YOU23084470 Composition – (SHR6E005C~002) :
Introduction and Creative intent
This project is an electronic ambient-experimental composition produced in Logic Pro. The aim was to combine atmospheric sound design with a sense of rhythm and movement, creating a track that feels immersive but still has enough structure to work in different contexts. Although it sits within ambient music, I wanted it to also function beyond just passive listening, with the potential to fit into a club setting, a film soundtrack, or a live DJ set.
The piece is influenced by the work of Brian Eno, Bicep and Oneohtrix Point Never. From Eno, I was particularly interested in the layering of evolving atmospheric sounds and use of non-linear structure, which shaped the overall flow of the piece. The main inspiration I used was his track off his 1983 album Apollo, “an ending”.
Brian Eno – ‘An Ending (Ascent)’
In contrast, Bicep’s approach to transforming a single sound through modulation and effects influenced my sound design process. where simple elements were developed into more complex textures.
Oneohtrix Point Never’s use of arpeggiated synths and high-frequency textures also informed the track, particularly in creating upper layers that sit above the mix and add detail and movement. Rather than directly copying these artists, the goal was to bring these ideas into a single piece, creating something that sits between ambient and more functional electronic music
Production Process
The production process began by exploring how Brian Eno creates layered, evolving synth textures. To emulate this approach I used multiple simple synth sounds generated within Logic Pro, primarily using ES2 and Alchemy. Rather than relying on a single complex patch, I focused on combining several more minimal sounds and processing them so that when layered, they would sit cohesive within the mix.
Each layer was processed and modulated using the perform mode in Alchemy. I shaped the sound using ADSR (Attack, Decay, Sustain, Release) and then modulated it with effects such as reverb, delay and filter cutoffs. Automation was also applied to parameters such as volume and panning, helping the textures evolve gradually over time.
DELAYED SYNTHS
Around 1 minute and 17 seconds into the track, a series of simple one-shot sounds are introduced, drawing influence from Bicep’s live performance of “Glue” at Glastonbury Festival 2022. In that performance, a single sound is transformed into a rhythmic texture through the use of delay and processing, which informed my approach in this section.
Bicep – ‘Glue’ and ‘Apricots’ at Glastonbury 2022
To achieve a similar effect, I began with a single, minimal sound created using Retro Synth and Alchemy in Logic Pro. The first audible patch was built from a basic triangle wave, with subtle vibrato and ADSR shaping applied to control its dynamics and movement. Keeping the initial sound simple allowed for greater flexibility in processing, particularly when introducing delay.
Delay was then used as the primary tool to generate rhythm, effectively turning the one-shot sound into a repeating, evolving pattern. This shifted the focus from melody to texture, with the rhythmic identity emerging through processing rather than sequencing. As a result, the sound develops into a key timbral element within the track, demonstrating how a minimal source can be expanded into a more complex musical feature. I decided to use ping pong delay on this sound which is two different delays bouncing left and right off each other so that it gives the sound more depth.
Automation of EQ was also used to allow the high frequencies to be gradually heard as the track continues to get to its most pivotal part.
ARPEGIATED SYNTH
The use of arpeggiated synths was influenced by Oneohtrix Point Never’s track “Betrayed in the Octagon,” which uses arpeggiation as a driving rhythmic and structural element throughout the composition. Inspired by this approach, I explored similar synth timbres within Logic Pro, focusing on sounds that could support a continuous, evolving rhythmic pattern.
Oneohtrix Point Never – ‘Betrayed in the Octagon’
Once an appropriate synth sound was created, I applied Logic’s arpeggiator and set it to a 1/16 note rhythm to align with the tempo and maintain momentum within the track. This helped establish a steady, motoric pulse that contributes to the overall forward motion of the piece. This sound can be heard at 2 minutes 30 seconds into the track.
To add depth and complexity, a second arpeggiated layer was introduced underneath the main synth. This lower layer had a more muted and “muddy” tonal character and was panned slightly to sit beneath and behind the primary arpeggio in the stereo field. This created separation between the two parts while still allowing them to function as a unified rhythmic and harmonic texture.
SAMPLING
At 3 minutes 25 seconds into the track a third-party sample was incorporated in the form of a saxophone recording sourced from BandLab. Rather than using the sample in its original form, it was chopped into smaller segments and restructured to create a new melodic phrase using the Quick Sampler in Logic Pro. This allowed the original material to be reinterpreted, shifting it from a fixed recording into a more flexible compositional element.
Once arranged, the resampled sax line was bounced to audio to allow for further processing and automation. Effects such as reverb and EQ were then applied to shape its tonal character and spatial position within the mix, helping it sit more naturally alongside the surrounding textures. This process reflects an approach to sampling that focuses on manipulation and reinterpretation, ensuring that third-party material contributes to the overall identity of the track rather than remaining recognisable in its original form.
For the drum section, I began with a basic rhythmic pattern generated using the Drummer feature in Logic Pro. Rather than using this output unchanged, I selected an electronic drum kit that retained an acoustic character, allowing the rhythm to feel natural while still fitting within the overall electronic aesthetic of the track.
The drum pattern was then bounced to audio to allow for more detailed processing. EQ and reverb were applied to shape the tonal balance and spatial depth, while automation was used to control the development of the sound over time. In particular, a low-pass filter was introduced when the drums first enter, reducing the high-frequency content and creating a more subdued, distant feel.
As the track builds towards its most prominent section at around 3 minutes and 32 seconds, this filtering is gradually reduced, allowing the higher frequencies to come through. This shift increases the perceived brightness and energy of the drums, giving that section more impact, timbral clarity, and forward drive compared to earlier parts of the track.
MUSICAL INFLUENCES AND APPLICATION OF MODULE CONTENT
The composition is informed by the work of Brian Eno, Bicep, and Oneohtrix Point Never, particularly in relation to texture, structure, and sound design.
Eno’s approach to layering simple sounds into evolving textures shaped the track’s atmospheric foundation and non-linear structure, where progression is driven by gradual changes in texture rather than clear sections. In contrast, Bicep’s influence is evident in the use of sound transformation, particularly through delay and modulation, where simple one-shot sounds are processed into rhythmic elements, allowing texture and groove to merge. This reflects a contemporary electronic approach explored in the module, where rhythm can emerge through processing rather than traditional sequencing.
Oneohtrix Point Never’s use of ambient space and arpeggiated synths informed the interaction between rhythm and atmosphere, particularly through the use of repeating 1/16 arpeggiated patterns that provide forward motion while maintaining a textural quality.
These ideas were reinforced through module workshops on synthesis, arrangement, and mixing, where techniques such as automation and spatial processing were applied to shape the track over time. Seminar discussions around experimental music further supported a non-traditional approach to structure, resulting in a composition built through layering, repetition, and subtle variation.
MIXING AND MASTERING
Once detailed processing had been applied to each individual track, the composition was bounced down to a single stereo file and imported into a new project in Logic Pro for the final mastering stage. This separation allowed for a more focused approach to the overall balance and tonal quality of the track.
The mastering process was intentionally minimal, with subtle EQ used to refine the frequency balance and ensure clarity across the full spectrum. Rather than heavily altering the mix, the aim was to preserve the dynamics and depth established during the production stage, maintaining the ambient and textural qualities of the piece. This approach reflects an understanding that, particularly within ambient and experimental electronic music, excessive mastering can reduce dynamic range and negatively impact the sense of space. As a result, the final master retains both clarity and dynamic variation, supporting the overall aesthetic of the composition.
