Music Technology Guide

TECHNOLOGY BASED COMPOSITION

For this guide, I have used the ‘Science of Surfing’ as the video reference The guide is intended to provide you with ideas you can use to help meet the marking criteria for ANY of the chosen briefs. It also provides an example of how to write about your chosen settings in the log book. Your composition must be bang on 3 minutes, and must contain at least six separate vocal/instrumental/sample-based parts. The marking criteria is divided as follows Section 1 - 30 marks Section 2 - 30 marks For section 2, they total the FIVE highest marks of 7 areas Section 1 The focus of this guide is how to apply synthesis, sampling, creative effects in order to satisfy section 1 of mark scheme. Editing of the mix is simply ensuring your mix is full (EQ), balanced (volume) and cohesive like your multi-track recording; nothing jumping out, all processing well controlled. Section 2 Once you have at least 6 separate vocal/instrumental/sample based parts and your final bounce is exactly 3 minutes long, you are half way to meeting the ‘Response to Brief’ assessment area. As long as your composition has structural variations in relation to key points of the video, and your melodies/harmonies etc are not discordant then other assessment areas should fall in to place. When making these sounds simply copy the settings in this guide Synthesis (8 marks) Mark Scheme: Design own sounds, manipulate using automation LFO, filter (cut off/resonance), envelopes (ADSR); mapping envelopes CREATE ORIGINAL SOUND DESIGN Pitchy attack synth (ADSR envelope mapped to pitch sine waves/noise)……………..4 Sine Wave Chord Synth (ADSR mapped to pitch for glide into each chord/note)….…6 White Noise with Side Chain compression (automate cut off filter)…………………….7 Square Wave BASS synth (automate cut off filter)………………………………………..9 Pad synth (with LFO creating tremolo effect)……………………………………………..11 Pluck Synth (automate mapping level with mapped ADSR and tape delay)…………..12 Arpeggiator synth (automate filter open and close)………………………………………14 LFO synth (LFO mapped to filter)…………………………………………………………..16 Vocoder (also falls under creative FX)………………………………………………………17 Sampling (8 marks) Mark Scheme: Using short audio files to develop new sonic elements; pitch-mapping, cutting/trimming, looping; creating new meanings or effect; sample rate and bit-depth; manipulation using sampling. CREATE RHYTHMIC ELEMENTS Cutting/Trimming Vocal samples - Method 1……………………………………………..19 Cutting/Trimming Vocal samples - Method 2……………………………………………..20 Pitch Mapping…………………………………………………………………………….…..21 Looping and Re-triggering (fast repetition of a word/syllable)..…………………………23 Manipulation - Flex Time - Rhythmic/Time Stretch…….………………………………..24 Manipulation - Flex Pitch - Harmonising and Group Processing (EQ automate LPF)..25 Sample Stuttering 1 (Gapping)…..……………………………………………………..…..29 Sample Stuttering 2 and Fade Speed up/slow down effect (VERY COOL EFFECT)…30 Programming Drums - Reversing Samples………………………………………………..32 Drum Machine Designer - This is more how to use DMD, you’ll need to manipulate samples within DMD to gain further marks………………………………………………..33 Creative Effects (8 marks) NEED TO MANIPULATE FX Mark Scheme: Creative effects – adding time-based effects or processors to modify existing sounds; control of core and detailed parameters. Creative FX are those that develop timbres and create new sonic or musical elements (not just a small EQ change or bit of compression of dynamic control). As long as all of the above (1-19) has been applied tastefully; you’ve chopped and (re)sized samples to create effective rhythmic elements and exploited the wide range of vocal techniques by applying time stretching, pitching(mapping), harmonising, reversing, spin up/down (slow/speed fades), filtering LPF and used side chaining, then you are on your way to meeting the mark scheme criteria for creative effects You can apply the following effects, as long as it’s reflective in the action, pace or emotion of any of the briefs, don’t just place anywhere in the piece without justifiable reason EQ Sweeps……………………………………………………………………………………….…..35 EQ Telephone Vocals Effect…………………………………………………………………….…..36 Creative Panning / FX Panning……………………………..……………………….………….…..37 Basic Application of Reverb……………………………..………………………….……….….…..38 Reverse Reverb……..……………………………..…………………..……………….………..……39 Shimmer Reverb……………………………..………………………………………..……….….…..41 Gating - Rhythmic Effects..……………..………………………………………..………..…….…..44 Delay - Pitching………………..………………………………………..………..…………….……..45 Delay - Automate send, Panning and Phaser….…………………..………..…………….……….47 Delay Designer - Create patterns (melodies) out of delays….…..………..…………….……….48 Bit Crushing (Distortion) - Sample Rate and Bit depth….…..………..…………….…………….52 Modulation FX Chorus and Ensemble…….….…..………..…………….…………………………54 Modulation FX: Flanger……………….…….….…..………..…………….…………………………56 Modulation FX: Phaser with Pitch Bending….…..………..…………….…………………………58 Mark Scheme/Log Book Your log book write up should be used to highlight your choice of sound design and how you used various techniques to reflect the action of the brief, helping the examiner justify your marks. Use time references and no screenshots. Explanation of how the important settings that most influence the sound have been used are most useful, and demonstrate understanding of the methods being assessed. As an example, a short summary of oscillator types, (if) octave and detune; filter type and filter envelope; LFO, modulation sources and other envelopes if relevant; indicating how they shape the desired sound and any automation or real-time control used. Pitchy Attack Synth ES2 >> From Presets select Analog Saw Init Oscillators (Osc) 0:33 Set Osc1 and 2 to Sine Wave Adjust Osc 1 down an octave (-12s) Adjust Osc 2 down 2 octaves (-24s) Set Osc 3 to noise Adjust mix of all 3 in triangle as desired Filter Set Cut Offs to just over 50% Amplitude (Amp) Tape Delay settings Set Sine and level and distortion approx 9pm Modulator Mapping (Matrix Routing) Use router 4 Source as Envelope 2 Target as Pitch 123 Adjust level to full (green triangle) Envelope Bring Sustain, Time, Release to 0 ms Adjust Decay to 1200ms Open Attack to 60ms Mix Panning Left to Right Bus Automation (Press A) Effects Using a bus, set up Tape Delay (Use default set to 1/4 note) Adjust feedback 40% Wet 70% Cut lows and highs Automate volume of send level so the delay occurs as the sound is ending. Log Book To reflect the purple wave, using ES2 synth, I combined 2 sine waves an octave apart and a noise generator, with the cuff off set to 50%. I mapped the Envelope modulator to the 3 oscillators to affect the pitch. By adjusting the attack to 60ms and decay to 1.2 seconds, I created a pitch dive effect across 2 octaves resulting in a sweeping sound like a wave. The noise oscillator contributes to the overall by sounding like a wave crashing on the beach. Automating the synth L-R in the mix and applying tape delay helps convey movement of the wave across the beach enhanced by the pulsating delay sound on 1/4 notes. Mark Scheme Under the mark scheme you have created your own sound design by mapping an envelope and adjusted the AD to intentionally create a pitch dive/bomb effect. You automated the volume of the bus and adjusted the tape delay settings to use creative FX. You have responded to the brief by creating wave sounds. Pitchy Attack Synth Settings Sine Wave Chord Synth (ADSR mapped to pitch for glide into each chord/note) ES2 >> Default (chords I used) Oscillators Turn off 2 and 3 Additional Adjustments Turn on Unison (Top of synth) Change Voices to 8 (gives wider sound) Bring up Analog to 12pm (adds classic warmth) Chorus Selected (gives wider sound) Intensity 10pm (gives wider sound) Set 1 to pure Sine Wave Detune Osc 1 -24 (semitones) (Detune important for pitch ramp) Filter Cut offs both 12pm Blend to middle Modulator mapping Router 2 Source Env 2 Target Pitch 1 Green Triangle Level Full ENV 3 ADSR Attack approx 160ms Decay HALF Sustain FULL (keep the note going) ENV 2 ADSR Attack approx 260ms Decay FULL Sustain FULL (keep the note going) VEL 0 (important or will sound out of key) White Noise Side Chain Compression Side Chain Kick - Pulse Create a 4 on the floor kick drum track to last the whole track Use either a MIDI Track with drum machine plug-in or an audio sample kick Route the output of the track to BUS 10 (Aux) Go to BUS 10 (Aux) and Mute the Bus (the kick should be silent) White Noise Synth Load up ESP Create a MIDI file and insert one note that will last the whole song from Bar 1 Note pitch is irrelevant because Noise = every single frequency Oscillators Attenuate all Osc, put Noise generator on full Filter Routing Bring Resonance down to 0 Set Cut off about 10pm ADSR Attack approx 45% (so you don’t get a harsh sounding first note) Decay at 50% Sustain 100%(keep the note going) Release 50% Side Chain Compression On White Noise track insert a Compressor Set Side Chain to BUS 2 Brig down Threshold to -50dB You can bring up Ratio 2.7:1 but no higher otherwise the output of the compressor will distort/clip; adjust so the output does not go into the red. The White Noise Synth should now pulsate in time with the BPM for the whole song. Automate ESP FIlter To create sweeping, whooshing wave sounding effect, you need to automate the cut off on ESP On sequencer window, Press A for automation Select ESP and Cut Off Draw in accordingly to reflect the action Application I have used one long note for the whole song. If you’re not using White Noise for whole song, it’s easier to create MIDI files just for individual sections. This will be easier when playing back and editing the cut off. Effects Add some chorus on the ESP for an even more wave sound and try sending to your reverb BUS so it ‘glues’ into your piece, but not too much reverb to ensure mix doesn’t get muddy. Log Book /Mark Scheme Under Synthesis you have designed your own sound using White Noise, manipulated/automated the filter and ADSR to achieve again the sound of waves on the beach For Creative effects you have used Side Chain kick to create a pulse in time with the song, therefore under section 2 you have hit marks under ‘structure - rhythm’, ‘style and coherence’ and ‘responding to brief’ with the ‘wave effect’ 4. Square Wave BASS synth (with Arpeggiator) ES2 default Create a simple bass line Oscillators Set all 3 Osc to Square Osc 1 = -12s (down 1 octave) Osc 2 = 0, 3cents (slightly above) Osc 3 = 0, -3cents (slightly below) Filter Cut off 1 = 10pm Cut off 2 = 11pm Amp Distortion = 10pm Modulator mapping Use Router 6 Source = Env 2 Target = Cut 1+2 Level = 0.63 (play with this so you can hear how the envelope is affecting the cut off) Envelope 2 Attack = 21ms Decay = 50ms Sustain = 0ms Arpeggiator On the channel strip, Insert Arpeggiator under MIDI effects Bottom left, change from Live to Grid Create a pattern like below, so the first 1/16th note is silent and vary the velocity of the 3 To have greater control of the bass line throughout the long, if may be easier to just program in the notes as MIDI remaining notes in the bar as below Automate Cut Off Go back to ES2 synth Hit latch and record the automation of the cut off opening and closing, or drawn in as below Log Book /Mark Scheme Under Synthesis you have designed your own sound using combination of square waves at different octaves and pitches (mentioned +3, -3 cents very slightly out of tune), used distortion for a grittier bass tone By mapping Envelope 2 with a short attack and decay and no sustain you have created a percussive sound, and with the sustain set to full on Env 3, the lower pitch of Osc 1 is sustained giving a warm deep tone to support the higher octave Osc of the bass For Creative Effects/synthesis, you have programmed Arpeggiator to trigger on the off beat notes creating a driving off beat rhythmic effect. 5. PAD synth (with LFO mapped to create Tremolo effect) ES2 Synth Pad >> Strings PWM Bring down Cut off 1 to approx 1/2pm Pad synths are useful to fill a track; this preset has warm combination of square waves Applying LFO The Low Frequency Oscillator is a wave generator that creates a very low inaudible frequency (usually below 20Hz) It creates a rhythmic sweep/pulse and creates these effects when mapped to… Osc = Vibrato (change in pitch) Filter = Wah Wah (sweeping frequency range) Amplitude = Tremolo (turning volume up and down) Map LFO Under Router 7, select target as AMP Source as LFO 2 Bring green triangle/level up to full (to ensure you hear maximum effect) Under LFO 2, adjust Rate to match the BPM of your piece 1/4 will pulse in time with the crotchets, 1/8 the quaver, 1/16 semi quaver etc, increasing the overall speed/movement of the pulse The wave parameter changes the shape off the LFO, try adjusting to hear the differences The original triangle shape at 1/8 rate is a good setting Try mapping target to ‘Pitch 123’ to hear extreme vibrato Try mapping target to ‘Cut off 1’ to hear wah-wah frequency sweep Automating the LFO rate Try automating the Rate between 1/4 and 1/8 nets, to display your understanding of LFO Also this helps convey the action of the WAVES in the video 6. Pluck Chord Synth (short stabby sounding chordal synth) Try using short staccato off beat notes (Progressive House Style) This synth could be used at a different part of the song to provide variation (or could start with it fading in automating the Modulation Router as on the next page) Load ES2 and leave on default setting Set BLEND to centre (so both cut offs heard) Adjust both Cut Offs to 9pm Resonance approx 9pm bring up FM approx 8pm Pluck is all about a short detached sound, so we need to adjust the envelope Envelope 3 Short Attack (0.48ms) Short Decay (approx 240ms) The short decay is key to the pluck timbre Sustain at 0 (again important to pluck sound) Modulator Mapping (Matrix Routing) Use Router 1 Source as Envelope 3 Target as Cut off 1+2 Play around with level/green triangle to listen how it affects the cut off Try Automating the level of the green triangle as follows (MM1 Amount) Apply Stereo Delay (as an insert) This will fill out the sound Be careful to keep the output mix low so it doesn’t muddy up the overall sound Set left to 1/4 and right 1/8 dotted Bring down the high cut to 7/8k Try different feedback each side L- 15%, R-30% Output low 7. Arpeggiator Synth (automate filter/resonance) Take the chords of the Pluck Chord synth and elongate the notes Use Retro Synth Select Preset Synth Bass >> Punchy Electro OSC Change to Triangle Wave Adjust Semitones +24 (2 octaves higher) Mix set to OSC 2 AMP Set Attack to 1.10ms Filter Change to LP 24 dB Edgy Arpeggiator Load ARP under MIDI FX Change Pattern from Live to Grid Adjust Velocities of notes 123 to provide variation Automate Filter and Resonance on Retro Synth On the channel strip select LATCH EXPERIMENT by increasing the resonance and sweeping the filter back and forth Or draw in the Automation under cut off/resonance as below Listen to the impact of the Resonance impact especially in the last bar Try sending last bar to AUX Delay for creative effect LFO synth (LFO mapped to filter) We’re going to use the LFO again but this time send to the filter to create a Wah-wah effect (sweeping frequencies) This can be used in a different section of your piece to provide variation ES2 >> tutorial settings >> Analog Saw Unison (3 fat saw waves) Filter Set both Cut Offs to approx 10pm and blend to centre To begin, create a MIDI note with one note lasting one bar Modulator Mapping (Matrix Routing) Use Router 4 Source as LFO 2 Target as Cut off 1+2 Once LFO set up, move green fader up and down to hear impact of LFO but leave on FULL Volume Envelope (ADSR) Only bring down Sustain to 0 Leave rest as is LFO Set RATE to 1/8 (quaver) Use triangle wave (default) for up and down effect Try the other waves just so you can recognise the difference effect each wave has If you want, you can automate the RATE of the LFO to change from 1/8, to 1/4 (slower) or 1/16th (faster) to help reflect the movement and pace of specific parts of the video 9. Vocoder Synth with vocal Time Stretching Record some audio ‘The Science of Surfing’ or use TTSfree.com to generate some text to speech >> type in ‘The Science of Surfing’ and download audio or use AI (09 To Believe the Science of Surfing what Causes Waves.mp3) Audio Import vocal Audio onto track The audio is too short; I need it to be stretched across 2 bars top match the video intro Turn on and Flexpitch and select Tempophone (FX) Drag the audio to stretch across 2 bars; it will sound stretched Mute the track Vocoder Create a new software instrument track with EVOC 20 PS Vocoder Synth Copy and Paste the chords from the ARP synth or make new chords/melody Go Presets >> 02 Vintage Vocoder >> Clear Voice Vocoder Like Side Chain compression, you want to send the vocal audio signal to the Vocoder synth; set the the Analysis Input to your audio track I called my audio track SOS hence the name of the input Make sure audio track is muted so you can only hear Vocoder You should now have the classic Robotic Vocoder effect Another good preset is >> 02 Vintage Vocoder >> Atmospheric Pad When using Vocoder with audio signal, you must set the signal on the Vocoder synth as Voc Vocoder Settings There is a lot going on in this synth so let’s just look at the main settings to ensure you Filter Selects the frequencies affected understand their function Bands (5 to 20) Chops the vocals into multiple frequency bands helping the vocoder better analyse and recreate the signal; the more bands (20) = more realistic, the less bands (5) = more digital/processed Set to both extremes so you can hear the difference Formants Stretch You can bring the Formants closer together or spread them out Bringing down to 0.5 will result in a tighter sound but quality will sound digital/too processed Turning right up to 2.0 will result in a more open clearer sound, can tell what the words are Formants Shift Creates deeper or higher sound without affecting the pitch Remember this is a synth; you still have the Osc, Filter, LFO you can also adjust Automation Try automating the the main settings or LFO You may want one part to sound more digitised and become gradually clearer I.e at 0:38 the blue monster could have more digitised sound (bands 5, Formants stretch 0.5) which then begins to open up around 0:46 as the happy blue ball faces start arriving (obviously at this point you would use different words) EXPERIMENT 10. Trimming/Cutting Vocal Sample (METHOD 1 in the sequencer) Import a Vocal Sample to edit (you can record, Text to Speech or AI) (10 Science of Surfing.mp3) Use the scissors tool to trim/truncate each word/phrase so can build up a bank of samples to load into the sampler/sequencer to manipulate and process later. Don’t forget a Sequencer is a program such as Logic/Cubase/Pro Tools, in which you can manipulate edit Audio/MIDI data. Fades/Crossfades When cutting/truncating audio samples, use must use the crossfade tool to ensure you have no glitches such as ‘clicks’ or ‘pops’ when playing Hold the command function when hovering over the sound wave to apply the second tool back the sample. Exporting Audio Files Make sure you trim right to the beginning of the sound wave, and apply fades to start/end of the file Create a folder on desktop or wherever to store these audio files Right Click Export as audio file and save/name under Custom field to your created folder 11. Trimming/Cutting Vocal Sampling Editing (METHOD 2 in Q Sampler) Software Instrument track >> Q Sampler Import original audio file Adjust start and end points (arrows on bottom left and right of audio file) Apply fades (top left and right of the audio file) You now have your sample pitch mapped across keyboard Go to pitch mapping for next part 12. Pitch mapping (Science) Create Software Instrument track >> Quick Sampler Load Audio Sample into ‘No audio file loaded’ You now have your sample pitch mapped across keyboard Try Programming some patterns Make a simple melody around the key of your piece You may find a word like ‘Science’ can not be triggered right on the beat This is because the ‘SScc’ at the beginning of the sample is not hard hitting rhythmic part; it’s the ‘I’ that creates more of an impact on the beat Therefore you should move the notes so they are triggered just before the beat, EXPERIMENT by moving the notes around until it sounds rhythmically in sync Apply Reverb On the Insert of the channel strip (not as a send) place a reverb Use Chromaverb and adjust the default settings to be extreme; Size 100% Density 100% Decay (reverb time) 9.2s 12. Pitch mapping (Science of Surfing) Producers like to sample in different ways, however when it comes to pitch mapping I like to use use one word per channel so you can have greater control over individual words, and you can experiment across the whole keyboard range There are plenty of other parameters you can play with and adjust in the effects section of the Quick Sampler, experiment with AUTOMATION to get even more extreme sound design (this sound reminds me of Coldplay’s use of pitch shifting on their 2 latest albums) Automating the coarse tuning of the Q-Sampler plugin with the word ‘surfing’ to rapidly detune across 2 octaves helps reflect the dissipation of the words in the video. 13. Looping and Re-Triggering Software Instrument >> Sampler (another way to sample) Turn on Mapping and Zone (yellow dot = on) Under Zone load audio file (13 Waves.mp3) Adjust the start/end and crossfades to create the word/part of the word you want loop Adjust (map) the yellow part so it covers an octave above, to allow us to play an off beat pattern then a simple melody First part of audio 0:00-0:04 Automated Cut Off to open and close Try creating an off beat rhythmic loop and use rapid re-triggering playing the notes on Second part of audio 00:04 1/16ths then 1/32nds To trigger 32nds, half the MIDI note to length 120 (each 1/16th = 240) 14. Manipulation - Flex Time - Rhythmic Import Audio Sample Turn on Flex Select Flex Time Rhythmic Match the rhythm Rhythmic locators are automatically inserted Into the audio file highlighting the beginning of each word and/or syllable Adjust these locators so the beginning of each phrase and or syllable are in time with specific beats of the bar You’ll end up creating some interesting delay sounding effects, depending on how much you pull words/syllables across the bar, this is a good example of sample manipulation to match rhythm 15. Manipulation - Flex Pitch Flex Pitch is used to fine tune Vocals (Logic’s version of AUTO-TUNE) Flex Pitch is handy to create harmonies of previously recorded audio by duplicating tracks It works best on vocal singing but can be used on anything Applying Flex Import ‘Surfing the Waves of imagination’ on to audio track Cut/trim and apply cross fades to can only hear ‘Surfing the Waves of imagination’ Turn on Flex Turn on Flex pitch Flex Pitch identifies the pitches of the audio and allows you to adjust the notes like adjusting pitches in a MIDI file Double Click on the audio file so it opens in the main editor window at bottom of the screen Main Functions - EXPERIMENT! You can drag the note to the desired pitch like a MIDI Note If you double click on a note, Logic will adjust to what it thinks is the perfect pitch You can extend or decrease the length of the notes (similar to Rhythmic Flex Time) Chop with Scissors tool Same note chopped up into 4, spread across 4 pitches and note length changed (but sounds mental) Fine Pitch Fine tune the note by cents Each note has 6 blue dots for various fine tuning functions Pitch Drift OUT Adjust the gliding /sliding out of the note Pitch Drift IN Adjust the gliding/sliding in of the note Formant Shift Change the harmonic frequency or tonality of the audio Gain Boost or attenuate the volume of each note/syllable Vibrato Can minimise or increase natural vibrato of the note Create a Harmony Create two duplicate tracks and copy and paste edited audio file Turn on Flextime and Flex Pitch on all tracks If your piece is in G, tune the first notes using the notes of the G major triad G B D Once you’ve harmonised the first notes into a chord, edit the reminder of the phrase It will take time but it is worth the practice and a good way to learn how effective Flextime is; also you can use this to create harmonies in your own multi-track/recordings Group Track Processing/FX On each of the 3 vocal tracks, inset plugin Pitch >> Pitch Correction This is like a less detailed plugin version of Autotune meets Flex Pitch Set Root to G and Major Scale Bring Response to fast 0ms (this is how quick the note is ‘snapped’ into key and can result in an intentional robotic effect like Cher’s 1997 track ‘Believe’) Group Track Processing/FX On each of the 3 vocal tracks, set the output to BUS9 (Aux) or whatever free bus you have available We are going to send the output the 3 tracks to one master track so we can process as a whole On Bus 9 (Aux) turn the Read button on and off; this should then create the BUS 9 (Aux) track in the sequencer next to your 3 original tracks Chop and loop ‘Surfing the Waves of imagination’ to start on bars 3, 5, 7 Group Track Processing/FX Compressor 1 - bring threshold down to -40dB Chromaverb -Size 62%, Density 86%, Decay 4.7s Copy this Compressor 2 - bring threshold down to -40dB Having another compressor after the reverb really highlights the long 4.7s decay of the reverb tail Tape Delay - Feedback 51% Low cut 430 - 9400 High cut We’re going to Automate Wet and Dry levels EQ - gradually open LPF (high end) Automate the Low Pass Filter to gradually open allowing the high frequencies to come through We will automate the high cut frequency to open 16. Sample Stuttering 1 (Gapping) OHHHHH sample at bottom so. unds better Import ‘Surfing the Waves of imagination’ onto new Audio Track If project at 120BPM start at bar 3 Set the scissors tool to be your second tool (when holding Command, first left of space bar) Chop up sample to every 1/8th note (quaver) of the bar Change second tool to Fade Highlight all the files, zoom in and holding command apply short in and out fades to all audio files, to prevent ‘clicks’ and ‘pops’ because you are cutting through a sound wave Select all the files, and pull back the end of each audio segment so each file becomes half the size; you should now have a stutter effect when you play back The example provided is used on spoken word; this style of stuttering will sound more effective when used on a long held word/syllable such as ‘OHHHHHH’ over several bars Try the same editing (scissors/fades/file length) technique with the OHHH sample 17. Sample Stuttering 2 and SLOW DOWN technique Import ‘Surfing the Waves of imagination’ Let’s sample stutter the word ‘wave’ Assuming BPM is set 120 BPM, set the audio file to Start at bar 2 ‘Wave’ is at bar 2, beat 2, 3 so loop here and scissors tool cut Move the first section back to bar 1 beat 4, 2 This frees up space to place 3 more ‘waves’ from bar 2, beat 2, 1, 4 Apply in/out fades to ‘Wave’ to prevent clicks/pops Then copy and paste 3 times into the spaces You should know have a good sample stutter SLOW DOWN / SPEED UP Fades technique When applying fades, you can speed up or slow down the intro/outro of a fade to create effects On the last ‘Wave’ adjust the fade out to last the entire file and right click Select Slow Down and notice the fade will turn orange/red This creates a record stop effect (like DJs use when physically slowing down a record on a turntable) Try elongating the last ‘wave’ to twice the length so you can really hear the impact of the slow down effect on the fade For fun, try applying a fade in with speed up selected on the intro part and apply a fade out with slow down effect You’ll create some interesting effects which come under Creative Effects when writing up in Log Book Programming Drums / REVERSING Check out the folder with 7 drum samples 2 of these samples are reversed for creative effect (hit hat and clap) A reverse sample always has maximum affect when triggering just before the original sample. Below is an example of the Reverse Clap leading into the Original Clap. Let’s Reverse the Snare Create a new audio track (Track > New Audio Track) File > Import > Audio File Select Logic (Your recently bounced 5 tracks should come up at the top) Select to import Snare Solo and Loop Locators snapping to the sample. (Not necessary, just nice) Double Click on the Snare Audio sample Select File > Functions > Reverse Once Reversed, Right Click > Export Audio File As > Under Custom, name as ‘Reverse Snare’ Hit Export Finder > Go > Home > Music > Logic > Change name to ‘Reverse Snare’ or Save wherever you have the audio files folder saved for this guide Create a simple drum pattern with Kick and Snare like below Place your new reverse snare so it leads into the forward snare Here you have used creative sample manipulation to create a cool reverse effect, resulting in the forward snare having more of an impact 19. Drum Machine Designer (DMD) Let’s load these 5 original forward samples into DMD. By loading these samples into DMD, you have the one master track for all the drum samples plus an individual control for each sample. Having a master track allows you to control all the drums with the one volume fader, or use audio processing such as automated EQ which we will explore later. Master Individual stems Reverse Samples You can also place your reverse samples in the DMD kit, but I prefer to have them separate in the sequencer so I can see clearly what is going on Random Fun I just used the fade in tool with speed up function on first reverse snare then fade out slow down tool on the last 3 snares and the 2nd reverse snare; creates some fun effects Using DMD Set up a Track > New Software Instrument Track Under the Software instruments, select Drum Machine Designer 3. Open finder and drag and drop your 5 samples into the respective sections of the kit; C1 = Kick, D♯1 = Clap, etc I.e Finder > Go > Home > Music > Logic > Kick 4. With the main DMD track selected, create a MIDI file by programming or recording a simple one bar beat to ensure all these one shot samples are triggering correctly. Adjust the velocity of each sample to create variation. Try a simple 1/16th crescendo/build up of the clap on beat 4 EQ Sweeps Filter Sweeps are a great way of emphasising variation coming in and out of sections The classic way to do this is by automating the High Cut Frequency (LPF = low pass filter) using Channel EQ Set the Slope to 36dB for a harsh cut off (24dB is ok) Automate the frequency to gradually ‘sweep’ and 'open up’ the frequency range Try grouping all the drums except for the kick to one BUS, so you can automate the Sweeping channel EQ on that bus or on individual tracks Sweep EQ - Low Cut Frequency gradually letting lows back in Hi Hats Sweep EQ - High Cut Frequency gradually letting highs back in Kick Pitch - automating pitch on Sampler to increase Forward Clap These 3 aren’t EQ related just cool effects I placed on drums Reverse Clap Pitch - automating pitch on Sampler to increase Snare 21. EQ Telephone Vocal Effect This is Lo-FI effect, with a limited frequency response, making the vocal thinner as though being heard through a telephone speaker Try on ‘Surfing the waves of imagination somewhere in-between the worlds’ High Pass Filter (HPF) Approx 400Hz Steep Cut Off 48db/Oct Low Pass Filter (LPF) Approx 5kHz Steep Cut Off 48db/Oct Cuts all the highs High Pass Filter (HPF) Approx 400Hz Steep Cut Off 48db/Oct Cuts all the lows Narrow Boosts Select a few Mid Range frequencies Give a couple of dB Boost Use high Q for narrow boosts Creates small resonances replicating telephone FX 22. Creative Panning / FX Panning across the stereo field is self explanatory Use it tastefully, for example in the video, if an object moves across the screen, use a Vocal sample, Lead synth (maybe with LFO) or White Noise to gradually pan across the screen with the action as opposed to a main instrument (chord/bass/kick) driving the piece But don’t be harsh by going hard left to hard right, also remember to RE-CENTRE Try 2/3s of the way; enough to make it obvious without being extreme Panning FX A cool effect is to Pan vocals slightly Left Automate the send level of the delay for one word of the phrase (reset to original level after) Pan delay right Vocals Left Send Level Pan Delay Right 23. Basic Application of Reverb (creating depth to in a mix) As with multi-tracks the best way to use Reverb is to send some of your audio to a master reverb channel on an Auxiliary BUS Reverb Settings For a long epic Reverb time (9secs), best for for spacey ambient sounding vocals, check out the settings I have provided under 10. Pitch mapping For Drums/percussive Reverb, try the following with a Short Decay Time Room Reverb BUS Master Reverb Channel EQ Controls frequencies affected by the Reverb (Low Shelf cutting Lows and High Shelf cutting highs) Distance How close or far the source is from the first reflection Decay Time Length of reverb tail/how long it lasts Size Controls size of room The Abbey Road Reverb Trick Iconic studios were Beatles recorded most their tracks On Reverb Channel, Insert an EQ Roll off everything (HPF) below 600Hz prevents a muddy mix Roll off everything (LPF) above 10kHz reducing harshness and can hear lead vocal 24. Reverse Reverb On a new track edit to one word I.e ‘surfing’ Apply in/out fades Set up Chromverb as INSERT on audio track Have a 4 sec Decay time and 100% Wet Right Click ‘Bounce in Place’ Make sure ‘Bypass FX Plug-ins’ is unticked A new track with long reverb tail will be created as below Double click on new bounced audio Track will open in audio editor, select File >> Functions >> Reverse Drag the reversed file so it ends as the original file begins Apply fades in and out Chop off the first transient at the end of the audio file Turn off the Insert Reverb on the original file And there you have another creative effect If you want to enhance this effect, use a Reversed long cymbal sample on another track Go to audio loops in top right corner Under search type cymbal Locate a ‘Long Crash cymbal’ Import into new audio track Follow above for reversing For this you may have to REVERSE via the ‘I’ on far left Line up with Reversed vocal for bigger impact 25. Shimmer Reverb Sounds great on a Piano, and its a VERY COOL EFFECT It is the process of sending an audio signal to REVERB Then to a PITCHSHIFTER adjusted to one OCTAVE (12 semi-tones higher) Then feeding back to the REVERB This effect would sound great at the end of the video (2:44 to 3:00), when they are finished surfing and chilling on the beach watching the sun set Piano and Melody Start by creating an atmospheric feel good piano progression based around the key of your track (in my instance G Major) sus2/sus4 chords are great for this style of outro (end of movie emotional vibe) Sampler >> Steinway Piano 2 On the Channel strip on this piano, choose a free BUS and set up a Send Level just as you would for a reverb Reverb BUS (Bus 14) Insert an EQ and use a High Pass and Low Pass Filter so these frequencies from the original piano track are not affected by the Reverb Insert a Chromverb Choose Concert Hall setting Have a long Decay (Reverb Time) 8 seconds Set Wet to 100% On the Reverb Bus, Set up a send to another BUS (15) so we can send the Reverb. Track to the Pitchshifter BUS Pitchshifter BUS (Bus 15) Insert Pitchshifter Adjust SemiTones +12 (so reverb signal processed up an Octave) Set Mix to 100% (so whole signal is affected) Routing Most important part is to now FEEDBACK the this signal into the Reverb (think of that diagram) Set the output of this BUS 15 to feedback into BUS 14 Automation of Reverb Send to Pitchshifter Automate the send level to increase for dramatic effect fading out at the end This is a very powerful and original effect that will gain you marks when used tastefully The examiner will be impressed by the way you set up using Busses as you will describe in your Log Book Gating - Rhythmic Effects All of the synths we have created so far have some kind of processing/effects on, so maybe create a simply chord based synth just holding long notes Once you have a new basic Synth selected Under Inserts on the Channel, Use Noise Gate plugin Just like 2. White Noise Side Chain Compression select BUS 2 or whatever BUS the Kick drum is sent to for the SIDE CHAIN input - this will create the PULSE You could always send ALL the Drums to another BUS and use this master drum BUS as the Side Chain input for a interesting rhythmic effect (although complex beats may sound crazy bt worth an experiment) Simply adjust the the Threshold and Reduction (-dB) parameters as above to create a groovy pulsating effect, maybe you could use this in the breakdown/Middle 8 of your piece Attack 5ms (how quick the gate starts working) Hold up to 150ms (how long the gate remains open) Release 10ms (time intakes to fully close, like fading out, you don’t want too abrupt) The best way to learn these controls is to EXPERIMENT and train your ears to recognise the impact of each parameter 27. Delay - Pitching For this effect, we’re going to set up a Tape Delay and automate the Pitch Shifter plugin so each delay increases in pitch Start by triggering a snare on the 2nd beat of the bar (no other snares in the bar) Set up a BUS on the snare channel send level 0dB On the chosen BUS set up a Tape Delay Set Delay Time 1/8th (quavers) Feedback 59% (maybe lower depending how long you want the delay to last) Wet 100% On the same Tape Delay BUS Set up a Pitch Shifter plugin under the Tape Delay Adjust the Mix 100% Set Timing to Pitch Tracking (prevents latency) We will be automating the Semi-Tones in the sequencer window On the AUX BUS in the mixer window turn on and off the READ button Yellow Circle 🟡 = BUS This will make the BUS track visible in the main sequencer so we can draw in automation Automate the Semitones to increase by +2 every 1/8 (quaver) in time with the delay Try automating panning of delay Experiment with one word vocals such as ‘Waves’ This technique displays use of creative effects by using delay, pitch shifting and creating rhythmic stylings Automate Send Level, Panning and Phaser Set up an audio track with ‘Surfing the waves’ We are going to automate the word ‘waves’ to be affected Tape Delay Set up a BUS Aux Track Insert a Tape Delay Delay 1/4 note (crotchet) Feedback 48% Wet 100% Microphaser Insert Microphaser below tape delay Intensity 63% Feedback on 52% Rate 0.88Hz (this is LFO) Hit the Read on/off to make track visible in sequencer window Automate Send Level to send ‘Waves’ to Delay Phaser BUS (purple line) Automate LFO Rate for phaser (creates underwater effect reflect action of waves in video) On BUS track set up Panning to gradually sweep back and forth across the stereo field Delay Designer - Create patterns (melodies) out of delays We can create patterns from one vocal word/syllable or a single note of a synth Start with loading up ‘Waves’ vocal sample into Q Sampler and trim/apply fades Trigger note to start on 1st beat of bar In Classic mode in the Q Sampler, the MIDI note must be held for the whole sample to be played back in it’s entirety If we want to trigger the first transient of the sample, just shorten the MIDI note to 1/16th In One Shot mode, even if the MIDI one is shortened to 1/16th it will play the whole sample Load up Delay Designer (mono > stereo) Each section at the bottom represents a 1/16th note The default setting where the ‘A’ TAP is located will trigger a delay half a bar (2 beats) after the original is played Play back to test Using the pencil tool, draw in (click here) another tap at a quarter of the bar/1 beat (this will automatically be called TAP ‘B’) and now there should be another delay Filter Pitch Panning Volume At the top of the plug-in you have several parameters you adjust for each TAP Click on each one to adjust Processing 4 TAP Delays I’m going to set up 4 TAP delays (A-D), changing from high to low in pitch, spreading across the stereo field Level/Volume Fluctuating Panning Gradually moving across spectrum Hard Left to Hard Right Transposition (Pitch) Line going through middle is original pitch Filter Cut Off The Cut Off is like a vertical channel EQ; you can adjust which frequencies are affected by the processing (Low Pass Filter - cuts out highs, High Pass Filter - cuts out lows) When using a single word vocal sample, even though you edit in the sampler for the sample to start at the beginning of the audio file, the part of the sample that needs to be bang on the beat may be a few ms in Feedback Loop The final extremely cool function about the Delay Designer is the Feedback loop that can be created in the top right corner HIGHER LOWER If you select the Feedback and choose Tap C, this will feedback the signal of Tap C on a loop until the signal fades out If the pitch is higher (Tap D and B) then the original pitch, the feedback loop will increase in pitch until it fades out If the pitch is lower (Tap C and A) then the original pitch, the feedback loop will decrease pitch until it fades out This kind of effect with the use on the word ‘WAVES’ could be useful to place in movie around 0:29 - ‘What Causes Waves’ then dissipates into the monster playing with the water in the box Synth Try the same technique on a single note synth Ensure you have a short note with Low Decay and Low Sustain like the pluck synth otherwise the delays will get muddy and overbearing 30. Bitcrushing (Distortion) Bitcrushing reduces the Sample Rate and Bit Depth (quality) of a sound source Bitcrushing is used as an effect to intentionally reduce the quality of an audio file The Sample Rate is how many times per second a sound is sampled by the Analogue to Digital Convertor when recording Digital Audio The standard (minimum) sample rate is at least 44100 times per second, or 44.1kHz Anything sampled below this rate begins to sound unrealistic/digitised/distorted and is not a true representation of how the audio sounds in it’s original analogue form Bit Depth is concerned with the dynamic range (loud to quiet) when recording digital audio The standard (minimum) Bit Depth is 16 bit but most digital systems record at 24 bit A low bit depth means a reduced dynamic range To work out the amount of dynamic range multiple the bit depth by 6db, therefore 16 bit provides 16 x 6 = 96dB of dynamic range whilst 24 x 6db = 144dB i.e 15000 samples per second (15kHz) Glitchy Sound Wave 44100 samples per second (44.1 kHz) Smooth Sound Wave Applying Bitcrusher Bitcrusher can be applied to anything but sounds cool on Vocals, Drums and Synths It’s a good technique to help transition in-between sections The key parameter is Downsampling The higher the downsampling the more digitised and processed the single will sound as you can see in the resultant ‘blocky’ looking waveform Bass Synth Load up under Inserts, Distortion >> Bitcrusher Automate the downsampling to increase at the end of 4 or 8 bars, be careful of track volume (can automate later) Vocals Automate the downsampling Lower mix level Keep Mix level low (35%), so the drums don’t get lost under the bit crushing Automate downsampling like below Drum BUS Automate downsampling In general, think how Bitcrusher can be applied within context of the video, I.e reflecting underwater transitions etc 31. Modulation FX: Chorus / Ensemble Think of the chorus in a show; lots of voices singing the same thing provides a thick sound Every voice timbre is slightly different, ever so slightly singing out of time (ms) and slightly out of tune (+/- cents) (but all in a good way) The Chorus effect works by Taking a copy of the signal and altering the pitch making it slightly out of tune Delaying by 15-35 ms Applying an LFO changes the length of delay over time Combination of the original and affected signal results in the chorus effect In the 1960s, The Beatles used the earliest type of Chorus in the form of Automatic Double Tracking (ADT); using tape day to thicken up John Lennon’s voice Applying to Pad Synth Chorus is good on Vocals or Pad synth Use Retro Synth >> Synth Strings >> Retro Strings Adjust ADSR for short Attack Use MIDI from 4. PAD synth (bring up an octave) Again use in a different part of the song with developed chords/new progression so the Examiner can clearly hear the use of the chorus effect; reflect the action like waves i.e when she surfing at 1:33-2:44 Have most intense 2:20-2:40 when the purple monster appears and she is going through the wave pipeline Mix is the balance of the dry and wet signal; establishes the overall THICKNESS the Chorus effect provides Rate (LFO) is the speed of the de-tuned signal Intensity is the strength Automation of the Rate as the purple monster appears then she travels through the pipeline Automation of the Intensity at the same time emphasises the monster appearing and psychedelic feel of surfing through the pipeline Be careful not to over do the Chorus otherwise it can begin to sound wildly out of tune 32. Modulation FX: Flanger Similar to the Chorus, it works by combining two copies of the same signal The copied signal is delayed by less than 20ms This puts it Out of Phase with the original Imagine wave B moving back and forth (changing ms), sometimes it will be in time with Wave A, but when it moves out of time it begins to go out of phase and creates a ‘whooshing’ effect The slight phase causes interference creating a comb filter effect The amount by which the copied signal is delayed gradually changes over time causing the above comb filtering effect (that actually shape) to sweep up and down the frequency spectrum This results in a ‘Swirling’ effect Use same Retro synth used for 26. Modulation FX: Chorus / Ensemble, some simple chords Sync Synchronise LFO Rate to BPM 1/8, 1/4 etc Mix Balance between wet and dry signals LFO rate Speed of LFO, the amount by which the copied signal is delayed (ms) Feedback Control the amount of effect signal is routed BACK into the input, changing the tone and making the sweeping effect more pronounced Intensity The width of the sweep, low is across a narrow frequency range whereas high means across the whole frequency spectrum Lower rate creates subtle, slow-shifting effects; faster rates produce a rapid warble more noticeable Automate increase in intensity, width the sweep Automate Feedback creating more intense sweep effect 0:56 to 1:17. Creating a whooshing/swirling effect reflecting all the randomness of the white speech bubbles with the little blue balls and viewing the cat through water 33. Modulation FX: Phaser with Pitch Bending Combines the original signal with the copy that is slightly out of phase The copied signal is run through an ALL PASS FILTER This takes some of their frequencies and reverses their phase Feedback The amount of processed signal fed back into the input creating a loop; this creates more intensity and more pronounced effects When blended back in with the original it creates peaks and notches Sweep Stages: number of times the signal is sent through the All Pass Filter Ceiling: frequency range affected LFOs Rate: controls the timing differences between the 2 signals, controlling speed of sweeping effect Mix: balance between the 2 LFO signals Set up simple 1 note synth ESP >> Polysynth Copy ALL settings below; Low frequency, Long Attack, short decay, high sustain At the bottom of the synth, ensure Bend up set to 12 Let’s experiment with the Pitch Bend and Phaser effect when the monster crushes the box with the water 0:34 - 0:46 Draw in a Pitch Bend so the note is held but glides between pitches Set LFO, Rate 1 1/8, Rate 2 1/4, Feedback 61% (gives more intense effect) This more intense feedback helps reflect the action of the water especially when he squishes it This automation below controls the mix level between the two LFOs creating a more intense effect when he squeezes the water since LFO Rate is synced to 1/4 notes Section 2 (30 marks) Examiners Report: Listen to your composition and ensure you meet their analysis below Response to Brief (6 marks) The most successful work shows consideration for all aspects of the brief and explores the themes and stimulus with imagination and musical competency. The best submissions used the brief in clear ways, often extending the ideas or maximising the potential e.g. with brief 2, adapting the words to suit the melodic ideas; brief 3 creating icy sounding timbres and imaginative use of vocal samples; brief 1 reflecting the action with synthesised timbres that follow the plot lines. Task requirements including the required length, creative use of sound design and skilful composition. Style and Coherence (6 marks) Must have a clear sense of style and direction, consistently used throughout with development of ideas and convincing delivery Ensure sections flow and compliment each other Structure - Melody (6 marks) Melody might not always play a lead role in compositions that rely heavily on sound design, but there is always opportunity to develop ideas even if simple material is used Melodies must have shape and direction Even just a few short motifs, can be stylistically suitable if enough musical interest is present elsewhere Where melody is a strong feature, write and deliver interesting ideas which may depend on on straightforward building blocks, but show development and maintained interest throughout Structure - Harmony (6 marks) Write harmonic progressions with related melodic lines that develop over the piece Important to develop ideas, do not simply repeat. Often basic chord structures are sufficient for the styles of music used, and harmonic complexity can still be developed by using different voicings, supporting melodies with developing lines and exploring inversions and substitutions. Don’t just use repetitive three or four chord patterns Use variation in chord structures, but add interest through varied voicing, inversions, and varied harmonic lines beneath melodies Structure - Rhythm (6 marks) Strong command of rhythm; layered, varied, developing ideas that work well together. State in logbook how they had cut, reordered, and arranged the content of these items to form new rhythmic structures Take brief-related samples and using them to form percussive timbres, and new rhythmic loops which they then went on to develop within their compositions. Strong grooves from drums & percussion, bass lines that enhanced the ideas, and other parts that were always coordinated and formed pleasing rhythmic layers Structure - Texture (6 marks) Good work displays builds and breaks, sometimes sudden dramatic changes. Create contrast between sections utilising compositional techniques to create light and shade, either by instrumentation and voicing changes, or by arrangement of musical ideas. Building up and breaking down layers in the music is an accessible way to add variety Form and Structure (6 marks) Create a sense of development through sections of the piece and providing a satisfying whole. Create contrast between sections utilising compositional techniques to create light and shade, either by instrumentation and voicing changes, or by arrangement of musical ideas. Structures can be dictated by the brief, I.e Video reflecting action, pace and emotion Full Marks Example (AS Level) Exact Same Criteria but must be bang on 2:30 0:20 0:00-0:20 0:36 0:52 1:24 1:48 2:03 2:20 INTRO (0:00 - 0:20) EQ LPF Sweep on Drum BUS Bass Synth, cut off highs Single note synth LFO Rate automated to become more intense adjusting Pitch Vibrato 0:08 Pluck Arpeggiator synth automate Filter Cut Off to open Vox EQ LPF Sweep on Vocal gradually opening 0:06 Chopped up Vocal Samples Panned with Delay 0:06 Vocals telephone filter effect with Delay 0:18 Vocoder Only (creates small drop before massive chorus impact) CHORUS (0:20-0:36) Bass Synth, Drums, Vocal on Loop 0:20 Low Pad Airy Synth 0:28 Filter Cut Off opening/LFO 0:32 White Noise Side Chain Compression Vox/Sampling 0:20 Pitch Mapping Vocals High, Descending Melody with Panning Delay 0:22 Pitch Mapped Vocals High Cut Off HPF 0:23 Vocals Looping/Re-triggering Panned Right 0:26 Vocals Pitch Mapping Vocals High and Vocoder and Delay 0:28-0:35 Repeated some variations in melody 0:35 Snare Re-triggering (taken from original sample) Chorus Repeated (0:36-0:52) (additional instruments added below to create build/thicker texture) 0:36 White Noise Cut Off open and gradually closing 0:36 Piano Arpeggiator Filter Cut Off opening VERSE (0:52-1:24) Drums Time Stretched and Rhythm have Half time feel 0:57 Original Hi Hat rhythms sampled, and panned L-R, R-L Bass Synth LFO Opening Cut Off, Rate Set 1 bar Airy Low Synth Atmospheric Reverb Vox/Sampling 0:52 ‘MIND’ Pitch Mapped, Descending Motif, panned right 1:00 0:56 ‘MIND’ Harmony Ping Pong Motif panned Left 1:00 ‘CHECK’ Time Stretched 1:06 ‘CAME OUT FREE SO’ Modulation FX 1:08 Reverse Snare Panned Left into Right Snare 1:11 ‘GO’ Panned Sweep across L-R BUILD UP (1:24) New Driving rhythm Kick Drum on Beat 1, then Bass playing off beat Semi Quavers 1:27 Drums drop so ‘MIND’ with vocoder and pitch shifted harmonies stands out ‘SO’ Panned L and R throughout 1:30 White Noise Side Chain with Cut Off automated and Phaser 1:32 Atmospheric Low Pitch Synth, plenty Reverb has Automated Pitch Bend creating a ramp 1:32 ‘SO’ Panned L and R throughout, becoming faster 1:37 ‘SO’ Pitch Mapped to increase in pitch 1:40 Complete Vocal sample, Flex Pitch made higher , harmonised with Pitchshifter, with plenty of glide created with PITCH IN/OUT function on Flex Pitch 1:47 Snare Re-triggering (taken from original sample) CHORUS Repeated (1:48-2:20) OUTRO (2:20-2:30) Same as Verse, Bass Pitch Bending DIVE Song finishes BANG ON 2:30 (2:28 final note) INCLUDING Reverb Tail