Session 5 Year 2 Production Project

Session 5 Year 2 Production Project

“Modular Synthesizer HDR” by Peter Gorges is licensed under CC BY-NC-ND 2.0.

SUMMARY

Role

Composer / Engineer

Intention (SMART Goal) for the Session

By May 10, as part of TEAM 3, I will have evidence of a completed song following the theme by following this tutorial for Session 5.

PRE-PRODUCTION – INQUIRY

Leader(s) in the Field / Exemplary Work(s)

Primary Source

My primary source is a dungeon theme from The Legend of Zelda: Majora’s Mask. Based on the theme for this session, I was inspired by its industrial sound effects and eerie vibe.

0:05 – Metallic drumbeat

0:11 – Clanging sound effect, repeats every two measures

0:20 – 3-note descending arpeggio that fades in and out

0:38 – Different 5-note ascending arpeggio, overlayed atop the 3-note melody

1:10 – Chords

1:47 – Creepy synth

Secondary Source

My secondary source is a video analyzing my primary source – specifically, what causes it to come across as eerie.

6:19 – The clanging sound effect surprises the listener by appearing during the third measure of the drumbeat

6:45 – ^ Afterwards, it repeats every two measures to further throw off the listener’s expectations

7:04 – Weird percussive synth adds depth to the song’s rhythm

8:00 – The 3-note melody doesn’t fit perfectly into the song’s 4/4 time signature, muddying the perceived tempo

8:49 – ^ The 5-note melody does the same, also not fitting into a 4/4 measure, and sounds stranger when overlayed on the other melody

11:15 – The song’s melodies and chords function on a “whole-tone scale”, which is composed entirely of tritones that give an unsettling vibe

Training Source(s)

My training source is by a Youtuber who makes tutorials related to music theory, going over common weaknesses in composition and how to improve. This video focuses on making more interesting bass lines, something I struggle with when writing music.

1:41 – “Melodic contour”: the example bass line makes constant rapid jumps between octaves, rather than having a solid ascension/descension

2:00 – The bass never plays notes outside the main harmony, only roots and fifths

2:06 – “When the bass only plays notes that are in the accompanying chord, it blends into those chords because there’s nothing that makes it stand out from them.”

3:15 – “The third of each chord is what creates its major or minor emotion.”

4:20 – Non-diatonic can be used in a bass line if done carefully

5:01 – A melodic bass line and lead melody aren’t the exact same

Project Timeline

Pre-production Milestones

  • Come up with a vibe
  • Research chords
  • Find sound effects

Production Milestones

  • Have all of the parts completed

Post-production

  • Mix it to a satisfying level
  • Add sound effects
  • Export & make adjustments

Proposed Budget

A budget will be completed during Session 5, 2024

PRODUCTION – ACTION

The (FILM, SOUND, or GAME Creation)

POST-PRODUCTION – REFLECTION

21st Century Skills

Ways of Thinking (Creativity, Innovation, Critical Thinking, Problem Solving)

Ways of Working (Communication & Collaboration)

Tools for Working (Info & Media Literacy)

Ways of Living in the World (Life & Career)

Reactions to the Final Version

Self-Evaluation of Final Version

Grammar and Spelling

Editor

Someone or Thing Fighting Someone of Thing for Someone or Thing Pitch

Preparing a Film/Game/Song Pitch

 

LOGLINE

PROTAGONIST

A computer intelligence

PROTANGIONST CORE WOUND / MOTIVATION

To express its new knowledge

GENRE

Something techno-esque, but not extremely fast-paced

PLOT DESCRIPTION

The computer intelligence is attempting to create its own music. The result is rigid and robotic, maybe a bit discordant in some parts to show its superficial understanding of music theory.

TREATMENT

INFLUENCES and EXAMPLES

The Body Electric by Rush

Audio Recording Sound Safari

Audio Recording Sound Safari

“Microphone” by p_a_h is licensed under CC BY 2.0.

Summary

Our team recorded three separate audio files, at varying distances and in different environments, with a professional microphone.

Audio Terms and Definitions

  • Sound Wave
    • A vibrational disturbance that involves the mechanical motion of molecules transmitting energy from one place to another.
  • Compression
    • Reducing a signal’s output level in relation to its input level to reduce dynamic range.
  • Frequency
    • The # of times per second that a sound source vibrates, is expressed in hertz (Hz).
  • Hertz
    • Unit of measurement of frequency; numerically equal to cycles per second (cps).
  • Infrasonic
    • The range below the frequencies is audible to human hearing.
  • Ultrasonic
    • The range above the frequencies of human hearing.
  • Pitch
    • The subjective perception of frequency – the highness or lowness of a sound.
  • Fundamental
    • The lowest frequency a sound source can produce. In other words, it is also called the first harmonic or primary frequency which is the lowest, or basic, pitch of a musical instrument.
  • Sound Frequency Spectrum
    • The range of frequencies audible to human hearing: about 20 to 20,000 Hz.
  • Octave
    • The interval between the two frequencies that have a tonal ratio of 2:1.
  • Bass
    • The low range of the audible frequency spectrum; is usually from 20 to 320 Hz.
  • Midrange
    • The part of the frequency spectrum to which humans are most sensitive; is the frequencies between roughly 320 Hz and 2,560 Hz.
  • Treble
    • The frequency range between roughly 5,120 Hz and 20,000 Hz, the highest two octaves audible to human hearing in the sound frequency spectrum.
  • Equalization
    • A signal-processing device that can boost, attenuate, or shelve frequencies in a sound source or sound system.
  • Amplitude
    • The magnitude of a sound wave or an electric signal is measured in decibels.
  • Decibel (dB)
    • A relative and dimensionless unit to measure the ratio of two quantities.
  • Wavelength
    • Distance between two peaks of a wave
  • Velocity
    • Speed in a given direction
  • Harmonic
    • Is a multiple of the fundamental frequency
  • Phase
    • Factor in the interaction of one wave with another, either acoustically or electronically

– Audio terms and definitions from Wikipedia

Voice Recording

(link)

Outdoor/Environment Recording

(link)

Instrument Recording

(link)

What I Learned & Problems I Solved

I learned how to use the audio interface and mic setup. I had a bit of trouble at first figuring out how to stop recording, but I think I figured it out pretty quickly.

Resources

Session 4 January 2024 SMART Goal Project

“Sound Mixing desk” by Gerrysan is licensed under CC BY-NC 2.0.

SUMMARY

Focus / Instrument

Composer / Engineer

Intention (SMART Goal)

By March 1st, I will have evidence of a completed soundtrack song with an improved melody by following this tutorial for Session 4.

PRE-PRODUCTION – INQUIRY

Leader(s) in the Field / Exemplary Work(s)

Primary Source

My primary source is the music from the video game Rain World. I’m heavily inspired by its memorable melodies and chord progressions, its funky percussion, and how some tracks increase in complexity by having instruments come in over time (as illustrated in this video).

4:35 Four layers of percussion

7:28 Chords enter – I like their staccato, instead of being a solid whole note

8:39 Arp melody following previous chord progression

Secondary Source

My secondary source is a video analyzing Rain World’s “threat music” and how it contributes to gameplay information through its dynamic complexity. This complements my SMART goal, as I want to create a track that could fit within the context of a video game level.

1:47 Threat music in games is often disconnected from gameplay: “…the same music plays at the same intensity regardless of the level of danger…”

2:43 Rain World’s tracks respond to gameplay

2:51 – 4:12 Detailed examples of dynamic music

Training Source(s)

My training source is a short video by a YouTuber who focuses on music theory relating to video game tracks. This video relates to melodic development and structure, with an example detailed through the Legend of Zelda’s main theme.

0:24 Start with a basic musical idea

0:30 Elaborate on it

0:48 – 1:13 Keep the original idea intact, but try different ways of elaborating on it

1:14 Resolve it down the scale when it goes high enough

1:33 Don’t overdo it

1:38 Maintain cohesion in rhythm and scale

SMART Goal Milestone Schedule

I want to focus first on getting all of my ideas for my song out onto paper, so to speak. Then I will polish these ideas, and work on making it sound cohesive and fitting for the theme I’ve decided on. I will work on my song each week in, for up to an hour per weekday in class as well as at home.

PRODUCTION

SMART Goal Starting Point Evidence

SMART Goal Ending Point Evidence

POST-PRODUCTION – REFLECTION

21st Century Skills

Ways of Thinking (Creativity, Innovation, Critical Thinking, Problem Solving)

At first, it was difficult to come up with a good melody for my song. Since a lot of my inspiration comes from Rain World’s music, I thought about using the chords I had introduced at the start of the song as reference for an arpeggiated melody, similar to my primary source. I think it sounded really nice!

Ways of Working (Communication & Collaboration)

I worked by myself on the song itself, but I also worked on helping others out when necessary for tech issues, etc.

Tools for Working (Info & Media Literacy)

I’m familiar with Online Sequencer, so using it for my song wasn’t a new experience. I did get to utilize some techniques I’d learned beforehand, though, like having a smooth transition between markers for instrument volume to create a clean fade in and out.

Ways of Living in the World (Life & Career)

I initially struggled through coming up with ideas for my SMART goal’s theme, but kept at it until i felt I had something substantial as a base to work off of. I did a lot more research for this session, and absorbed lots of inspiration from other sources.

Reactions to the Final Version

Most of the class generally seemed to enjoy it. My intentions for creating a video game esque track came through well, with several comparisons made to other game soundtracks. Connor liked the amount of “layers” it had.

Self-Evaluation of Final Version

I think it turned out great! One of the few songs I’ve written that I’m basically completely happy with, and it’s fun to look back at my past ones and see how much I’ve grown.

Grammar and Spelling

Grammarly

Deirdre Recommendation

Recommendation for Deirdre

There are few as willing to stick with the work as Deirdre is. Deirdre has been a fellow classmate in my School of Rock class since the beginning of the school year. Her perseverance in the face of challenges is remarkable. Deirdre’s touch of honest humor is a refreshing respite in the workplace. When it comes to working with her, I give a hearty recommendation.

Someone or Thing Fighting Someone or Thing for Someone or Thing Pitch

Preparing a Song Pitch

LOGLINE

PROTAGONIST

Video game character

PROTANGIONST CORE WOUND / MOTIVATION

To get through the water level!!!

GENRE

Soundtrack

PLOT DESCRIPTION

Just something that could accompany a water level in a video game

INFLUENCES and EXAMPLES

Legend of Zelda, Lena Raine, Heaven Pierce Her

Year 2 Session 3 Week 1 Work Log

Year 2 Session 3 Week 1 Work Log

Summary

My goal was to work on a new song.

What I Did This Week

I worked on a song I had started near the end of last session, and then transferred it to a different music program.

How I Did It

I fiddled with chord ideas using the “Easy Chord and Melody” sheet.

What I Learned

I learned the main chord progression for G Major, although I didn’t really use it for my song.

Problems I Solved

N/A

What Was the Result (Picture/Video/Audio)

How on/off Track Was I?

9. This is pretty much all I did during the week, though I did slack a bit regarding blog posts.

11/6 – 11/9 Weekly Work Log

11/6 – 11/9 Weekly Work Log

Session Number: 2
Week Number: 3
Total Estimated Hours Contributed this Week: 1.5
What is/was your overall goal for this week? To try and get more original ideas out

Work Tasks

Date Task Description Time Spent  Was / Were your choices and work Best Practices? Why? 
11/6 I mostly worked on my Smart Goal

Then worked on an original piece

 ~9 minutes

~15 minutes

 About the same as usual, but I think I could be doing a little better with my articulation.

Not so much with this. I’ve found I’m pretty decent at writing percussion parts by themselves (and I enjoy it quite a bit), but once I try to come up with a melody to go with it I really struggle. It’s not really my forte, I guess. (pun intended)
11/7 I worked on my original piece ~40 minutes I tried to come up with at least a bass line to go over it, but I wasn’t really feeling it. I should probably just put it down for a while and try something else.
11/8 I worked on a different piece ~30 minutes This also didn’t really go places. I think I’ll go back to working on my Smart Goal soon – or learn some music theory.
11/9 I was absent today. N/A N/A
11/10 Veteran’s Day N/A

 

 N/A

10/30 – 11/3 Weekly Work Log

10/30 – 11/3 Weekly Work Log

Session Number: 2
Week Number: 2
Total Estimated Hours Contributed this Week: 2
What is/was your overall goal for this week? To work on my Smart Goal

Work Tasks

Date Task Description Time Spent  Was / Were your choices and work Best Practices? Why? 
10/30 We watched the studio tour. 1 hour N/A
10/31 I worked on my Smart Goal. ~30 minutes Maybe. I learned the notes to the song pretty fast, so I tried CI by playing without looking. It went pretty decently.
11/1 I worked on my Smart Goal some more. 10 minutes I was a bit slower today, but I think I’m getting better. I have a bad habit of using a metronome and then completely ignoring it while I play, which I should learn to not do in the future.
11/2 I worked on my Smart Goal for a bit.

Then I tried working on an original song.

 ~8 minutes

~15 minutes

 My Smart Goal’s going pretty well, considering how much time I’ve actually spent with it.

The song, not so much. I think I’ve kind of run myself dry on original ideas, haha.
11/3 I worked on my Smart Goal.

Then I worked on another original idea.

 ~10 minutes

 

 It went well, but I think I could do better with articulating notes — they kind of blend into each other with how fast I try to play. The Rickenbacker is pretty cool, though!

I liked what I had going here much better than yesterday. I thought of a drum beat that’s in 6/8, and I worked from there to make a bassline that fits with it. It’s not done, but I’m liking it so far.

Session 1 Production Project

Session 1 Production Project

“Day 53 – Bass guitar” by Mourner is licensed under CC BY-NC 2.0.

SUMMARY

Role

Bassist

Intention (SMART Goal)

By Oct. 12, as part of team # as bassist, I will have evidence of learning the intro to “Distant Early Warning” by Rush by following these UG tabs for Session 1.

PRE-PRODUCTION – INQUIRY

Leader(s) in the Field / Exemplary Work(s)

Geddy Lee was one of the first bass players that I really paid attention to while listening to music. Rush songs have a distinct style, and a lot of it is thanks to his driving bass lines that sometimes act more as the melody of a song than the expected guitar (not to say it does no work on its own), as well as the other instruments he juggles  – singing, synthesizers, or all three at once. In some ways I also relate to his introverted temperament as a child, and his preference for music over sports.

 

Training Source(s)

Tabs

“Distant Early Warning” by Rush

PRODUCTION – ACTION

The (FILM, SOUND, or GAME Creation)

POST-PRODUCTION – REFLECTION

21st Century Skills

Ways of Thinking (Creativity, Innovation, Critical Thinking, Problem Solving)

Since I was making my own song, I took a lot of inspiration from other music I listen to – primarily from video games – which led to a polyrhythmic (is that the word?) hi-hat and more melodic bass line.

Ways of Working (Communication & Collaboration)

I didn’t do much collaboration since I worked on my own, but I tried helping others when it was necessary for tech issues and other such things. I also tried to be better about communicating when I was having issues, like when I lost the cable for my red box.

Tools for Working (Info & Media Literacy)

I worked a lot with Online Sequencer for my song. It’s a website I’ve been using for years at this point, so I’m pretty comfortable with it. Even then, I still learned some neat features it has, like making clones of specific instruments.

Ways of Living in the World (Life & Career)

Working with an original composition is pretty frustrating, but I made sure to keep at what I had instead of trashing it and starting over. It was very tempting to do that a few times, but it would have hurt me in the long run if I’d abandoned every idea that I’m unhappy with.

Reactions to the Final Version

Keith enjoyed it, as well as some friends I showed it to.

Self-Evaluation of Final Version

It could be better. I don’t really like the main melody – I mostly put it there because I felt like I needed one for it to be a “complete” song, not because I thought it would be a good contribution. It’s kind of catchy, but it’s also boring. I would’ve left it as just the rhythm section, but then it’s just pretty repetitive.

Grammar and Spelling

Grammarly