The analytical data of the analysis objects was implemented into music production projects. This was the first experiment into the application of the analysis results of electronic dance music.
The development structure of this track was based on the structural form of Dada’s Happy Violence. The track begins with a bassline and drum beat and develops in layers every sixteen bars. At section 2 (bar 17) a high-hat layer is added (analogous to the percussion added in Happy Violence). A short sound effect is played in the lead up to the first chorus break at section 3 and all instruments apart from the kick and white noise play. A white noise effect is used to shift into the fourth section (same as section 2). A new layer of percussion is subtly added at section 5 and again a white noise effect is applied to build up the tension for the main chorus break at bar 6. The chorus was based on the same concept as the chorus break of I’m Not Alone’s chords. The snare roll starts at section 7 (bar 97) and stops abruptly two beats before section 8 when the bassline plays again applying the same ideology as Happy Violence. Bars 113 to 144 are the same as 1 to 32 emulating the same construction as Happy Violence. This structure works well, it has a clear and defined beginning, middle and end.
II) Tempo & Key
The average tempo (128bpm) and key (C Minor) of the analysis objects was used.
The saturator used in I’m Not Alone was then applied to add grit to the sound.
This effects unit is a flanger, an audio effect produced by mixing two identical signals together. Although this effects unit had not been used by the producers of the other tracks, its bending sound emulates the melodic synthesizer used in Calvin Harris’s I’m Not Alone even though it was achieved through using a different method.
A stereo expander was inserted on the synthesizer, a technique recommended by Owsinski (as detailed in the literature review and on the blog). This effect unit works by pushing the mono sound to stereo (and opposite if the slider is set in the opposite direction). It allows more space in the mix for other instruments namely the bass synthesizer and kick drum.
Finally a compressor, sidechained to the kick, was inserted. The attack and release were adjusted in order to make the sound move in time with the drums. This is a technique made popular by Eric Prydz in ‘Call On Me’ (2004) and has become a standard electronic dance music production technique.
Finally an EQ was inserted on every channel to cut out the low-end frequencies as recommended by Owsinski (see literature review for more details).
Drum Pattern 1. This was the drum pattern used between bars 1 to 16, 49 to 64 and 113 to 128.
[Figure 62. Screenshot in Ableton of drum pattern 1]
Drum Pattern 2. This was the drum pattern used between bars 1 to 16, 49 to 64 and 113 to 128.
The second pattern included the addition of high-hats. These drum patterns were a blend of the Happy Violence and Calvin Harris loops. The first pattern was based on the same idea as Happy Violence, the addition of the high-hats introduced the I’m Not Alone drum pattern, however it incorporates a quieter note to convey the sense of a shuffle. This combination worked effectively, it provided a strong rhythmic framework for the rest of the track.
The bassline of this track also acted as the melody thus I implemented the rhythmic pattern of the melodic synthesizer from Happy Violence. I experimented with the final four notes by shifting them onto the beat as opposed to off the beat (so it repeated the same rhythmic pattern as the first bar). This flowed better sounding more cohesive in the context of the track. From the perspective of the adaptation, further experimentation will need to be carried out to understand why the melodic syntax of Happy Violence did not work for this production. This could provide an insight into how rhythmic patterns work in different musical situations.
Rhythm: Synthesizer Chords
These chords were based on the same rhythmic syntax as I’m Not Alone. The author experimented by moving the placement of the notation around to create a groove and better understand how manipulation of the rhythmic pattern can improve aesthetics.
Rhythm: Melodic Synthesizer
The author experimented with different keyboard patterns by playing on top of the chords. This was the melodic sequence produced, although it did not directly link to the analysis data, it did strengthen the authors grasp of electronic music production.
V) Melodic / Motif Content
Melodic / Motif Content: Synthesizer Bassline
The melodic content of the bassline bears some resemblance to the I’m Not Alone bassline, however it has more variation as it is also proving the melody and the bassline.
Melodic / Motif Content: Synthesizer Chords
Similar to the rhythm, the melodic content of the chords was based on the I’m Not Alone chords. When the I’m Not Alone melodic direction was examined, it was possible to see that the notation ascended and descended in the scale in a diagonal pattern. This was then tested on the chords and was found to have a similar uplifting impact.
Melodic / Motif Content: Melodic Synthesizer
[Figure 69. Screenshot in Ableton of melody notation]
This melodic pattern was based on the same melodic direction principle as I’m Not Alone. This pattern clearly does not have the same appeal as I’m Not Alone, more experimentation into the melodic analysis is required to better understand the writing of effective motifs.
Summary of Production Experience
This project successfully conveys the ideologies examined in the analysis objects and demonstrates how the techniques used by the producers can be applied to other productions. Although it is possible to decipher a drum pattern and reorganize the notation to change the rhythmic pattern, synthesis is a complex and intricate process which will require a thorough analysis method.