How have you demonstrated that you can - produce a range of sounds using
synthesiser components?
During the production of this track I used the EFM1 & ES1 synthesisers. I used the EFM1 to create a bass for the track. Using frequency modulator and having only 1 harmonic sound I got a sound that resembled a bass. By boosting the fm depth I feel it added ‘grit & rawness’ to the sound. I used the ES1 to create a pad for the melody. I used a triangle wave on the main oscillator and turned the sub oscillator off. By transposing the pitch of the oscillator to the setting 16 I brought the pitch of the sound down. I then used the cutoff and resonance to make the sound smoother. Keeping the drive low helped make the sound softer.
How have you demonstrated that you can - design sounds using a range of synthesiser components?
Both of these synths have ADSR controls. I gave the bass a wah effect by having a slow attack and an even slower Decay & sustain. Because I set the voices setting to legato I didn’t need to edit the release. The EFM1 also allows you to edit the ADSR for the modulator. by having a fast attack & decay the modulator reaches its peak quick so it effects the sound instantly.
How have you demonstrated that you can - control synthesiser based sound in real time using hardware and software interfaces (via DAW automation)
At the start of my track I used automation to control the FM depth of the EFM1. I did this by setting the channel to latch and manually bringing the FM depth up as the track played. I then opened the automation view and edited it to make it rise more accurate. This gave the bass a rising sound and helped with the build up of the track. How have you demonstrated that you can - create copyright-free audio samples? Using everyday items I created percussion for my track. Using a lighter I managed to create a hi hat for the track. I recorded multiple takes of the flint of the lighter being struck. Once I had selected the best take I loaded it into the EXS24 sampler and edited the length of the sample. Using the EXS24s edit feature I set the key range so that it was assigned to one key. I then repeated this process with all of the everyday items until I had a percussion sample pack in the EXS24.
How have you demonstrated that you can - produce a range of pitched and un- pitched timbres?
Experimenting with everyday objects I found that a elastic band makes a good plucked bass sound. The first step of creating a working sample pluck was to find the key of the audio recording I captured. I then used the pitch control in the EXS24 to tell the sampler what note the recording was. Then I set the key range from C-2 to G8, this allowed me to play over all the octaves on a usb keyboard. To get a pitched effect I ticked the pitch option in the playback section. This means that when I hit a key on the keyboard the sampler will pitch the audio file to the corresponding tone of the key I hit.
During the production of this track I used the EFM1 & ES1 synthesisers. I used the EFM1 to create a bass for the track. Using frequency modulator and having only 1 harmonic sound I got a sound that resembled a bass. By boosting the fm depth I feel it added ‘grit & rawness’ to the sound. I used the ES1 to create a pad for the melody. I used a triangle wave on the main oscillator and turned the sub oscillator off. By transposing the pitch of the oscillator to the setting 16 I brought the pitch of the sound down. I then used the cutoff and resonance to make the sound smoother. Keeping the drive low helped make the sound softer.
How have you demonstrated that you can - design sounds using a range of synthesiser components?
Both of these synths have ADSR controls. I gave the bass a wah effect by having a slow attack and an even slower Decay & sustain. Because I set the voices setting to legato I didn’t need to edit the release. The EFM1 also allows you to edit the ADSR for the modulator. by having a fast attack & decay the modulator reaches its peak quick so it effects the sound instantly.
How have you demonstrated that you can - control synthesiser based sound in real time using hardware and software interfaces (via DAW automation)
At the start of my track I used automation to control the FM depth of the EFM1. I did this by setting the channel to latch and manually bringing the FM depth up as the track played. I then opened the automation view and edited it to make it rise more accurate. This gave the bass a rising sound and helped with the build up of the track. How have you demonstrated that you can - create copyright-free audio samples? Using everyday items I created percussion for my track. Using a lighter I managed to create a hi hat for the track. I recorded multiple takes of the flint of the lighter being struck. Once I had selected the best take I loaded it into the EXS24 sampler and edited the length of the sample. Using the EXS24s edit feature I set the key range so that it was assigned to one key. I then repeated this process with all of the everyday items until I had a percussion sample pack in the EXS24.
How have you demonstrated that you can - produce a range of pitched and un- pitched timbres?
Experimenting with everyday objects I found that a elastic band makes a good plucked bass sound. The first step of creating a working sample pluck was to find the key of the audio recording I captured. I then used the pitch control in the EXS24 to tell the sampler what note the recording was. Then I set the key range from C-2 to G8, this allowed me to play over all the octaves on a usb keyboard. To get a pitched effect I ticked the pitch option in the playback section. This means that when I hit a key on the keyboard the sampler will pitch the audio file to the corresponding tone of the key I hit.
How have you demonstrated that you can - design complex timbres using velocity
layers, key switches, looping and synthesis?
When I recorded the bongo I captured multiple hits each at a different velocity. Once the samples were edited I put them into a group in the EXS24 editor. I set the velocity range of each sample in order from quietest to loudest. This is why in the track you can hear the level of the bongo sample change as I was hitting the keyboard at different velocities. The drum break that you hear in the middle of the track is a section of drum recording that I put into the EXS24 sampler. I enabled the loop function and opened the sample editor to move the start and end point of the loop. Now when I hit a key it would play the two bar section of drum beat on loop for along as I hold the key. if I hit the different keys it would
play at different speeds. This is how I found the key with the right bpm. The kick and the snare were both designed in synthesisers. The kick was created in the EFM1 using the different parameters I created a low bass sound and used the ADSR to give it a fast attack and sustain with a slightly slower decay and release. The worked well and can be heard in the track.
How have you demonstrated that you can - control sample based sounds in real time using hardware and software interfaces (via DAW automation)?
In the last section I automated the pan of my sampled snare hit so that it varied from left to right in the stereo field.
How have you demonstrated that you can - design store and retrieve original sample and synthesier patches? *
I saved my patches in the EFM1 & ES1 and saved them in a folder within the logic project folder. I did the same thing in the EXS24 but I had to make sure the audio files were saved in the project folder as well so that the sampler could find them.
How have you demonstrated that you can - create a sound palette that includes samplers and different types of synthesiser?
I can open up logic on any computer, plug in my usb and load up multiple synthesiser patches & sample banks into a new project.
How have you demonstrated that you can - create compositions based open original synth patches?
I uploaded a composition to youtube that I created using my own synth patches and samples that I had recorded and edited.
How have you demonstrated that you can - create finished mixes using appropriate SFX and realtime control of sonic parameters?
The composition I uploaded to youtube had been mixed using appropriate EQing, compression and reverb where needed. In the breakdown I used automation to
When I recorded the bongo I captured multiple hits each at a different velocity. Once the samples were edited I put them into a group in the EXS24 editor. I set the velocity range of each sample in order from quietest to loudest. This is why in the track you can hear the level of the bongo sample change as I was hitting the keyboard at different velocities. The drum break that you hear in the middle of the track is a section of drum recording that I put into the EXS24 sampler. I enabled the loop function and opened the sample editor to move the start and end point of the loop. Now when I hit a key it would play the two bar section of drum beat on loop for along as I hold the key. if I hit the different keys it would
play at different speeds. This is how I found the key with the right bpm. The kick and the snare were both designed in synthesisers. The kick was created in the EFM1 using the different parameters I created a low bass sound and used the ADSR to give it a fast attack and sustain with a slightly slower decay and release. The worked well and can be heard in the track.
How have you demonstrated that you can - control sample based sounds in real time using hardware and software interfaces (via DAW automation)?
In the last section I automated the pan of my sampled snare hit so that it varied from left to right in the stereo field.
How have you demonstrated that you can - design store and retrieve original sample and synthesier patches? *
I saved my patches in the EFM1 & ES1 and saved them in a folder within the logic project folder. I did the same thing in the EXS24 but I had to make sure the audio files were saved in the project folder as well so that the sampler could find them.
How have you demonstrated that you can - create a sound palette that includes samplers and different types of synthesiser?
I can open up logic on any computer, plug in my usb and load up multiple synthesiser patches & sample banks into a new project.
How have you demonstrated that you can - create compositions based open original synth patches?
I uploaded a composition to youtube that I created using my own synth patches and samples that I had recorded and edited.
How have you demonstrated that you can - create finished mixes using appropriate SFX and realtime control of sonic parameters?
The composition I uploaded to youtube had been mixed using appropriate EQing, compression and reverb where needed. In the breakdown I used automation to
make the level of the elastic band pad rise as it progressed and again at the end on
the master track to make the whole composition fade out.
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