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Synopsis

This track (Theta2) was designed to explore computer-based techniques within the IDM (Intelligent Dance Music) style, linked heavily to pioneers within the genre, with specific reference to Aphex Twin.

This piece was created using Ableton, demonstrating a combination of techniques typical within computer-based music such as Software synthesisers, Audio effects, Automation and Sampled material.

Iterative in both structure (Intro-A-B-A-B-C-C-B-C), and development, the production process reflected this as well. Beginning in development from a recreation of the Pad sample found in Aphex Twin’s ‘Xtal’ (Twin, 1992) through samples released on Week 9 of the Module.

Once a repetitive harmonic foundation was established, and differentiated between sections, I designed the drums with similarity to Aphex Twin’s track, using a combination of MIDI-Programmed Drum-machine content and the Apache Breakbeat, which he also used in his track. In order to avoid it sounding to similar, I established some of my signature foley percussion sounds which I place in a lot of my tracks, demonstrating an acoustic element in an otherwise solely programmed piece.

An effective technique that helped to establish this track within the IDM genre was use of grain-delay processing on the breaks, especially within the B section. Automation of grain size and feedback, enabled the break to move between recognisable breakbeat structure and more abstract, glitch-based patterns typical of the genre. I used this effect in reference to the track ‘Hasty Boom Alert’ by μ-Ziq (μ-Ziq, 1997), which features complex drum programming and unpredictable rhythmic variation – strongly influencing my decision to manipulating the breaks with granular delay and automation.

Dense, harmonic synthesisers featured in Matthew Bourne’s track ‘Dave’ inspired my use of the 70s-inspired Sawtooth lead, that I created in Ableton’s Analog software-synthesiser. (Bourne, 2016)

I also used self-modulating reverb tunnels within different parts of the track to enhance spatial differentiation. This involved routing the tail of a reverb processor into a resonator tuned to the harmonic key of the track (B), essentially enabling the reverberant space to become part of the musical content itself. As the signal feeds into the resonator, harmonic overtones are emphasised, this evolves depending on the harmonic material that is fed into it – creating a highly effective resonant texture. This helped produce a sense of depth and enabled differentiation between sections and spaces. An example of this is as follows:

On reflection on this part of the production process, I felt positive towards my use of digital audio effects as compositional elements within the track rather than purely mix-based aspects. This relates to IDM production heavily, a genre in which sound design and processing often carry an equal role to melody and rhythm in composition.

Elements of analogue-emulation and saturation also are replicated within my track, this is another technique that is associated with the genre, with lots of tracks incorporating the unpredictability of analogue gear, even when produced digitally within a DAW (Digital Audio Workstation). I used tape saturation, vinyl-style distortion alongside digitally provided artefacts such as bit-crushing across different layers, allowing small amounts of harmonic distortion and noise to accumulate across the signal chain. This helped create the imperfect sound that contrasts with the otherwise precise timbre you can achieve with digital production.

The seminar and workshop tasks from the module had a clear influence on my track. Many of the techniques, specifically used within Ableton, I first explored during practical seminar tasks. A modular-based influence within my track perfectly exhibits itself in full towards the end of my track. An arpeggiated synth riff is introduced to provide additional melodic momentum, loosely based on melodic material from Danny L Harle’s track ‘Me4U’ (L. Harle and Morrie, 2017). I used a MIDI file of the original riff, provided on Week 15 of the module page in exploration of the influential PC Music record-label. I then modulated the MIDI file to the key of my track, altered many pitches and rhythms so that it functioned contextually whilst also maintaining a clear element of influence.

In further influence of PC-Music, I created an arpeggiated vocal riff that appears frequently across the track. This was done by compiling an abundance of single note vocal samples that were within the key of the track, placing them on an Ableton Drum rack, assigning them all to the same choke group and then using Ableton’s arpeggiator plugin creatively. This artificial sounding, programmed vocal aligns with the famous PC Music label and similar effects can be heard in Hannah Diamond’s ‘Every Night’. (Diamond, 2014)

Overall, my composition aimed to compile the influences and information I have gathered throughout the module content, external-influences and creative manipulation of these influences. Combination of all of these references designed a track that I feel represents the experimental nature of IDM whilst also incorporating my own artistic signature within computer-based composition.

Bibliography of References

Bourne, M. (2016). Dave. The Leaf Label Ltd.

Diamond, H. (2014). Every Night. PC Music.

L. Harle, D. and Morrie (2017). Me4U. PC Music.

μ-Ziq (1997). Hasty Boom Alert. Virgin Records Limited.

Twin, A. (1992). Xtal. R&S Records.