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1. Project Overview

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Key Abbreviations:

• OOTO = Out of the Ordinary Festival
• FF = (Cambridge) Folk Festival

‘An increasing number of marketing strategies involve the use of music, and this is for good reason – it is highly effective’ (Neese, 2015). For this project, I have been commissioned by Cambridge Corn Exchange – a mid-sized, council owned music venue and outdoor events company – to compose and produce twelve minutes of music for marketing purposes.

The Project

This project began with eleven videos of varying length (0:26 – 2:32 Minutes) requiring high quality music for social media applications. These were mostly silent reels, but it also included one interview, requiring a more documentary style approach; the video content depicts clips from the outdoor events team, known as City Events. I have utilised a broad range of musical styles, appropriate to the video content, for example Electronic Dance Music for a dance video, all recorded in my home studio (Appendix 1). The final product will be used over the summer period by the marketing team at Cambridge Corn Exchange to promote the reoccurring, upcoming events (Cambridge Folk Festival, Out of The Ordinary Festival, Remembrance Sunday and Music In The Parks).

Team members

Please see appendices 2, 3, 4 and 5.

Rationale

‘[…] every consumer industry is engaged to some extent in the production of cultural goods […]’ (Hirsch, 1972) and for Cambridge Corn Exchange this is musical events. The events advertised in this project are mostly free for the public however, the ‘crowds are a source of income […]’ (Frith, 2004) for the organisation as they still spend money on food and drink, which help to fund the events – hence the necessity for advertisement.

‘The marketing process has many elements to it and it’s an ongoing process’ (Harrison, 2025). ‘The internet has [proven] to be an excellent means of marketing the “brand”’ (Harrison 2025) which is why it is so important to have high quality video content. Personalised music has proven to benefit this further. ‘Social media tools enable deeper interaction between marketers and consumers’ (Laaksolahti, 2010) as the consumer can contact the events team directly through comments and direct messages. The music used in the content can have a significant effect on the customer’s opinion of, and potential attendance at, an event, which is why it is important that this project is high quality.

2. Panopto Video – Final Product (10-12 Minutes)

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3. Chronological Monthly Diary

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‘Gantt charts serve as essential tools for project management to communicate schedules, identify potential delays, and focus team efforts on critical tasks for timely project delivery’ (Wadhwa, 2024). The initial Gantt Chart used in the feasibility study (Appendix 6) was used as a basis for the project’s timeline. Below is the actual timeline that resulted:

5^th Feb – Received Media (Appendix 7 & 8)

6^th Feb-15^th Feb – Initial Composition ideas

I began familiarising myself with the content, before beginning the initial composition.

16^th Feb-1^st Mar – Initial Composition

I began playing around with ideas and recording some basic demos (Appendix 9 & 10).

2^nd Mar-8^th Mar – Awaited feedback

I sent over the basic demos to the project lead, awaiting feedback but did not receive any.

9^th Mar-22^nd Mar – Continued composition

Whilst still awaiting feedback, I decided to continue developing the ideas to prevent falling too far behind.

23^rd Mar-29^th Mar – Awaited feedback 2

I sent a follow up email to the project lead with more up to date versions of the tracks and still received no response (Appendix 11).

30^th Mar-5^th Apr – Finished composition

I continued with the project and completed the composition stage.

6^th Apr-10^th April – Visited the department

I went home for a few days to check – in person – why I was receiving no feedback. I discovered that the project lead had left his position and that I had not been informed, therefore, nobody had picked up my emails. I, instead, discussed the tracks in person with another member of the team, Aneta.

11^th Apr-19^th Apr – Adjustments and production

I made some adjustments based on the limited feedback in person and began the production of the tracks.

20th Apr- 25^th Apr – Final production and mastering

I completed the production and mastered all of the tracks.

26^th Apr – Finished product

I completed the project and sent over the final tracks to the department (Appendix 12).

Due to the issue of miscommunication regarding James Page’s (project lead) resignation and the delay of receiving the initial content, the timeline did not strictly follow the initial Gantt chart as planned.

4. Evidence of Planning/Process

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Initial Brief

The initial agreed goals for this project are outlined in appendix 13. A viability study was also carried out before the project was approved to ensure that the project could feasibly be completed given the constrictions and time frame.

Composition and Recording

After the initial familiarisation of the videos, I began with the composition. This was largely achieved on a video-by-video basis, meaning that I worked on one video at a time.

I began with initial demos with rough ideas (chord structures, basic melodies or hooks) (Appendices 14 & 15) for each clip, with the intention of receiving feedback before developing. This was unfortunately not possible therefore, I continued systematically, working on each video until the composition was complete. I found that working in this way allowed me to focus my concentration in order to produce the best quality composition possible. ‘[…] musical experience is socially produced as something special […]’ (Frith, 1998) in all forms, even on a phone screen, so it was very important for me to achieve a well-rounded composition.

During the composition phase, I was recording my ideas, carefully selecting my sounds (more details in ‘Use of Technology’). ‘[…] recording on a low budget is not solely associated with beginners or amateurs’ (De Carvalho, 2012) and I still managed to achieve good quality recordings despite my small budget. I mostly used MIDI and, DI (for guitars) to record, playing all instruments myself as, ‘[…] in general, musical composition and musical performance are interdependent activities […]’ (Alperson, 1991).

Feedback

As mentioned before, the feedback received was minimal due to a miscommunication with the marketing department. ‘For effective communication, […] there has to be a correlation between what the sender is thinking about and what the receiver is thinking about’ (Winbow, 2002) and this was not the case. Unfortunately, as the only feedback I received was in person and not planned, I only have the notes that I took on my phone as evidence of that conversation (Appendix 16). This was still helpful, however, and benefitted the project overall.

Production

The next stage was the production of the tracks (more details in ‘Use of Technology). This was completed in Logic Pro, my preferred and most accessible Digital Audio Workstation (DAW). Similar to the composition phase, I completed the production systematically, one video at a time to ensure complete focus on the tracks. I also mastered them before moving on to the next video.

Finished Product

This project was completed and sent over to the marketing department on Sunday 26^th April, and is awaiting review (Appendix 12). All videos have been composed, performed, mixed and mastered by me.

5. Reference Material/Inspiration

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Genres

‘The word genre comes from the French (and originally Latin) word for ‘kind’ or ‘class’’ (Chandler, 2000). Throughout this project, I have drawn from a broad range of styles including: EDM, Folk, Military Style Concert band, Chinese Classical, Jazz, Blues, Circus, Ska and Rock n Roll. It was crucial that I used musical styles appropriate for the visual content, in order to complete a well-rounded, finished product. ‘Genre is a way of defining music in it’s market or, alternatively, the market in its music’ (Frith, 1998) which is to say that although I have composed in genres related to the visual media, it could be argued that the resulting genre of music could be defined by the application of the audio/visual product (music for marketing). See appendix 17 for a specific breakdown of influences per video.

Reels/ TikToks

The intended use for this project is mostly for social media output on platforms such as Instagram and TikTok. ‘The term “social media” refers to the wide range of internet-based and mobile services that allow users to participate in online exchanges, contribute user-created content, or join online communities’ (Dewing, 2012). Similar venues in the area, such as Cambridge Junction and the SixSix Bar, generally just use stock sounds on the apps (Appendix 18 & 19), which is why Cambridge Corn Exchange want to “stand out from the crowd” by using personalised music. I have therefore deliberately avoided the use of vocals on tracks to prevent the misconception that the music is just a song that the audience doesn’t know.

6. Use of Technology

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From a technological perspective, this project has more of a focus on timbral sound design, with somewhat simple production techniques on the channel strips. More specific and in-depth explanations for each track are in appendix 20.

MIDI and DI Recording

As I do not have access to a studio at Leeds Conservatoire, I have had to use Musical Instrument Digital Interface (MIDI) and Direct Input (DI) recording methods in my home studio. I have mostly used my Akai MPK Mini MIDI keyboard (Appendix 21) for MIDI inputs via USB, and TS cables from my Ibanez Electric Guitar and Yamaha Bass (Appendix 22) into my Focusrite Scarlet 2i2 Audio Interface (Appendix 23). ‘Most studio designers agree that there is no perfect studio; instead, a studio should be shaped around the needs and budget of the owner’ (Gutierruz, 2023) which is why my setup is reasonable for this project.

‘Rather than simple recording, playback, and cut-and-splice editing, a MIDI recorder includes powerful facilities that provide the user a tremendous range of creative controls’ (Rothstein, 1995). I have used a range of MIDI instrument plugins for this project including BBC Symphony Orchestra, Kontakt 8 and Logic Pro’s Drum Machine and Drum Kit Designers (Appendix 24). I’ve taken care to design specific sounds for each instrument within these plugins, adjusting pitch, tone and expression controls, to name a few. Moreover, I have, in some cases, layered textures to create a fuller sound (Appendix 25).

By ‘DI-ing’ guitars, I have obviously not used hardware amplifiers. To achieve the desired tones from pre-amps and EQs, I have run all of my guitar tracks through GuitarRig 7 (Appendix 26), where I have selected an appropriate sound and adjusted to the requirements of the track.

Dynamic Processing and EQ

In music production, ‘uncontrolled dynamics can create problems’ (Tellier, 2025). To overcome this, I have used a range of dynamic processors including noise gates, compressors and limiters. ‘[Logic Pro’s] built-in features, such as advanced EQ, Compression, and limiting, offer a cost-effective alternative to expensive hardware, enabling high-quality, distortion-free audio recordings’ (Gayle, 2024), ideal for this type of project on a budget.

I have been careful with my choice of compressors for each instrument, beginning with Logic’s presets for specific instruments and tones, and adjusting them accordingly (Appendix 27). Moreover, where I have used a limiter, I have increased the ratio on the compressors to more than 10:1, as opposed to using the in-built limiter plugin – this is to gain more control over the processor.

In regard to EQ, I have used the Ozone 12 Equalizer by Izotope (Appendix 28), as this has the added function of being able to solo frequency bandwidths, allowing me to hear specific frequencies to cut or boost accordingly. Generally, over the whole project, I have used two EQs on each instrument, where required, firstly to have a ‘general clean-up’, followed by a more specific mix (Appendix 29).

Reverb

For reverb, I have utilised Logic’s convolution ‘Space designer’ reverb (Appendix 30), running through a bus, to ensure that the same reverb type and size is used on all tracks in each video. Cesarini and Costantini define reverberation as ‘an echo caused by sound reflecting off surfaces’ (2024) and by extension, convolution reverb is an electronic emulation of that. Each video has a different reverb length and type, appropriate for the style. Due to the heavy use of MIDI and digital amplifiers, most instruments already had a slight amount of reverb on them (despite me removing them), eradicating the need for me to run a second, much shorter, reverb before the main one, to allow space for them to ‘breathe’. This is not always the case though.

Sampling

I have only used sampling on one of the tracks, entitled ‘OOTO Books’. This track has samples of different actions carried out on books, pencils and sheets of paper, recorded with an Audio Technika 2020 condenser microphone, connected by a balanced XLR cable into my interface with phantom power (Appendix 31). These samples were then inputted into Logic’s Quick Sampler (Appendix 32) and controlled by my MIDI Controller with pitch shifting capabilities. Some of these samples were used to emulate the timbre of a drum kit (Appendix 33), whilst others were used as a creative effect.

Mastering

I have utilised Logic’s ‘Mastering Assistant’ throughout this project. This has been especially helpful as it bypasses the need to spend hours tweaking master chain processors to achieve the ideal dynamic control and complete final mix. Despite the ease, it must be said that this is not a perfected plugin, as of yet, and some adjustments have had to be made of on all videos to ensure a solid mix including EQ, stereo width and ‘loudness’. Analyses and reanalyses’ have also been a crucial part in adjusting the final bounces to ensure that they are at -14 LUFS and peaking at -1dB, the standard for most promotional purposes.

7. Evaluation

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Benefits

This project has benefitted both myself and Cambridge Corn Exchange. The venue has gained a broad range of music to use for a variety of marketing purposes, crediting me for the music, whilst I have produced a well-rounded portfolio, showcasing a range of styles and, compositional and production techniques. Furthermore, I have gained valuable experience working with a mid-sized venue in a musical capacity.

Drawbacks

One of the main drawbacks in this project involved a miscommunication between myself and the marketing team in regard to the project lead’s resignation. This caused minor setbacks to the timeline and resulted in limited feedback from the rest of the team. ‘Communication skills are essential in leading, managing and working with others’ (Adair, 2009) and this was a major issue throughout the project. ‘One of the most important variables in the learning process is feedback, especially that offered by an external source […]’ (Moslovat & Franks, 2019) which is why it has been difficult to align exact desired outcomes for the project. Overall, however, this did not affect the completion of the project but for future reference, I will try to maintain more regular contact with teams and secure multiple points of contact to ensure that this does not occur again.

Feedback from Peers

Although I am yet to receive feedback from my collaborator, I have received some feedback from a fellow musician, Sophie Gibson-May (Appendix 34) (25^th April). This was very helpful and has given me the confidence to end the project with a well-produced, final mix.

Overall Outcome

In conclusion, this project was completed in full to the best of my ability and to a more than satisfactory level for Cambridge Corn Exchange. The end product will be used for marketing purposes on social media, as planned, as well as in relevant council meetings when discussing new events and budgeting.

8. Bibliography

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Adair, J. (2009) Effective communication: the most important management skill of all, 2^nd Edition. Pan Macmillan.

Alperson, P. (1991) When composers have to be performers. The Journal of Aesthetics and Art Criticism, 49(4), 369-373.

Cesarini, V. & Costantini, G. (2024) Reverb and noise as real-world effects in speech recognition models: a study and a proposal of a feature set. Applied Sciences, 14(23).

Chandler, D. (2000) An introduction to genre theory. http://visual-memory.co.uk/daniel//Documents/intgenre/chandler_genre_theory.pdf [Accessed 26/04/2026].

De Carvalho, A.T. (2012) The discourse of home recording: authority of “pros” and the sovereignty of the big studios. Journal on the Art of Record Production.

Dewing, M. (2012) Social media: an introduction. Library of Parliament, Canada. https://bdp.parl.ca/staticfiles/PublicWebsite/Home/ResearchPublications/InBriefs/PDF/2010-03-e.pdf [Accessed 26/04/2026].

Frith, S. (1998) Performing rites: evaluating popular music. Oxford University Press.

Frith, S. (2004) Music and the media. In Frith, S. & Marshall, L. (eds) Music and copyright. Edinburgh University Press, 171-188.

Gayle, M. (2024) Budget-conscious creators and educators. College Music Symposium, 64(2), 181-184.

Gutierrez, P. (2023) The study and application of studio design for the home studio. MA Thesis. California State University. https://digitalcommons.csumb.edu/cgi/viewcontent.cgi?article=2564&context=caps_thes_all [Accessed 03/12/25].

Harrison, A. (2025) Music: the business, 9^th Edition. Penguin Random House UK.

Hirsch, P.M. (1972) Processing fads and fashions. In Frith, S. & Goodwin, A (eds) On record. Routledge, 127-139.

Laaksolahti, M. (2010) Utilising social media in marketing digital music. BBA-IM Thesis. Lappeenranta University of Technology. https://lutpub.lut.fi/bitstream/handle/10024/72666/Kandidaatintutkielma%20-%20Laaksolahti.pdf?sequence=1 [Accessed 19/11/2025].

Maslovat, D. & Franks, I. M. (2019) The importance of feedback to performance. In Hughs, M., Franks, I.M. & Dancs, H. (eds) Essentials of performance analyses of sport. Routledge, 1-8.

Neese, K.V. (2015) The role of music in the enhancement of marketing. BA Thesis. Liberty University. https://digitalcommons.liberty.edu/cgi/viewcontent.cgi?article=1664&context=honors [Accessed 19/11/2025].

Rothstein, J. (1995) MIDI: a comprehensive introduction, 2^nd Edition. A-R Editions, Inc.

Tellier, M (2025) Mixing and mastering: simplified. Musiciangoods.

Wadhwa, K. (2024) The role of Gantt chart in project management. MEng Thesis. Vaasan Ammattikorkeakoulu University of Applies Sciences. https://www.theseus.fi/bitstream/handle/10024/865913/Wadhwa_Kanika.pdf?sequence=2&isAllowed=y [Accessed 03/12/25].

Appendices

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Appendix 17 –

Reference tracks for each video (PDF)

Appendix 18 –

Cambridge Junction TikTok Sound Example (TikTok could not be embedded into Show)

https://vm.tiktok.com/ZNRbp6DdY

Appendix 19 –

SixSix Bar, Cambridge TikTok Sound Example (TikTok could not be embedded into Show)

https://vm.tiktok.com/ZNRbHfWdd

Appendix 33 –

Audio demonstrating the emulation of a drum kit with book and paper ‘sounds’ – taken from ‘OOTO Books’