Production Report: Original Composition in a Hybrid Cinematic and Electronic Style
This composition was created as an original hybrid work combining cinematic orchestration, electronic production, and elements of progressive rock and video game music. The piece was composed primarily in MuseScore before being produced and mixed in Logic Pro. My aim was to create a dramatic and immersive piece that would feel equally suited to an anime battle sequence, a fantasy film, or a video game soundtrack. Throughout the project, I applied production and compositional techniques explored during the module, including advanced MIDI programming, signal processing, sample manipulation, automation, and mixing.
Production Process
The composition began as a fully notated score in MuseScore. This allowed me to focus on harmony, melody, and orchestration before moving into the production stage. Once the structure was established, I imported the musical ideas into Logic Pro and assigned virtual instruments and samples to each part.
The instrumentation combined orchestral, electronic, and rock elements. Third-party and built-in sample libraries used include:
- Pokémon Black and White Grand Piano
- Logic Pro Vintage B3 Organ
- Logic Pro Studio Horns (Tenor Saxophone)
- Logic Pro Wide Rock Bass
- Logic Pro Church Choir
- Logic Pro Drum Kit Designer
- MuseSounds Strings, Guitar, Bass, Trumpets, Trombones, Percussion, and Drums
- Super Smash Bros Brawl voice samples (Narrator and Pokémon Trainer, Japanese)
- My own recorded vocals
One of the most significant production techniques was the creation of a pulsing rhythmic effect using Logic Pro’s Step FX plugin. The gate pattern was programmed in repeating groups of three, with note velocities gradually decreasing across the bar. Delay was added with 18% feedback, a 1.8 kHz cutoff, and 50% wet mix. Reverb was then applied, with the wet level modulated by an LFO to create movement and depth. This effect was used mainly on the strings, but was also applied to harp and brass at key moments.
To maintain a consistent volume after this extensive modulation, the processed string tracks were heavily compressed using a high ratio and low threshold. This effectively acted as limiting, bringing quieter delay and reverb tails forward in the mix and producing a dense, sustained texture.
The drum programming was particularly important to the overall character of the piece. To create a cinematic snare sound, multiple snare samples were layered and sequenced independently. I also programmed complex rhythms inspired by math rock, which presented a technical challenge due to the irregular accents and syncopated subdivisions.
For the introduction, I designed a custom synthesizer patch using Sculpture. The patch used a sine-based tone with slow modulation, enhanced upper frequencies, and a material blend between steel and nylon, resulting in an atmospheric and metallic sound. I also created a pulsing hi-hat effect using Step FX, inspired by the intricate rhythmic texture heard in one of my reference tracks.
At approximately two minutes into the composition, I recorded and overdubbed my own voice to create a percussive vocal ensemble. This technique was inspired by the use of voice as rhythm in the Avatar: The Last Airbender main theme. These vocal layers added an organic human element while functioning as part of the drum arrangement.
Mixing was approached with the intention of placing most instruments toward the “back” of the soundstage. This was achieved through EQ, filtering, reverb, and careful balancing of frequencies using the stereo output analyser. For example, bongos near the end of the track were low-pass filtered to prevent them from occupying too much high-frequency space. Some string lines were doubled using guitar synthesizers, including Amped Synth Lead and British Combo Synth Lead, to blend orchestral and electronic timbres.
Musical Influences
The principal influence on this composition was Yoshimasa Terui, particularly his works “Jujutsu Sorcerer,” “One More Time,” “Caught Off Guard,” and “Expectation” from the Jujutsu Kaisen soundtrack. Terui’s music combines orchestral writing, distorted guitars, choirs, and electronic effects in a way that feels both cinematic and modern.
From “Jujutsu Sorcerer,” I adopted the use of choir, guitar-doubled strings, and pulse-driven effects. “One More Time” inspired the atmospheric wind effect and unusual synth textures in my introduction. “Caught Off Guard” influenced both the gated hi-hat pattern and the tone of the guitars, while “Expectation” informed my overall mixing approach and use of depth.
My interest in video game music led me to incorporate dialogue samples from Super Smash Bros. Brawl, reinforcing the game-like aesthetic and contributing to the hybrid electronic style.
Relationship to Module Content
This project directly reflects the techniques and concepts explored throughout the module. Seminar and workshop activities on MIDI sequencing, synthesis, automation, dynamic processing, and advanced mixing were all essential to the development of the final piece.
The composition demonstrates Learning Outcome 1 through its engagement with cinematic, electronic, and game music genres. Learning Outcome 2 is addressed through the analysis and application of orchestration, rhythmic layering, and hybrid arrangement techniques. Learning Outcome 3 is evident in my extensive use of advanced Logic Pro functionality, including custom synthesis, automation, and signal processing. Learning Outcome 4 is fulfilled through my practical use of computer-based technologies, sample libraries, and recording techniques.
Overall, this project represents one of my most ambitious productions to date. It combines my influences from anime, film, and video game music into a coherent original composition while showcasing the technical and creative skills developed throughout the module.
