# data[].attributes.body
Specific:

To prepare 3 drum loops of varying energy

Measurable:

All the frequencies are being occupied

The beats all contrast

The beats can be played back to back and flow coherently

Achievable:

Yes

Relevant:

Yes

Time-bound:

By the end of the day

Achieved

# data[].attributes.body
I structured the entire song. The structure is: Intro, V1, Build, V2, V3, Bridge, V4, Outro

I used a vocal sample I found as the basis for most of the song. The sample had some underlying chords under it so I used a website that separates vocals from the instrumental. This allowed me to be able to reharmonise and cut the sample without it adding more elements to the track.

I used a loop of airy, breathy chords to start the track in a soft, relaxed style. For the intro, I took out all the lows and made it even more lofi in style. To make it even closer to a lofi style track, I added a vinyl sound effect under the Intro, V1 and the build. When the bass line and more chord layers are added in V2, the vinyl effect drops out to reflect the more clean cut sound of future sections.

Throughout, I added vocal samples that sound like a voicemail. I achieved this by using an EQ and knocking back all frequencies except the 1-3k range. One of these vox. samples is where I found the title of the track.

# data[].attributes.body
In the 2nd half of V2 and all of V3 the bassline is played in 3 octaves on a bass made in Vital. This is to add depth to this section and to contrast the first couple of sections where there is a complete lack of any bass present.

I pitched a lofi chord sample to fit the key and made 2 different versions. These chords pulse as swells on the offbeats. In the middle 8, the frequency of these chords doubles and occur on every beat. This builds the atmosphere and anticipation leading into V4.

I wrote the piano part on Musescore then exported the midi to import onto a MD Modern Bright piano. This allowed me to create the rhythms easier because of my Musescore experience.

The first drum beat is made off grid except for the kick. This brings out the softer side of the vocal line and the relaxed style. The other 2 are on grid due to the intensity and style I wanted to make. Also, for the 2nd and 3rd beat, I changed the kick and layered the snares to more accurately create the desired style.

# data[].attributes.body
I recorded 5 layers of backing vocals for some harmonic content in the first verse. I automated some panning to add atmosphere.

Just at the end of the bridge, I made it a 2/4 bar for suspense.

In V3, I added a mimicking vocal line. To make it more obviously unique, I duplicated it, panned 1 copy left and 1 right then misaligned them so they sound more ethereal.

In V2, I introduced a high pitched ‘Woo’ sample. I timestretched the original to make it higher and to make it more of a ‘zip’.

In the Bridge, the lofi chords are sidechained.

Mixing wise, the backing vocals have auto tune on them and a second voice digitally added in a higher octave. They also have reverb on them.

# data[].attributes.body
The vinyl crackle has a compressor on it.

And the chords have a low pass filter.

After that, I released the track on Spotify using Distrokid.

# data[].attributes.body
We risk assessed our studio spaces. Here’s mine.

# data[].attributes.body
Overall, my studio space has few hazards and little risk of injury.

# data[].attributes.body
I’ve decided to make a new track for my formative. It is going to be a different style because I found the 1st track hard to make a dj set around. This new track is going to be easier to perform in a set and hopefully better on the whole.

# data[].attributes.body
In a lecture, we were given a selection of samples. We were asked to pick at least 1 and make a basic track. I really liked 1 of the samples we were given so I decided to base my summative track on that vocal sample.

# data[].attributes.body
Specific:

To prepare 3 drum loops of varying energy

Measurable:

All the frequencies are being occupied

The beats all contrast

The beats can be played back to back and flow coherently

Achievable:

Yes

Relevant:

Yes

Time-bound:

By the end of the day

Achieved :)

# data[].attributes.body
I found a digital book entitled “The 28 Steps to Electronic Dance Music Production” by Melhem Maroun. I was mainly interested in the steps involving mixing, however it did remind me that ride cymbals exist so I added some tastefully to build the tension in the 2nd section. It also included some tips for layering synths. The tip I found most useful was to use EQ on each synth to select the preferred frequencies from each lead. This way, when they are stacked, they sound as 1 as opposed to a bunch of timbres competing for the foreground. I also learnt that some of the stack should be attack prioritised and some should be the body of the sound. This also influenced my creation of lead stacks.

In regards to arrangement, the book advised creating a singular 8 bar loop with all elements then copying and pasting it 20 times. Next you would remove certain elements/layers to create the contrast between sections. I don't like this method. I would rather compositionally create each section as I get to it. I love music that has a VERY large contrast so the drum loops and chords switch drastically between sections.

This book helped me to fix my extremely muddy mix. I realised an easy way to do this is EQ every channel taking out unnecessary bass frequencies. This fixed the issue I was having in my mix.

# data[].attributes.body
Charli XCX - Bass line tone

Kygo - Tropical House style leads

Luke - House organ stabs

# data[].attributes.body
One of the techniques I use to make my unique sound is heavy layering. For example, I have 3 hi hat layers. 1&2 are used as normal hi hats that just add some depth to the tone. The 3rd is used for resonance of the sound. I fade in to remove the attack of the sound.

# data[].attributes.body
I do a similar thing with my ride cymbals. I have 3 different samples. 1 has a nice high end, another a nice mid, and the 3rd a nice low end so when stacked up they work very harmoniously.

# data[].attributes.body
Percussion wise, I also layer: snares, claps, claves, ting and shakers.

# data[].attributes.body
I also layer my synths.

When layering synths, I think it is important to layer for a purpose and also not use all the layers all the time.

# data[].attributes.body
For example, during the buildup, I use an analog bass sound to tease the lead. When the drop hits, another synth joins in to make it more impactful.

# data[].attributes.body
When the 2nd lead melody comes in, I stack 5 synths on top of each other. The 2 leads that I used previously have the melody down the octave for depth. The other 3 have it at normal pitch.

The wavetables are as follows:

# data[].attributes.body
This lead has a really nice delay effect

# data[].attributes.body
This synth has a really nice round sound but it is quite overpowering so the gain is way lower than the others

# data[].attributes.body
This synth has a lovely decay and reverb

# data[].attributes.body
The way the bass line reenters after the 2nd drop was a happy accident. I accidentally misaligned the patterns so 1 of the tracks overlapped and played the descending scalic motion earlier than intended. This sounded very nice so I decided to implement the effect into the reentry of the bassline which I then doubled in octaves.

# data[].attributes.body
I recorded myself singing the vocal line then added heavy autotune to dehumanise it, formant shifted it, added a bitcrusher, and a flanger

# data[].attributes.body
I created my own samples and transformed them.

# data[].attributes.body
I sampled a bass and pitched it around.

# data[].attributes.body
I threw a handful of badges on the floor and recorded it

# data[].attributes.body
I recorded Mason then formant shifted it and pitch bent it. Here's the before

# data[].attributes.body
This is the end result. I used it as a fall throughout the track