the Formant Filter pegged to -3.98, giving the vocal sample some formant range. To make it seem as if it's in some type of synthetic flux, we also activated OVox's arpeggiator, with a Rate of ¼ across three octaves.

In the FX module, we added some Distortion, Chorus and Reverb, giving the vocoded vocals some more grit and spaciousness. However, on this audio clip, we didn't use and EQ to shape our sample's frequencies.

Heard altogether, these tweaks inside OVox gave our vocal something fairly typical of electronic dance music vocal samples-a simultaneous melodic and rhythmic character. Immediately you have a futuristic vocal sound on which you could add beats and synths to come up with something unique and off-kilter.

2. Vocals as Experimental Textures

For this style, we wanted to create an experimental, synthetic texture using vocal loops-something ambient but also a little glitchy. As you can hear, the vocal sample we chose isn't exactly remarkable.

To alter it slightly, we pitched the full dry vocal sample down a semitone. But even this slight detuning wasn't enough to stop the vocal from sounding like a fairy singing in a bad fantasy film.

In Ableton, we selected three different loops in the sample. Each loop has a different length and occurs at a different point of the sample. Because the vocalist sang in various pitches throughout the sample's duration, the loop points have distinct pitches.

Listen to loops 1, 2, 3 in the audio recording below, which plays them in sequence. Nothing special... yet.

Next, we layered these loops to create a multi-tracked vocal sample with different notes and glitchy tonal qualities. The result is still not pleasant to the ears.

To give it some experimental musicality and color, we turned to OVox. We played around with settings until we got something that was synthetic, but still on some level, human.

We set OVox 1 to Comby and OVox 2 to Classic. Next, we set the Formant to 8.32 on OVox 1 and to 9.82 on OVox 2, and the Gain is fairly high on both sides. In the FX module, we applied some Delay and Reverb. We also tinkered with the EQ section in the first loop to cut out some of the higher frequencies, and gave it some more low end for overall sonic depth.

For each loop, we set Focus (in the Formant Filter module) between 2800 and 3750. In the same module, we set Q between 4.000 and 5.000. We did this to make it sound creamier but also to give it more of a floating quality. This tinkering also helped eliminate some subtle clicking from one of our sample loops.

The multiple loops and three instances of OVox result in a vocal sample that has transformed from something basic into an experimental ambient texture. It's now something that can be, for example, used as a vocal-based pad throughout a song or placed at either the beginning or end of a track-or both.

3. Burial-Style Vocals

Inspired by Burial, we wanted to create some pitched, and reverb-laden vocals that could be used in the variety of experimental sounds heard in electronic music, especially future garage/UK dubstep and ambient techno.

In the audio clips below, you can hear two different samples. The first says, "Something is missing," while the second says, "It won't be long"-both by the same female vocalist. These vocals are the type of samples an artist like Burial might use.

To start, we pitched Sample 1 ("Something is missing") down -7 semitones. We then pitched Sample 2 ("It won't be long") up +3 semitones. As you can hear in the audio clips below, this alone won't give you that distinctly phantom Burial vocal texture.

To achieve this ghostly tone, we applied some reverb and chorus in OVox. The chorus is on the tame side, but our reverb has a long tail. The reverb is also set to "Dark," which fits the desired style.

While spacious and somewhat haunting, the results are still too clean. To give it a more degraded tonality without letting it slip into highly vocoded territory, we set OVox 1 to "Glass" and OVox 2 to "Hollow." We then played around with the Formant Filter in both modules, setting OVox 1's formant to +0.53 and OVox 2's to -0.24.

OVox can have extremely drastic effects on vocal samples, but here we wanted something more subtle. It's almost as if OVox is a hybrid vocoder and bit crusher, giving it the quality of an old sample or a slightly warped tape recording.

While we like the aesthetic, the vocals do sound a bit buried (pun intended). To make them more intelligible but still maintain that ghostly Burial quality, we turned the Voice Correction knob to the right, settling at -13.4. We also experimented with the Tone knob, finding a good tonality at 18.4. Again, this makes the vocal samples more intelligible without eliminating all of the work we did to create the effect.

Some Final Thoughts

Whatever type of electronic music you want to make-and it truly can be anything, as it's a wide-open musical sandbox-the music and vocal sample or recorded vocal track will dictate how you use OVox, and what character of FX you'll want to conjure.

One song might require the futuristic-sounding strategies used in our first vocal sample. Another tune might demand more experimental textures, like in our second audio clip. And other tracks could benefit from the degraded and ghostly sound of our third recording, which is a nod to Burial.

But remember, even though you may have a goal in mind when processing your vocal samples with OVox, remain open to the possibilities of happy accidents. Keep an open mind and experimental spirit when processing your electronic vocal samples, and you just might end up surprising yourself.

Want to get familiar with OVox in your workflow? Watch how to get started using OVox here.

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3 Vocal Processing Styles for Electronic Music | Waves

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If you're working in any genre of electronic music, you'll need a few vocal processing tricks up your sleeve. Learn to produce these 3 sampled-voice styles for whatever you're making - EDM, IDM, glitch, house, ambient techno.

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Since moving to Berlin, Lebanese producer Nur Jaber has been prolific in her output of brutalist, club techno. A resident at the STAUB parties thrown at the city’s ://about blank venue, as well as a regular on the international scene, the OSF label owner accrued a following through her unique, oppressive and relentless approach to hard techno. Yet, digging deeper into her output, and you’ll quickly notice there is another, softer and temperate side to music. It’s something that could be felt for instance on her 2018 debut LP, ‘If Only - A State of Peace’, a somber, absorbing and multi-layered record.

Throughout her catalogue, the Berlin resident throws together concepts of desolation and harmony, intertwined with vocal samples, recordings, and monologues. These recordings, and others, play an integral part of Nur Jaber’s musical identity. They are often the basis for a track’s beginnings, and have helped her create her very own aesthetic for the music she releases. This is why one of her most important production tools is the Zoom H4, something she described as the ‘Master of the night’ in a previous interview.

We caught up with Nur Jaber during lockdown, as she talked about her current work, and the follow up to her 2018 debut LP. We went on to inquire how she uses the Zoom to create ideas, sounds, and then ultimately turn them into music.

I read that you take your Zoom H4n Handy Recorder with you everywhere. In general, what do you use as sources of sound?

Something that I’ve been recently experimenting with since lockdown, is taking the sounds from around where I am. Like outside in the streets, getting the sounds of the trains moving; people talking; the wind and stuff. In a way forming a symphony somewhere. When I bring it down into Ableton, I see there are so many different sounds. I can create a kick, a bass, little interesting effects. This is what I’m focussing on right now.

So these are bits you cut out and process?

Yes, you get to process them and recycle sounds. And this gives a nice energy to the track in general. I’ve also been taking recordings at home, opening the faucet, hitting some sounds around. The Zoom has become my best friend.

And everything is processed within Ableton?

Yes; changing frequencies, EQs, the pitch, adding lots of reverbs, delays, stuff like that.

How do you file them in a way so that they are useful for you when you need them?

I don’t re-use them. I do something for the month where I’m going to be working on certain projects and they appear maybe on three of four songs.

Has there been anything super random you’ve sampled that you’ve been surprised by?

It’s not random. It’s more personal. Let’s say if I cry or I’m feeling sad, certain emotions I record, but when I process they turn into something so different that it becomes more positive than how I was when I did it. You don’t really hear the crying or the speaking. It becomes more of a background sound. This is something I found surprising.

There are many artists out there that predominantly start making tracks by using samples and loops as a backdrop. But I have the impression that for you the drum machine [Roland TR-09] is your place to start?

The thing is, when I’m making a techno track it always starts with the drum machines, but when I’m making something more on the album side, more like cinematic stuff, I start with the piano, or with the sounds I’ve recorded on the street. I then start playing them and it starts creating emotion. Then I add the keys and some hi-hits. But yes, with techno I definitely start with the drums.

With the melodic, ambient side of things, do you use much in the way of plugins or after-effects?

No. I’ve realised during lockdown how much making this kind of music is actually me in my comfort zone. When I sit and make a techno track I get stressed. It’s like I have to do this in a certain way and follow all these rules. But when it comes to the other stuff I can just do whatever I want and it flows.

What are you working on at the moment?

I’m working on my new album right now. Everytime I work on it I keep diverting and going back to writing cinematic stuff, and I keep asking myself, ‘why do I keep going back in that direction?’ I’m working on a lot of stuff, and it’s nice to have this time to sit still and write.

How do you approach writing a second album?

I’m using a lot of samples. I’m doing more live recordings of things and bringing it all back and making it feel more raw, and less like the last album, which was more peaceful and happy.

How would you say your sound has evolved?

Technical wise, I feel like it’s better. I see there are some things on my last album which I could have fixed. Sound wise, I’m still mixed between the two different sounds I’m creating…  I’m still like, ‘where am I?’ It’s like a duality of personality.

What particularly would you change on your first album?

Sound design elements, effects... make them wider… to just give them some proper room, and give each instrument a place to breathe.

Is there a type of sound, or music you aspire to?

Do you know Peter Namlook? He’s one of my biggest inspirations sound design wise. Plus, DJ Rush. He knows how to put his voice in the midst of all these drum patterns. I just love the way he processes them.

In your earlier recordings and EPs you used a lot of vocal recordings and samples. How did you go about making these?

These ones were created by myself, either by recording my own voice or from friends from Lebanon, or different people who’ve helped me.

Were these purposefully recorded?

No. We wouldn’t prepare beforehand. We would go for the moment, and hit a point when it would sound perfect and then we would record it two or three times. Like with ‘War Pigs’, we were finishing the track and I remember we went out to a bar, got a bit drunk, came back to the studio, did the screams with a friend of mine and thought ‘this is it!’ I’m actually doing another record with her voice next month as well.

And what record will this be?

We did this vocals for this about two years ago. We always have these random studio moments. I then re-opened the file and I was like, lets just put this out. I recorded my vocals as well, and it became a whole story. It’s called ‘Love is in the air’. We all need some love in these times.

If you wanted to give some advice to a new producer on using samples, what would they be?

Record as many sounds as you can and just give it the time to really process each sample as it develops. Don’t just try one thing and then throw it away. Try a few different effects before you throw it. Another tip would be to be more organised with your samples. To label all the hats, background stuff so that you can find them in the future.

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Nur Jaber talks about found sounds and recordings in Techno

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Lebanese producer Nur Jaber talks about the use of found sounds in her Techno.

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In this tutorial, we use Moog's limited edition Minitaur to make basslines for techno, house and bass music tracks.
Moog Music's Minitaur is a dedicated analog bass synthesizer with a surprisingly long pedigree. It's the fourth incarnation in a series of low-end-only instruments that began with the Taurus in 1975. This was a synthesizer with pedals that you played with your feet, it was meant to sit on the floor, freeing up your hands. The Taurus II followed in 1981 and a third, limited edition one, in 2010. The Minitaur (get it?) does away with the pedals and houses everything in a desktop box.

Today we're going to use this little powerhouse to synthesize bass sounds for three genres of music: techno, house and hardcore rave.
Here are the finished examples:
N.B: We recommend following along with headphones or studio monitors. As ever, click any image to see a larger version.

Why Use A Hardware Synthesizer?

Before we go any further, let's address the elephant in the room. Why bother with a hardware synth when you already have a computer full of plugins? Doesn't it do the same thing?

The short answer is no, and so is the long answer. If you have to ask why you might want a Moog rather than a VST, you've clearly never heard a Moog in action. It's like asking "why have a steak instead of a Big Mac". The tone is solid and full, with a palpable amount of weight. You may be able to get a similar sound with a plugin and a lot of processing but a Moog will always sound gorgeous right out of the box.

Hardware synths can also bring a sense of uniqueness to your productions - everyone is using Serum but how many people are working with a Minitaur? Finally, it can be useful to have a wide palette of sounds available to you in your studio. Analog poly, FM poly, wavetable, modular, and bass synth - they all bring something different to the table.

A Quick Overview Of The Moog Minitaur

Moog's Minitaur is a two-oscillator monophonic bass synthesizer. Each oscillator has two waveforms, sawtooth and square, and Oscillator 2 can be detuned against the first. It has the classic Moog Ladder filter with cutoff and self-oscillating resonance.

There are two envelopes, one for amplitude and one for cutoff. Like the Minimoog, the envelopes are restricted to attack, decay and sustain, with release tied to the length of the decay. Finally, it has an LFO that can affect the pitch and filter cutoff as well as glide (portamento).

It's a fairly basic synth in terms of parameters, which makes it easy to use. However, there are a number of hidden additional parameters that can be accessed with a few button pushes or via the editor. We'll be using the editor to demonstrate today's patches for the sake of clarity.

Rolling Techno Sub

For our first genre exercise, let's create rolling sub-bass to sit under the kick in a techno track.

Step 1: Set Up

Start by creating a new audio track in your DAW. We're using Ableton Live but any DAW will work. Open the Minitaur editor plugin on the track and then create a separate MIDI lane with the External Instrument plugin pointed at the Minitaur. See the Moog site for more information on how to do this.

Choose an initialized patch (Init) and draw in some notes in your DAW. Finally, go to the Under The Hood section in the editor and click on the NOTE SYNC button in the Oscillators section. This will reset the phase of the oscillators with every new note played, making sure that each note has plenty of punch at its onset.
The bass sequence in default mode:
Step 2: Oscillator

Let's set up the oscillators next. We're going to use a single oscillator for a clean sound, so make sure VCO 2 is turned down in the Mix section. The volume of VCO 1 is currently set at halfway - let's bring it up to full power. Lastly, press the number 1 waveform button to change it from sine to square.
Now with a square wave:
Step 3: Filter

That's really bright. Bring the Filter Cutoff down to about halfway. We can add a little resonance as well. A setting of 9 o'clock sounds good.
With lowered cutoff:
Step 4: Amplifier Envelope

Our bass sound is much too short. Let's shape it with the envelope. In the Amplifier section, raise the Decay/Release knob to around 3 o'clock for a long, boomy sub. We can lower Sustain to around half way as well.
With VCA envelope:
Step 5: Filter Envelope

We want the bass to pump around the kick. We can achieve this with the filter envelope. First, in the Filter Envelope section, raise the Attack to around 10 o'clock, Decay/Release to 11 o'clock, and Sustain to the same position as the Decay. In the Filter section, turn the EG Amount knob to the left. This will reverse the polarity of the envelope shape and cause the filter to pump in and out. Fine-tune the pumping to the beat. A setting of 10 o'clock sounds good.
The bassline now with the Filter Envelope applied: Here is our finished bassline in the context of a track with compression and EQ plus samples from Splice's Tension - Techno pack:
Classic House Bass

Next, let's dial in some classic Moog bass for a house track.

Step 1: Set Up and Oscillator

First, set up the Minitaur as we did in the techno section above, with a default patch and NOTE SYNC on. Draw in some notes for a bassline.

We want a sharp, buzzy sound so we go with a sawtooth wave for both oscillators. We bring up VCO 1 LVL to full and VCO 2 LVL to halfway. Finally, we adjust the tuning of VCO 2 until we hear just a small amount of movement in the interplay between the two oscillators.
The bassline so far:
Step 2: Filter

Let's add some of that Ladder filter mojo. Turn the Cutoff down to around 320Hz, bring up the resonance to 10 o'clock for some good squelch, and up the EG Amount to 2 o'clock as well so the Filter Envelope will affect the Cutoff.
Now with filter changes:
Step 3: Amplitude Envelope

We're after a short and punchy bass sound this time. Leave the Attack at zero for a snappy onset, Decay at around 10 o'clock and Sustain just a hair below that. Be sure and turn off the Release for a staccato sound.
The bass so far:
Step 4: Filter Envelope

Finally, let's use the filter's envelope to push some squelch into the bass. Keep Attack at zero and raise Decay and Sustain to 9 o'clock. There's that Moog magic.
The finished bassline:
Here it is with compression and EQ in a track with samples from Splice's Basement House and Terrace House selections:

For the last bassline, let's recreate a classic, the dread bass from Dead Dred's ' Dred Bass ', and use it in a 160bpm hardcore track.

Step 1: Set Up and Oscillators

Set up your DAW as before, play in a bassline, call up a default Init patch and select NOTE SYNC.

Change both oscillators to square waves for smooth bass sound. Turn up the level of VCO 1 all the way in the Mix section, and blend in VCO 2 until you hear the two oscillators begin to phase against each other. Around 10 o'clock sounds good to us.
Square wave bass:
Step 2: Filter

That's extremely bright. Bring the Cutoff down to around 1000Hz and add some resonance as well. Not too much - just enough to give it some colour.

Top Tip: Moog filter resonance attenuates the low-end. You can use this as a kind of highpass filter to help balance the amount of bass in your track.
Now with filter adjustments:
Step 3: Amplitude Envelope

Let's set up the VCA envelope next. We want a nice, full sound. Leave Attack at zero, set Decay to around 1 o'clock, and Sustain at 3 o'clock. Make sure the Release button is turned on.
With envelope adjustments:
Step 4: Filter Envelope

The final stage is the filter envelope. The original dread bass was made by reversing a bass sample. We can mimic this with the Filter Envelope set to reverse polarity. In the Filter Envelope section, put Attack at zero, Decay at 1 o'clock, and Sustain around 12 o'clock.

Next, turn the Filter EG Amount dial counterclockwise to create a fade-in effect. If the envelope is being affected by overlapping notes, head to the Under The Hood panel and set the EG Trigger Mode to Legato Off.
The finished dread bass: And in the context of a song with compression and EQ and break loops from Splice's Classic Jungle and Warehouse Rave packs:
FOLLOW ATTACK MAGAZINE

Author Adam Douglas
18th February, 2022

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Synthesizing Bass For 3 Different Genres With Moog Minitaur

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In this tutorial, we use Moog's limited edition Minitaur to make basslines for techno, house and bass music tracks. Moog Music's Minitaur is a dedicated analog bass synthesizer with a surprisingly long pedigree. It's the fourth incarnation in a series of low-end-only instruments that began with the Taurus in 1975.

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Alice Yalcin Efe - Mercurial Tones Academy

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How Afterlife Tom Grooves are so Deep and Pristine

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P̲ink Flo̲yd - T̲h̲e̲ W̲a̲l̲l̲ (Full Album)1979