SHR4C004M-002 Composition & Production Template
Upload your composition in the block below, please refer to the assignment brief for the specific file specifications.
Synthesis process evidence
Within my composition, I have made a song which heavily uses synths, and other electronic instruments, of which I have used various synths which I have heavily altered, whilst also creating my own synths. These are some of the many synths I have used, whilst also being some of the the synths I have designed fully by myself.
I created this reese bass synth as a way to help introduce the more intense sections of the composition. I made this by simply creating 2 oscillators as saw waves, then adding unison to them both to make the synth sound more dynamic and intense, whilst fine tuning one of them higher. I then linked the filter to an LFO and used a shape called chaos Lorenz, which gives random and chaotic rhythms to the filter.
This is a synth I created is used within the breakdown of the composition, which is around the end. I made this simply by experimenting with all of the oscillators, trying random ideas until one stuck, and by harmonising 2 triangle waves and a not-so triangle wave together by placing them at various octaves and by tuning one -8 semitones and the other +5 semitones, this synth became a great mix-filling chord synth which I used to layer with another reese synth.
This is a donk synth which is similar to a pluck synth but used in heavier electronic genres such as hardstyle and hardbass. Its quite a simple synth, with a sine wave dropped down an octave, with a funny looking square wave that’s brought up an octave and a sine sub that’s brought down 2 octaves, which helps this donk synth out with having lower frequencies. To give it that short, stab sound, I had to get rid of the sustain and shorten the decay within the 1st envelope, which controls the dynamics of all of the oscillators. I made the 2nd oscillator the same as the 1st, only with even less decay. I used this on the filter which has a high resonance to give the synth the signature donk sound it needs. The 2nd envelope also linked to the level of 2 oscillators, with it increasing the level on the 1st and 2nd oscillator when the envelope hits it’s peak, which helped give the synth a heavily articulated tone. For the second oscillator, the wave form I chose is rather unique as a donk synth typically has the 2nd oscillator as either a sine or a triangle wave. The reason I chose a mix of a saw and square wave is because it gives the synth more of a downsampled tone, which better suits the chaotic and deforming drum breaks within the section of my composition.
This is the main synth within the song. It is used during the the final build-up which is before the drop and the breakdown. The synth is a simple lead, which consists of only triangle waves, each of the oscillators are a different octave with slightly different fine tunings. 2 of the oscillators consist of 9 unisons whilst the other consists of 6. The heavy use of unison helps create a more aggressive sounding lead, especially when it is paired with white noise and distortion. Within the section where this synth is used, I have layered this synth melody with another accompanying melody and a bass, which all use the exact same synth configuration. Although that might seem like a lot within the mix, simply using and EQ which keeps certain frequencies within their role (E.g. the bass version will have more lower end frequencies so I would reduce the higher frequencies on the bass) and levelling each instrument accordingly can help create a very harsh yet pleasant style.
