Impact sounds have fascinated composers since before recorded sound was invented. The dawn of tape, and latterly, digital sampling technology, have given rise to one-shot impact sound samples in their unprocessed state, as well as being manipulated beyond recognition.
Create an original composition using a minimum of six samples of impact sounds.
Your music must reflect the meaning of the word “SMASH!”
Your composition must be bang on 3 minutes
Contain at least six separate vocal/instrumental/sample-based parts
You may use one or more of the following approaches:
• use mechanical sounds from a workshop or industry
• pottery and glass make distinctive sounds when smashed
• car impact sounds.
Synthesis 8 marks
Sampling 8 marks
Creative Effects 8 marks
Editing of Mix 6 marks
Response to Brief
Style and coherence
Structure - Melody
Structure - Harmony
Structure - Rhythm
Structure - Texture
Form and Structure
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.
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.
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 sounds have been used are most useful, and demonstrate understanding of the methodsbeing 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.