SHR4C004M-003 Song Production & Write Up Template
Task 1: Three Minute Song Production (70%)
Task 2: 1000 Word Write-Up (30%)
This track demonstrates a hybrid production approach, combining elements of trip hop, hyperpop and indie songwriting, while deliberately deviating from typical genre conventions. It was initially conceived as a slower indie composition inspired by artists such as Mac DeMarco and Brad Stank, before developing through sampling and digital manipulation. Below is the original idea for the track performed on guitar:
This shift reflects influences from more experimental producers, including J Dilla, as well as the “broken beat” aesthetic explored in Theme for a Broken Soul (Madlib, 2004). In this work, fragmented rhythms and unconventional timing are central to the sound. Rather than replicating these styles, the track combines them without adhering to a single genre framework. Vocal processing also draws from hyperpop artists such as 100 gecs, though used in a more textural and less exaggerated way.
Lyrically, the track explores authority, spirituality and personal growth, focusing on questioning ideas and reflecting on individual experience. The sung vocals are fragmented and partially obscured, prioritising texture over clarity, while the rap section is more direct. This contrast reflects the wider production approach, where organic recordings are transformed through digital manipulation.
The harmonic foundation is based on a simple guitar progression: D/F♯ – G – Asus4 – G, reflecting common indie conventions. The Asus4 chord introduces tension, supporting the reflective tone. While the harmony remains unchanged, varispeed processing transposes the track up by five semitones, altering timbre and energy without affecting harmonic relationships. This shows how production techniques can significantly reshape a track without changing its underlying musical structure.
The track runs at approximately 133 BPM. The drums are fully quantised, providing a stable foundation. A “broken beat” effect is introduced in the final drop by duplicating the drum pattern and delaying it by an eighth note. This creates a layered, cluttered texture where overlapping rhythms produce instability. Rather than relying on microtiming, this effect is achieved through rhythmic displacement. While influenced by the feel of J Dilla, it differs by using digital processing rather than performance-based timing variation, contrasting with the more predictable rhythms found in dance music. The intentionally layered and cluttered texture contributes to the overall aesthetic, although it reduces clarity in certain frequency ranges.
The structure combines songwriting and electronic production, rather than following a single genre convention. It begins with a vocal-led section before moving into a rap verse, then shifts into a breakdown, build-up and drop. The final section reintroduces the original version of the track before sampling, processed with a telephone-style EQ, creating a lo-fi aesthetic through its restricted frequency range, which emphasises the contrast between the original material and the processed version. Below is the EQ used for the final section:
A key part of the production is self-sampling. All elements, including guitar, vocals, piano and bass, were recorded and then manipulated. Sampling was carried out using Remix FX in Logic Pro, where stutter and slowdown effects were recorded in real time.
Performing these by ear, rather than drawing them to a grid, resulted in a less rigid outcome. Sampling can act as a transformative process rather than simple reproduction (Cox and Warner, 2004), reflected in how the original recordings are recontextualised. Below is the automation used on the verse to create the chops
Granular synthesis was used to create additional texture from vocal material, breaking the audio into fragments and rearranging them into abstract sounds. These layers fill space in quieter sections and support the fragmented aesthetic. Other techniques, including reversing and pitch manipulation, further develop the glitch-based sound. The settings used in Alchemy are shown below.
Vocal production is central to the track. Autotune is used on all sung vocals, mainly for its fast-response effect, creating a processed texture rather than a natural vocal tone. This draws from hyperpop artists such as 100 gecs, as well as the vocal style of Frank Ocean, particularly in the use of pitch-shifted layers. This approach is similar to “Nikes”, where pitched and processed vocals are used as a textural layer rather than purely for lyrical clarity (Ocean, 2016). In both cases, the vocal functions as part of the overall sound design, rather than acting as the primary focus. I used the SM7B for the inbuilt pop filter and its good mid frequency response which accentuates the vocals. Below is me recording the vocal:
Additional layers add variation. Some phrases are pitched up a perfect fifth, reinforcing harmony without adding complexity. A ring shifter was added to those pitched vocals which introduced a high-frequency metallic tone, contributing to the glitch aesthetic and overall character of the track.
The production blends organic and electronic elements. Guitar and piano are retained but processed to sit alongside synthetic textures. For example, the fuzz guitar can resemble a synth, reducing contrast between acoustic and electronic sounds and creating a cohesive result despite combining elements from different genres. Mixing was kept relatively simple to preserve the character of the recordings. Instead of heavy EQ and compression, only small adjustments were made, such as slight high-frequency reduction on the instrumental to create space for vocals.
This maintains dynamic range and supports the layered, slightly cluttered feel of the track. This aligns with the idea that minimal processing can preserve the original qualities of a sound (Senior, 2011). Another example of simple but effective mixing I did was make the intro mono and automate it into stereo for the drop which added more hype to the drop.
The production process also involved limitations. As a solo project, all parts were completed independently, allowing full creative control but limiting external input. Collaboration may have resulted in a more commercially accessible outcome. Technical constraints within Logic Pro also affected workflow, particularly when duplicating automation. To work around this, the track was bounced to preserve Remix FX processing, and AI stem separation was used to isolate elements again. This introduced some of digital noise which is usually undesirable but adds to the glitchy aesthetic of the track. This demonstrates how technical limitations can influence creative decisions.
In terms of commercial potential, the track is more suited to niche audiences within experimental electronic and alternative scenes, where unconventional structure and sound design are more accepted. However, repeated sections and drops make it suitable for short-form platforms.
In conclusion, the project combines traditional songwriting with digital production techniques while challenging genre conventions. A simple harmonic idea was developed into a more experimental piece through sampling and manipulation. The use of rhythm, vocal processing and texture creates a distinct sound that reflects both technical understanding and creative intent.
Bibliography:
Cox, C. and Warner, D. (2004) Audio Culture: Readings in Modern Music. London: Continuum.
Senior, M. (2011) Mixing Secrets for the Small Studio. Oxford: Focal Press.
Ocean, F. (2016) Nikes. On Blonde. New York: Boys Don’t Cry
Madlib (2004) Theme for a Broken Soul. Stones Throw Records.
