Other Compositions

 

Below are a few examples of the kind of music that I enjoy writing in my own free time. I use combinations of different audio software for different tasks, such as Logic X, Pro Tools, Max/MSP, IRCAM software, Praat, Computer Desktop Project, and many more. Rarely do I get discouraged by tedious processing methods if they lead to the right sound that I am looking for.

 

Most of my music contains some element of experimentation, sonically or contextually, but each composition tries to explore a slightly different genre of electronic music. If there's something you like, please share the love. If there is something you want to know about, please use the Contact page to get in touch.

 

Happy listening!

This track was inspired by Trent Reznor's soundtrack for The Social Network, and is a good starting point to introduce my style of composition.

 

As an exercise, Massive was the only virtual instrument used in this track. All Massive synthesizers were set to use the same source oscillators, allowing a diversity of sound to be achievable only through variables such as envelopes, filters, and other modulating effects that don't disrupt the natural timbre of the synth.

Schyman (Valjalo, 2013) claims that Stravinsky once said “Give me the entire keyboard (referring to the piano) to compose and I am paralyzed by too much choice. But give me two notes and I can start composing immediately”. Being spoiled for choice, the main challenge with writing this sample-based piece of music was figuring out which clips would work most effectively.

 

The heart of this track is found within its contrast between harsh, aggressive sounds and less intimidating natural sounds. It is based entirely on the concatenation of very short samples from other songs and speeches. It aims to explore the many textures that can be achieved through sample processing while creating a unified musical work. It makes use of advanced compositional techniques such as granular synthesis, cross-synthesis, harmonic distortion, phase vocoding, transient design, pitch shifting, image shifting, dynamic filtering, compressions, reverse playback, and many more.

Inspired by Tom Jenkinson (aka Squarepusher), this is a drill n' bass track. The use of awkwardly-tuned synthesizers excites me, which led to my exploration (with harmonic and psychological complexity) of glissandi in an aggressively electronic environment. The techniques of resampling and oscillation modulation were executed through Max/MSP and Kontakt dynamic playback speeds, synthesizer oscillator automation, oscillator LFO and envelope modulation, and large/small/slow/fast pitch-bends. Each approach to a glissando yielded their own advantages as well as side-effects.

 

 

Here is an example of a instrumental pop track that I wanted to create for a hypothetical promotional video. One can note that its structure is very obviously divisible into 8-bar sections. This was done for the purpose of a client, as it would be quite obvious where the music can be editted or looped.

 

While I do not normally write pop-style music, I must admit it was extremely fun to write a more simplistic track that all my less musically-informed friends can enjoy!

Skittlez, however people want to pronounce it, was my first indulgence in the many faces of EDM - something that was previously alien to me in terms of composition. There are influences of Infected Mushroom, Deadmau5, Feed Me, Daft Punk and many others riddled across this track. A schizophrenic and glitchy paradise pervades the music at times, combined with the glue of 4-to-the-floor beats and minimalistic hooks.

 

This track has been revisited several terms for promotional videos, remixing and reproduction. I quite like it because if its diversity and colour!

 

An experimental rendition of the famous jazz number 'Night in Tunisia', inspired by Ella Fitzgerald and performed by denver-cuss.

 

This heart of the composition process here was based around the dissonant behaviour of the bass, and embelished by the extension of existing harmonies analyzed from Ella's version.

 

The hyper-production used on Denver's vocals was inspired from my research in voice manipulation, detailed on my Masters Project page.