Practical Experimentation of Music Analysis 5:
Bodyrox – Yeah Yeah (Recreation by author)
This AO is significantly shorter than the other AOs lasting only 2:37 minutes, almost half the time of the other AOs. However it still employs a similar structural template as the other AOs, with a development of instrumental layers leading to a 16 bar chorus break.
8.2 Tempo & Key
“Yeah Yeah” was written in A Minor key at a tempo of 128 bpm.
Similar to the other AOs, this track implements the generic 4/4 house style beat, however unlike the other AOs the high hat of drum pattern one played 16th notes. The second hit of every note had a slightly softer velocity creating a sense of movement, this idea of motion was bolstered when it was panned from left to right (see page 7 for panorama).
A second high-hat playing the generic off-beat was added between bars 17 to 24, 33 to 48, and 68 to 81. This high-hat created a sense of development, building tension – it was used before the chorus breaks and in the final bar.
This AO, like Put Your Hands Up For Detroit, does not have a separate bassline and melodic pattern. Thus the bassline is a combination of the two, providing the low end bass and the main hook melodic hook.
Melodic / Motif Content: Bassline
1.0 F > F = 0 steps
2.0 F > F = 0 steps
3.0 F > F = 0 steps
4.0 F > F# = 1 steps up
5.0 F# > F# = 0 steps
6.0 F# > G = 1 step up
7.0 G > G# = 1 step up
8.0 G# > G# = 0 steps
9.0 G# > C =8 steps down
10.0 C > C = 0 steps
11.0 C > C = 0 steps
12.0 C > C = 0 steps
13.0 C > F# = 6 steps up
14.0 F# > F# = 0 steps
15.0 F# > F = 1 step down
16.0 F > D# = 2 steps down
17.0 D# > D# = 0 steps
Full Four Bar Melody (Interval Size)
Timbre: Synthesizer Bassline
This synthesizer was produced using four oscillators pitched slightly apart; one square and three Sawtooth oscillators. The synth’s frequency and time settings were automated to allow them to change over time. This allowed the producer more control of the tension through fluctuation of the frequency and decay time of the synth patch throughout the track.
A reverb unit was inserted on the synth. The Dry / Wet was automated to allow the reverb to be used as an effect and this played a crucial part in the development of the sound during moments of tension.
The pan position of the instrumentation follows the guidelines which Owsinski recommended in “The Mixing Engineers Handbook” (2006i) (see blog for author’s research into panning) and the same basic positions as the other AOs. The most interesting panoramic feature of this track was the pan position of the high-hats which swings from left to right. This subtle effect helped to make the track a little more interesting by giving it a little more depth.
Analysis of Analysis
The AO were compared to find the mean settings for making an EDM record. The [see full comparisons on blog]. The outcome of the analysis was used to produce the step-by-step guide, however the challenging aspect of making the guide was to take the information that had been collected and form it into a set of instructions which allowed capacity for creative input (whilst remaining within the confines of the guide).