For my POW project, I am composing different music cues that will cooperate with the foreground audio that will play throughout the experience. By creating such music pieces, I am able to subtly convey a certain emotion that may relate to the scene being pictured by the audience.
One of the main methods I am using to produce such music, is through Logic Pro X. Using this DAW not only allows me to develop sounds outside of my typical comfort zone, but it also allows me to try new creative techniques that may help elevate the quality of my war project.
An example of using Logic to help with my production comes from a project file i have in the DAW, which contains various melodies and sounds. For the sounds, i have used basic synthesizer stock plugins found inside Logic, such as ES2, EFM1, and ES P. Doing such has allowed me to use my sound design skills for the benefit of using personalised synths I have made that I can work with.
While I am using different synth models and sounds, I do also have a grand piano virtual instrument inside the project. Having such allows me to take melodies written in a synth, and give them a classical feel by playing it through a piano sound. As my war project music cues will mostly be produced in classical music fashion, this will be a reliable method for me to test certain melodies that may meet certain emotional beats.
Above is the entire Logic Pro X project file, consisting of different experimental MIDI regions, 7 different styles of sounds, and multiple effects on each individual sound.
Inside the project I am able to develop different melodies that may be incorporated within my war project. As well as this, certain sounds have been used with the intent of developing my sound design inside Logic. By doing so, I am able to develop more sounds that may potentially be incorporated into the project at a later time.
Above are two MIDI melodies I have developed in the project file. The first MIDI example is a melody I will most likely include inside of my war project as a key music cue. This is due to the emotional development the melody itself has, as well as being a simple yet impactful listening experience.
The second MIDI example is another melody developed in the project, one which I like due to its melodic structure. However, the tone of the melody itself is rather positive, a characteristic that would not best fit my projects more melancholy tone.
Below are multiple synth patches I have developed inside Logic. By using the three stock synthesizer plugins found inside the DAW, I am able to use experimental sounds to help develop musical cues that not only work melodically, but also work with the sound used.
In this patch, I have used the ES2 stock synthesizer to create a bass primarily developed using a single square wave, which has been heavily distorted and compressed. Adding such texture to the square wave helps the synth give off a heavy, crunchy, and full sound.
In this patch, I have used the ES P stock synthesizer to create a chord synth, developed using a mixed layering of a triangle, sawtooth and square wave. By combining the three types of waveshapes together, I’m able to create a full and bright sound. Alongside this, adjusting the ADSR parameters allows me to help shape the sound, with the final outcome resulting in a soft, gentle, and harmonic synth.
In this patch, I have used the EFM1 stock synthesizer to create a pluck synth primarily consisting of frequency modulated sounds which help provide a metallic and roughly texturised sound. To create such a plucky synth, I have modulated the ADSR parameters to help give the sound a sharp, short, but loosely released volume envelope. As well as this, the 16 voices and FM synthesis give the sound a rich-in-stereo effect.
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Hahn, M. (2020). FM Synthesis: Everything You Need to Know to Get Started. Available: https://blog.landr.com/fm-synthesis/. Last accessed 30th January 2022.