SHR4C004M-002 25100001 Composition & Production.

Max lappin 25100001.

Uncompressed Pre-Master Mix, 44.1khz 24bit

Short video of track playing in DAW

(my computer is already using a DAW, when it tries to record the screen as well as the DAW it overloads the cpu hence the audio quality)

2026-02-27 05-06-43 Download

Synthesis process evidence

arpeggios:

this image shows my use of arpeggios, i wrote extended chords in with more voicings to fit the existing piano i had transcribed, then decided i wanted to have them stereo with the use of delays and splitting the chords. I started off with a simple sine wave with a low pass filter at ~600hz and EQ removing low end (low cut with a slow slope at 600hz) and boosting mid frequency at the same point. I used the same delay plugin (UADx Gal…ho refers to a tape delay emulation) and settings but by manually shifting the midi region it caused a syncopated rhythm between the split chords, I also used the delay settings to pan the reverb/ echo in opposite directions. I used the “britpre” 1073 emulation to add more overdrive for texture in the song

I used just a sine wave but because i applied various overdrive/ preamps, boosted levels into the echo plugins, used wet solo, and old tape emulation, I was able to create a low-fidelity and etheareal texture.

the patch is one i made while creating this project, i used the same patch for my sub bass element with different eq and saturation/ distortion.

E piano / piano:

Using the built in amp simulator allowed me to dial in acoustic noise and room reflections to make the E piano sound more realistic and how I wanted.

I adjusted the settings for the E pianos tone so I could get the exact kind of lofi sound i wanted.

For the tape delay aux channel, I placed an valve distortion before it to get more saturation, i then tweaked existing presets to my liking with feedback and echo / verb volume being my main focus. I used these to make sure the E piano wasn’t too dry with the rest of the soundscape.

Because this was an important element of the song, I took time getting the exact tone and playing i wanted.

Pads:

Pad 1, Vital synthesizer.

i used volume and velocity automation with 2 different pads for a natural progression and breathing effect. i used two different sounds with one being much more present throughout the song so that i had a variety of texture behind the main elements of the song.

for the vital synth pad, i used a pingpong stereo delay and a chorus effect to add a wide stereo effect

By using 2 osscilators a fifth apart, varying volume levels, a harsh bandpass eq, and a long reverb with chorus effect, I created a pad effect which sat really nicely in the mix which also complimented the other parts by filling out the background in the mix.

Pad 2: UVI workstation preset.

I liked the sound of a preset i had found but the effects built in didn’t work in my mix, so instead i used my own mix of velocity automation, and delay on an aux track.

Production and Song Arrangement

as seen in the photos, I have used spaced pairs of akg C451b and C451E microphones on the piano and drum overheads, I used these because the stereo image is better in comparison to XY in my opinion, and phasing issues are easily kept minimal with proper adjustment. I used the JZ mics Vintage 67 on vocals because it has similar tonal quality to a tube mic with less setup. I used the amp DI for bass so I could prevent spill as I already had limited space being in a smaller room. I used the patch bay to patch a headphone mix into the vocal booth and the stereo pairs into preamps: I used the neve 1073 dual pre on Piano and the goldmike dual pre mk2 on drums, however there was an intermittent noise on one of the channels of the goldmike so I just went through the desk.

song arrangement: I had written a song with some musicians which I planned to use but I didnt remember to use a metronome which made it much more difficult, so I chose to instead arrange the song with a sort of progression between synth and vst elements and real recorded instruments and vocals. I transcribed some of the piano and added parts with various pads and arpeggios on different synth layers for the VST/ synthesis half of the song.

I cut a small reversed section of the real piano and put it through a delay and reverb and then reversed it again for an odd effect commonly known as reverse reverb. this was good for the section of the song that switches from composed and electronic elements to the recorded instruments and musicians.

I have used a lot of automation, in particular, i adjust levels of aux tracks with delays and reverbs a lot on different elements such as pads and the main E piano element, I also automated the feeback knob on a delay with everything before the second half of the song going to it for the transition. I sharply cut off both the feedback knob and volume on this aux track though so it doesn’t self osccilate in a way that would ruin my song.

things I have learnt: I should’ve booked 113 so I could get better separation between piano and drums and record a bass cab rather than just DI. Outboard can be intermittent and noisey which is an issue with quiet drum playing. I need to try different micing on piano as it was lacking on bass end. Tuning the kit would have reduced the time I had to spend on EQing and compressing the kick drum. USE A METRONOME!!

The mix window of another project file I initially did EQ and tone shaping on the elements of the track. I made sure to avoid bouncing stems with group compression and any plugins on stereo out so I could make the changes later and also so the mix would remain a “pre-master”

The E piano midi composition. I used slight variation in each bar with velocity settings, play possibilty, and by changing each note induvidually for important moments in the progression of the song. the lines at the bottom are recorded sustain pedal presses.