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Task 1: Three Minute Song Production

Task 2: Write-Up

Methods and Processes

I started this process by creating an analog inspired synthesizer. I used plugins such as reverb to add depth and space within the mix. I added “SI Q” which is an EQ that create this vintage effect when boosting some of the levels. This effect adds a layer of texture that gives a more analog sound to the digital synthesizer. The addition of EQ was made to take away the low end and this helped bring clarity to the mix by the chords having very little low end. There is chorus and phaser effects to create a more slick sound. This ultimately help create this euphoric sound I was looking for which was inspired by the synth used in “No Pole” Toliver (2023). For the main melody, reverb and Micro Shift (which widens the sound with modulation and de-tuning) were added. This helps to create this depth that I was trying to create and also helped add to the euphoric sound.

The drums were inspired by dancehall rhythms. I created a loop by using Ableton Push to record the drums into Ableton. I did not use the quantization feature as I wanted the syncopation to feel more human in order to reinforce the tracks groove. I used sounds that were short and dry to further highlight the drum groove. For inspiration and as a reference I used “Who am I” by Beanie Man to help me. The main issue I faced was the snare not standing out enough in the mix. To solve this issue I listened to how Beanie Mans snare had clarity due to there being enough high end and not too much low end. Therefore I took the low end out with EQ and boosted some of the high frequencies. This gave my snare much more clarity and mean that the snare fir within the mix better.

I was inspired by “Dub Fire” Aswad 1982 which contains delays that are prominent throughout the genre of Dub. I added delay to different instruments and stabs in this track to try and re-create this sound. This helped create more layers without taking too much space within the track.

For the vocals I recorded a fellow Peer, Timothy in 108. We both went through top line ideas. I recorded both of us humming along to the track to find ideas we both liked. When we did this, Timmothy wrote lyrics to the top line ideas. For the recording process we used Logic to record as for recording vocals. I believe the mixing and recording process is easier on Logic. Timothy sat while singing which is unusual however, he seemed more comfortable. I believed it was more important that he felt comfortable as this was one of his first times singing. We used Melodine to pitch correct his vocals instead of using flex pitch on Logic because we felt that it worked better for the takes that we had recorded.I then also recorded Louis in my room for the verse. Originally he was placed in the corner of my room and had a blanket over his head but I felt as though it was too distracting. We used a Rode NT1 to record which I felt suited his voice.

For mixing the vocals I added an EQ to take the low and some of the harsh mid frequencies away. I put a noise gate to take away some of the room sounds out and a compressor. I also added an echo boy plugin to widen the sound and a de-esser to take some of the harsh sounds. For the backing vocals/adlibs I went through a similar process but added some reverb to give space to the vocal. I also panned the vocals left and right to further widen the sound. There was too much low end of the backing vocals so I used a vintage tube EQ to bring the low frequencies down. This meant that the different layers of vocal didn’t clash.

For the sampling element of this production I used Timothys vocals to create a simple pattern in the build up/bridge before the second chorus. I chopped the vocal using quick sampler on Logic like how we used it in the seminar. I felt that this gave the bridge a rythmic element to add to the build up for the chorus. I also added delay onto the vocal chops which gave this extra texture and fit the dub effects that I was using for the composition.

For Louis vocal I added autotune. This helped create the sound of the vocal in “No Pole”. In the bridge section around 1 minute and 38 seconds a heavy amount of bit crusher was added to the vocal to add texture.

For the mastering process I added an exciter, liniar EQ, Direction Mixer, gain, adaptive limiter, reverb, level meter and limiter to complete the track.

Commercial Potential

I believe this song has commercial potential. The song as a whole is very simple/repetitive and I believe to be catchy both in terms of the composition and the vocals. The vocals are simple in terms of pitch (not high or low) meaning that it is easy to sing along to. A reference track we used to create this song was “Who Told You” by J Hus and Drake 2023. This song was very popular in 2023 and currently has just over 199 million streams on Spotify possibly showing how there might be a audience for this song. The combination of different genres that are in this song (including dancehall and R&B) could bring a wider audience to listen to this track.

Evaluative Analysis

Overall I think the song is up to a good standard however, I envision different lyrics on this song. The topic in the song is too generic and could be more unique as there is already so many songs about a similar topic of relationship and love. Even though the simple/generic lyrics could help the commercial potential, I believe that if we could have talked about something more unique within the lyrics this could have made the song stand out to other songs.

I know that this process has helped me learn how to better approach working with a vocalist. In the future I may choose to give reference tracks to the tracks that I send to people to get a better outcome that I am looking for. It should help give context to what I am making and wanting to create.

Bibliography

Toliver, D. (2023) No Pole [Spotify] Cactus Jack https://open.spotify.com/track/0eaVIYo2zeOaGJeqZ5TwYz

Hus, J. (2023) Who Told You [Spotify] Black Butter https://open.spotify.com/track/40EXFgNMOIQRQOwJZ8mJkC