LO 13 & 14 & LO 25

For referencing we pulled up our list of bands that we wrote in our pre production plan and took notes of what types of processing and musical intentions we wanted from the tracks. The project pre-planning and brief can be read here and includes a list of instrumentation and aesthetic outcomes we wanted to achieve.


For the blog on Aesthetic choices  (LO 16 & 19)


One Producing technique we took that correlated with the aesthetics of the music we were making was the use of spatial processing. Since guitars were a staple in the EP we used several custom racks from Guitar Rig 5. One technique we used was the use of long releasing reverbs and 16th impulse delays on guitar plucks to create a washed out atmospheric sound. The music we played were also primarily in a minor key and so the sad and melancholic key of the tracks mainly came from the deposition that came with these genres.

We had also recorded different comps for the instrumental tracks such as the guitars to get different velocities and strumming patterns for our tracks. We had also created different melodies and musical phrases in midi and auditioned them with different instruments and soft synth to get more musical ideas to work with. For every track we made, we had used a heavily modified pad preset from the subtractive synth “Massive” which emulated the sound of the reverb guitars we had and which came with a built in arpeggio to emulate the impulse delays from the guitar plucks. Together with the guitars the synths acted as a glue for all the frequencies and served as a common ground for all the songs we had.

Some of the influences we took were from Last Dinosaurs and Tycho in which the use of these both the musical elements and the post processing are very prevalent and what sets the genre apart.

A technique we also did was an A-B comparison of both the mastered track with another track within the same genre and timbre. For this we visually and sonically compared the waveforms to each other. We had also played the tracks in different sound environments such as a studio, a car and through a phone to make sure the key elements were mono compatible and also stuck through the mix. The full mastering blog can be read at a later date.



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