# data[].attributes.body
So far, I have tracked clean and distorted bass, and part of the guitar.

I used Moises to separate the drum track from the original recording.

Next week I plan to finish the guitar and start on vocal tracking

# data[].attributes.body
S1: 2 tracks showcasing your influences + emerging USP, Programme Notes & Development Log - 70% (LO2, LO3)

Present two tracks which celebrate your emerging USP and musical influences.

Produce programme notes that highlight your musical influences, and how the tracks relate to your artistic identity.

Document and evidence your track preparation, the processes you employed, and the progression of your project.

# data[].attributes.body
2 tracks - Live Performance & DAW Recording

Programme Notes

Multi-media Personal Development Log

# data[].attributes.body
https://drive.google.com/file/d/1_Q83xX92jHCK--aC2ej2DnfdjZK7E2wH/view?usp=share_link

This was my Live Performance Assessment (LPA).

I composed my own solo in place of the one on the original recording. This was because Geezer Butler of Black Sabbath plays different variations of this solo when they play this song live. I used the same scale of Butler and similar techniques - hammer ons, bends, trills - but also brought in my own influence - chords and fills - in order to show my originality.

This track challenged me in the sense that I don't normally play finger style, however I wanted to emulate Butler's tone. Additionally, the fills during the guitar solos were tough due to string-skipping and high BPM. This song pushed me to practice my left-hand stamina lots.

Overall, I feel proud of my performance.

# data[].attributes.body
For my live performance, I would like to do an original track: Rapture by my band, Hatebomb.

For my DAW, I think I will submit another original track: Disorder, also by Hatebomb.

# data[].attributes.body
One of my first goals at the start at my course was to be in an original band with a playable set by the end of term. I am now at a stage where I have an official release on streaming platforms, a second recording in the works and a headline gig with an hour's worth of original material.

# data[].attributes.body
My songwriting influences largely consist of 1980s d-beat and crust punk. This can go from the simplicity of the riffs and structure, to mimicking the tone of the instruments.

# data[].attributes.body
The track this week is Somebody Told Me by The Killers in the scenario "Jam Night".

# data[].attributes.body
We took "jam band" as an open-mic night approach. The Church House pub does a blues open-mic once a week so we did a bluesy version of the original.

Other elements of open-mic settings, that we used, are longer outs, improvised solos and "guesswork" - by looking at other band members to figure out when to move into the next sections.

# data[].attributes.headline
Starting to Choose Possible Case Studies

# data[].attributes.subject
Starting to Choose Possible Case Studies

# data[].attributes.body
Artist: Discharge

Genre: Hardcore Punk

Most Significant Piece: Their 1982 album Hear Nothing See Nothing Say Nothing

Other factors: Punk beliefs and ideologies that resonate with me

Artist: Suicidal Tendancies

Genre: Crossover Thrash

Most Significant Piece: Join The Army, 1987

Other factors: Blend of punk and thrash metal that directly influences my writing in Hatebomb

# data[].attributes.body
My sound mostly falls under hardcore punk and thrash metal labels.

I find that my USP is that I merge the two genres to appeal to more audiences rather than consistently appearing in just one sub-genre.

# data[].attributes.body
This week is Oscar Winning Tears by Faye in the scenario "Music For Television"

# data[].attributes.body
The song this week is Celebrity Skin by Hole in the scenario "Acoustic Live Lounge"

# data[].attributes.body
We took 'music for television' down a Jools Holland approach. Stripped back, chilled out version with a gradual build up to the end.

# data[].attributes.body
For my live performance, I've decided to do N.I.B. by Black Sabbath. It's more technically challenging for my on bass, which showcases my playing abilities better than Rapture by Hatebomb.

# data[].attributes.body
On my DAW, I'm choosing I Abstain by Napalm Death instead of Disorder by Hatebomb. The bass parts themselves are more intricate, additionally, I can exhibit my production skills through the grindcore genre.

# data[].attributes.body
The song this week is Naive by The Kooks in the scenario "Social Media Livestream"

# data[].attributes.body
I, unfortunately, missed the rehearsal for this week but I learnt the song and was instructed 'funky bass lines' for it. I feel I did a good job at fitting the brief.

# data[].attributes.body
This week was 1612 by Vulpeck in an audition setting.

# data[].attributes.body
For an audition setting, we added space for each instrument to solo and then jam together with extra flair to show off whilst complimenting each other's parts

# data[].attributes.body
This week was Murder on the Dance by Sophie Ellis-Bexter in a festival style

# data[].attributes.body
This version was kept fairly simple to the original, but with a breakdown section part way through, similar to how a festival would have a 'singalong' section on the hook of the song.

# data[].attributes.body
The festival we emulated was Sheffield's "Noise Annoys" fest, mostly consisting of hardcore punk and thrash metal bands. We went for a stripped back punk feel

# data[].attributes.body
This week was Black Hole Sun by Soundgarden to be played as accurate to the track as possible.

# data[].attributes.body
The final week was Like A Prayer by Madonna in a radio edit scenario

# data[].attributes.body
We cut out a large portion of the song. by shortening the structure to Intro/Chorus/Verse/Chorus/Bridge (Radio Announcement)/Chorus

# data[].attributes.body
https://drive.google.com/file/d/1duBfpiTMDRBmD92owGZjiIicwIlycVju/view?usp=share_link

This was Josh Connor's LPA. This track also challenged me as I had to practice right and left-hand coordination at a high BPM, along with triplets and tremolo picking, and complex fills that move all the way along the fretboard.

One of the key features of this track, for me, was making sure all of the bass lines were kept exactly in time with the kick drum. The original recording is played extremely tightly and I feel I did a good job emulating that with the drummer.

# data[].attributes.body
For this track, I recorded using Logic Pro X.

Microphone: Shure SM58

Guitar: ESP LTD-EX 50

Solo (Played by Billy Bray): Jackson JS32 King V

Amp: Amped - Roots Plugin

Bass: Ibanez GSR200 GIO

Bass Amp: Tech 21 SansAmp Programmable Bass Driver DI

Drums: Used 'Moises' AI software to take the drums from the original recording.

# data[].attributes.body
https://drive.google.com/file/d/1WDvlo-4xwzQJScMnUswKtan8LCqE5r2y/view?usp=share_link

This was Niall Wilson's LPA. I had to practice speed across strings, right and left-hand muting, and complicated time signatures, such as 5/8 and 7/8 for this piece.

It challenged me as this is not a track in my usual comfort zone (jazz-fusion is a genre I rarely practice) but it definitely helped me improve in areas I felt less confident in (changing time signatures, mostly).