So the last project was a whopper and took a LOT of time./ This one shouldn't take so long. Feel free to use your own original synth sounds that you developed in project 6, but don't feel that you must. You can use preset synth sounds if you like. Keep in mind, now that you know how to manipulate envelopes in FL studio, you may find yourself improving or tweaking presets synths a lot more often to come up with some really great sounds. I do it all the time.
At the heart of this project is a chord progression. Don't be scared. A chord is sounding three notes at a time, and a progression is moving from one chord to the next. Your project must use the I (one) IV (four) and V (five) chords from the key of C. More on that in a minute. You can put them in any order you like, as long as it is a 4 bar progression, and each measure uses one chord. That's right. One of the chords has to be used twice, and yes the project has to be more than four bars long, which means you have to repeat the chord progression. In both examples below, I have repeated the 4 bar progression 4 times. Now, onto the nuts and bolts.
Keys
The key of C refers to notes in this scale: C D E F G A B C. That's all of the white keys on the keyboard. If we count C as 1, the scale degrees work out to be 1,2,3,4,5,6,7,8. 8 and 1 are an octave apart and they are the same note.
When we refer to a chord, we're talking about three notes in a key, separated by thirds. For example: 1,3,5 (C,E,G) makes a chord. So does 4,6,8 (F,A,C) and 5,7,2 (G,B,D). I will use these numerals when referring to degrees of the scale, but I will use roman numerals when referring to complete chords like the I (one) chord in the key of C. Built on C, the I chord is this: C,E,G. The IV (four) chord is build on F because it's the 4th degree of the scale. We find F, and then stack thirds on top of it to get the IV chord (F,A,C). keep in mind, when I refer to the IV chord, I referring to all three notes in the chord.
BTW. We use roman numerals because they can be written in lower case (I and i). This will be important when we experiment with minor chords. but that will be another lesson.
Orchestration
Now that we know what chords are, and what chords we will be using. it's time to play with them a bit.You can plunk down your chords with any instrument you like. In class I used the piano and sounded all the notes at once. You could just as easily assign the low note to a bass, and the other two notes to a saw wave synth and have yourself a chord too. Beethoven did it with a full orchestra. Assigning different parts of a chord to different instruments or voices is called orchestration.
Doubling
In addition to orchestration, we can double notes in a chord. I'm a guitar player. You have probably seen me or other guitarists strumming away chords on all 6 strings. How can this be if there are only three notes in a chord? Doubling is the answer. On the guitar, the open position G chord is voiced like this: G,B,D,G,B,G. Notice how many Gs there are? This really bangs home the G-ness of this chord. Most properly voiced chords are root heavy. Think of a chord as a balanced meal. The emphasis is on the main course -let's say chicken. That's the 1. The side dishes are the 3 and the 5. Too much of the 3 and you're really not having chicken for dinner anymore are you?
Arpeggiating
We did an arpeggiator project a few lessons ago. An arpeggio is a chord in which all of the notes are sounded one after another. It tricks your ear into hearing the chord very much like the way a movie is a bunch of still pictures run one after another. If you take your C chord and break it up into it's parts, you have an arpeggio. Check out my examples below for use of arpeggios.
Inversions
What dish do you get when you have lettuce, tomato and cucumbers in a bowl? A salad right? Well, what if you added the cucumbers first, and then the lettuce and then the tomato? Still a salad. Okay, I have a C chord (CEG). What if I flipped it around like this: EGC. It's still a C chord. This is an inversion of a C chord. Inversions can help you in two ways. One, the inversions of chords tend to make them softer. Not in volume, but in delicacy. Think gentle, fragile sounding chords. Root position chords are strong, and strong is not always the sound we're looking for. Two, voice leading. It is easier on the ear to move from CEG to CFA than it is to move from CEG to FAC. The C stays n the bass of the IV chord, and the resulting motion is pleasing. Try some other inversions.
Check out these two examples:
For this example, I set out to write a lullaby. I chose a nylon string acoustic guitar sound, and arranged the notes to be arpeggiated in an up and down pattern. I made sure the notes did not get cut short so the notes sounded together even though they weren't being struck at the same time. The second layer (after 4 bars of the guitar) is of a sting patch sustaining all of the notes in the chord together. I used some inversions here. Finally, I wrote a sting melody that sounds above the guitar and string parts. I like the contrast between the sustaining strings and the plucked guitar, and I think the melody is suitable to create a lullaby mood.
The second example is a bit more of a rocker. The Slayer begins by sounding out the I, I, V, IV progression in "power chords" (just the root and the 5th) played in a chopped heavy metal style rhythm. The bass accentuates the downbeats, and each new chord. after 4 bars, the organ comes in and sounds the full chords very much like the strings do in example one. For the finishing touch, I added another electric guitar and scored arpeggios so simulate a Van Halen-like guitar riff.
Thursday, May 28, 2009
Friday, April 17, 2009
Project 6 Sytrus- Part 1
A cool sound can give you a tremendous creative spark. We will be using the sounds that we created from scratch in the last two lectures to make an original loop using sounds you make yourself using the Sytrus plug in.
Since the instructions for designing these sounds were done in class, I won't repeat them here. If you missed anything check out part 1:
http://fc02.deviantart.com/fs27/f/2008/043/7/8/Sytrus_Synth_Creation___Part_1_by_Blackhole12.jpg
and part 2:
http://blackhole12.deviantart.com/art/Sytrus-Synth-Creation-Part-2-75807999
but you must use your first synth- the saw wave and your second synth, the one with the pitch modulation envelope to create your loop. Here's mine (Note the post is quite descriptive. I expect the same from you) :-)
I started with my pitch bend synth which I call "Slight Scoop". It's a basic sine wave using operators 1 and 2 in octaves with two different delay times, chorus and some reverb. The pitch envelope is a single curve (only two points) from zero to center in the envelope. I linked the envelop to tempo so that the pitch scoop is completed by the second beat. This synth comes in at the end of my loop, and plays a three note sequence. Listen for it near the end.
Since I built the loop around this sound, I really worked backwards. I added some basic drums (with reverb treatment in the mixer). and a BooBass. The bass part follows the melody of my "scoop" sound. These bass an drum pattern begin the tune, but I thought they sounded a little naked. So, I added a Sytrus preset called Perc also doubling the melody of the scoop.
Now, onto the saw synth. To me, this sounded liek a lead sound that needed to rip through some arpeggios. So, I chopped up some long notes and come up with the fast arpeggio line that you hear come in after the bass and drums lay down the opening groove. I tricked this pattern out with a cutoff filter automation clip whicH I embedded in the playlist. Listen for the rising and falling of the cutoff filter.
I saved the scoop synth and it's three note line for last, mixed everything down so levels were even and faded out the end using another embedded modulation clip on the master volume control.
comments are appreciated.
Since the instructions for designing these sounds were done in class, I won't repeat them here. If you missed anything check out part 1:
http://fc02.deviantart.com/fs27/f/2008/043/7/8/Sytrus_Synth_Creation___Part_1_by_Blackhole12.jpg
and part 2:
http://blackhole12.deviantart.com/art/Sytrus-Synth-Creation-Part-2-75807999
but you must use your first synth- the saw wave and your second synth, the one with the pitch modulation envelope to create your loop. Here's mine (Note the post is quite descriptive. I expect the same from you) :-)
I started with my pitch bend synth which I call "Slight Scoop". It's a basic sine wave using operators 1 and 2 in octaves with two different delay times, chorus and some reverb. The pitch envelope is a single curve (only two points) from zero to center in the envelope. I linked the envelop to tempo so that the pitch scoop is completed by the second beat. This synth comes in at the end of my loop, and plays a three note sequence. Listen for it near the end.
Since I built the loop around this sound, I really worked backwards. I added some basic drums (with reverb treatment in the mixer). and a BooBass. The bass part follows the melody of my "scoop" sound. These bass an drum pattern begin the tune, but I thought they sounded a little naked. So, I added a Sytrus preset called Perc also doubling the melody of the scoop.
Now, onto the saw synth. To me, this sounded liek a lead sound that needed to rip through some arpeggios. So, I chopped up some long notes and come up with the fast arpeggio line that you hear come in after the bass and drums lay down the opening groove. I tricked this pattern out with a cutoff filter automation clip whicH I embedded in the playlist. Listen for the rising and falling of the cutoff filter.
I saved the scoop synth and it's three note line for last, mixed everything down so levels were even and faded out the end using another embedded modulation clip on the master volume control.
comments are appreciated.
Thursday, April 2, 2009
Project 5: Automation
In this assignment, you need to create a loop that utilizes a modulation clip for a parameter of any channel. It sounds more complicated that it actually is. Here's how it works:
1. Come up with a rough idea for a loop. Drums, some bass, maybe a chopped melody, whatever.
2. While you are looking at the channel settings of any channel, hover the mouse over one of the controls (I used volume). If that parameter can take an automation clip, the status window will show a red dot.
3. Right click the parameter and select "Create automation clip". The clip will appear in the playlist on the top.
4. You can tweak this by right clicking on the line in the clip and creating handles so that you can change the shape of the clip, or you can select the clip itself (in the step sequencer) and use the LFO (which is what I did).
5. Tweak away, and listen while you are tweaking.
6. Post as usual. Here' s mine: (note, your post should be this descriptive. Notice I didn't say "Here's my loop. I hope you like it!" because that's lame.
Automation loop
I was inspired by the pad sound "air chorus". I entered one really long note, and selected the volume parameter to create my automation clip. Once it was created, I used the LFO to make the volume go up and down really fast to create the choppy sound you hear. I made another automation clip to control the overall volume of the chanel so I could have a fade in at the beginning and a fade out at the end.
For the rest of it, the sound that came to mind was a Chinese inspired melody (imagine a pan flute playing this while someone is practicing their Kung-Fu moves in super-slow motion) with a funky bass and drum thing in the background. The guitar sound is the slayer set on auto chord with a chorus effect and a clean tone. It took about 20 minutes.
1. Come up with a rough idea for a loop. Drums, some bass, maybe a chopped melody, whatever.
2. While you are looking at the channel settings of any channel, hover the mouse over one of the controls (I used volume). If that parameter can take an automation clip, the status window will show a red dot.
3. Right click the parameter and select "Create automation clip". The clip will appear in the playlist on the top.
4. You can tweak this by right clicking on the line in the clip and creating handles so that you can change the shape of the clip, or you can select the clip itself (in the step sequencer) and use the LFO (which is what I did).
5. Tweak away, and listen while you are tweaking.
6. Post as usual. Here' s mine: (note, your post should be this descriptive. Notice I didn't say "Here's my loop. I hope you like it!" because that's lame.
Automation loop
I was inspired by the pad sound "air chorus". I entered one really long note, and selected the volume parameter to create my automation clip. Once it was created, I used the LFO to make the volume go up and down really fast to create the choppy sound you hear. I made another automation clip to control the overall volume of the chanel so I could have a fade in at the beginning and a fade out at the end.
For the rest of it, the sound that came to mind was a Chinese inspired melody (imagine a pan flute playing this while someone is practicing their Kung-Fu moves in super-slow motion) with a funky bass and drum thing in the background. The guitar sound is the slayer set on auto chord with a chorus effect and a clean tone. It took about 20 minutes.
Wednesday, March 11, 2009
Project 4: FX
In this assignment, you need to compose a loop that uses effects to enhance the sounds that make up your loops. Your loop must consist of drums, bass and one other instrument. It must also include include at least one of the following three effects types:
1. Some type of Reverb
2. Some type of Delay (or echo)
3. Some type of modulating effect: such as chorus, flanger or phaser.
Be careful not to let the effect take over the piece. Effects are for enhancing songs.
To apply an effect to a channel do this:
In the step sequencer, click on the name of the channel. A dialog box will pop up. Note that in the upper right hand corner is a window that says "FX" and there's a dash in the window. This is the routing number to send that channel to a specific mixer channel when an effect awaits. Set it to "1".
Now hit F9 or go to view-view mixer. The mixer appears. Click on insert 1 (Because we selected "1" from our channel in the step sequencer, it could be any number as long as there's a channel aimed at it.)
On the right hand side of the mixer there are 8 slots that we can put effects in. Click on the drop down arrow and then "select" to see what's avalable.
Try selecting delay because its obvious when it's working. When you play back your song, the channel that you have routed to the insert 1 of the mixer will play back with the effect you have selected on it.
You can do this with any channel. In the example below, I have reverb on the snare drum, a phaser on the bass sound and delay on some of the hits and on the short, high pitched bleep sound.
Here's the criteria:
20 Three different types of effects are used.
20 The blog post explains why these effects were matched with a particular channel.
20 The effects enhance the overall sound of the loop.
20 The loop makes musical sense.
20 Creativity and effort.
Good Luck!
1. Some type of Reverb
2. Some type of Delay (or echo)
3. Some type of modulating effect: such as chorus, flanger or phaser.
Be careful not to let the effect take over the piece. Effects are for enhancing songs.
To apply an effect to a channel do this:
In the step sequencer, click on the name of the channel. A dialog box will pop up. Note that in the upper right hand corner is a window that says "FX" and there's a dash in the window. This is the routing number to send that channel to a specific mixer channel when an effect awaits. Set it to "1".
Now hit F9 or go to view-view mixer. The mixer appears. Click on insert 1 (Because we selected "1" from our channel in the step sequencer, it could be any number as long as there's a channel aimed at it.)
On the right hand side of the mixer there are 8 slots that we can put effects in. Click on the drop down arrow and then "select" to see what's avalable.
Try selecting delay because its obvious when it's working. When you play back your song, the channel that you have routed to the insert 1 of the mixer will play back with the effect you have selected on it.
You can do this with any channel. In the example below, I have reverb on the snare drum, a phaser on the bass sound and delay on some of the hits and on the short, high pitched bleep sound.
Here's the criteria:
20 Three different types of effects are used.
20 The blog post explains why these effects were matched with a particular channel.
20 The effects enhance the overall sound of the loop.
20 The loop makes musical sense.
20 Creativity and effort.
Good Luck!
Friday, February 27, 2009
Project 3: Chop and Transpose
The chop tool can take a single note and break it up into a bunch of different pre-set patterns. Try this:
1. Select a generator that will produce a sustained pitch (not a drum) and drop it into the step sequencer.
2. Open the piano roll for that instrument (I used the slayer. Go to channels, add one, slayer) and enter in a long note.
3. In the upper left hand corner of the piano roll window, there is a small icon that looks like a piano keyboard. Select it and from the drop down menu select tools, then chop.
4. Viola! Your note has been chopped into segments. Click on the check mark to accept the changes to your note and give it a listen.
5. So you're not impressed. Fine. Go to the piano roll window again and repeat step 3 (or use the keyboard shortcut Alt u) and select a different pattern from the pattern folder. There are hundreds to choose from. From this window you can also dial the time mul controller to change the population of notes in your window.
The same pattern played over and over agian can cause brain damage if you're not careful. Beware of monotony. :-) To add some variation, transpose your pattern like this:
1. In the step sequencer, select the channel with the loop you wish to transpose, and copy it (Right click the channel name, Edit, Copy).
2. Select an empty pattern in the step sequencer, and edit, paste.
3. Now you have the exact same musical pattern in two separate step sequencer patterns.
4. Open the piano roll in one of them, and from the keyboard icon, choose edit, transpose (up or down- doesn't matter) or use the keyboard shortcut- shift, arrow keys.
Your assignment is to create a loop that utilizes the chop tool and the transpose function. form is up to you, but it must be organized in some way- be sure to mention the form in your post.
You will be assessed on your:
1. Use of the chop tool
2. Use of the transpose function
3. Use of drums and bass
4. Descriptive post (see sample post below).
Here's my example and sample post:
I started out with my favorite drum sounds from the RealDrumKits tab in the browser and wrote an up tempo rock beat. Then I added the slayer plug in and cranked up the distortion (double coil pickup setting too) . The chop tool gave me this pattern (trance 6) and I went with it. I added some effect (chorus on the slayer) and that gave me the main riff.
I used the chop tool again on a bass sound (also in the slayer plug in), and found that the two rhythms fit together nicely.
I used the transpose function to change the pitch of the bass and guitar sounds to create an 8 measure pattern, and then layered a melody on top of that pattern with a piano sound (I'm not sure if I really like the piano sound, but I do like the melody).
The for has a 2 measure introduction followed by a statement of the transposed 8 measure sequence in the bass, drums and guitar. That section repeats, but on the repeat, the piano comes in. Then there's an interlude where I used the chop tool again on one note (F), but I wasn't totally happy with the pattern it gave me, so I edited it a little in the piano roll and made the last two hits long. The song ends with a fade out on the original chop pattern.
1. Select a generator that will produce a sustained pitch (not a drum) and drop it into the step sequencer.
2. Open the piano roll for that instrument (I used the slayer. Go to channels, add one, slayer) and enter in a long note.
3. In the upper left hand corner of the piano roll window, there is a small icon that looks like a piano keyboard. Select it and from the drop down menu select tools, then chop.
4. Viola! Your note has been chopped into segments. Click on the check mark to accept the changes to your note and give it a listen.
5. So you're not impressed. Fine. Go to the piano roll window again and repeat step 3 (or use the keyboard shortcut Alt u) and select a different pattern from the pattern folder. There are hundreds to choose from. From this window you can also dial the time mul controller to change the population of notes in your window.
The same pattern played over and over agian can cause brain damage if you're not careful. Beware of monotony. :-) To add some variation, transpose your pattern like this:
1. In the step sequencer, select the channel with the loop you wish to transpose, and copy it (Right click the channel name, Edit, Copy).
2. Select an empty pattern in the step sequencer, and edit, paste.
3. Now you have the exact same musical pattern in two separate step sequencer patterns.
4. Open the piano roll in one of them, and from the keyboard icon, choose edit, transpose (up or down- doesn't matter) or use the keyboard shortcut- shift, arrow keys.
Your assignment is to create a loop that utilizes the chop tool and the transpose function. form is up to you, but it must be organized in some way- be sure to mention the form in your post.
You will be assessed on your:
1. Use of the chop tool
2. Use of the transpose function
3. Use of drums and bass
4. Descriptive post (see sample post below).
Here's my example and sample post:
I started out with my favorite drum sounds from the RealDrumKits tab in the browser and wrote an up tempo rock beat. Then I added the slayer plug in and cranked up the distortion (double coil pickup setting too) . The chop tool gave me this pattern (trance 6) and I went with it. I added some effect (chorus on the slayer) and that gave me the main riff.
I used the chop tool again on a bass sound (also in the slayer plug in), and found that the two rhythms fit together nicely.
I used the transpose function to change the pitch of the bass and guitar sounds to create an 8 measure pattern, and then layered a melody on top of that pattern with a piano sound (I'm not sure if I really like the piano sound, but I do like the melody).
The for has a 2 measure introduction followed by a statement of the transposed 8 measure sequence in the bass, drums and guitar. That section repeats, but on the repeat, the piano comes in. Then there's an interlude where I used the chop tool again on one note (F), but I wasn't totally happy with the pattern it gave me, so I edited it a little in the piano roll and made the last two hits long. The song ends with a fade out on the original chop pattern.
Monday, February 23, 2009
Project 2: Bass Lines
So, you have successfully composed your first drum loop. Time for project 2.
Your next assignment is to make a second post to your blog. This one has to be a bass line to go with a new drum loop. This time however, you don't have to use the step sequencer to write your loop. FL Studio comes with many complete drum loops that you can link together to make a new song. Here's how you do it:
Open a new FL Studio file and in the top menu, go to Channels-Add one-FPC.
In the FPC Window, choose a drum style in the empty box in the top right corner of the window. I used several of the breakbeat loops for the sample below. Notice that the pattern enters directly into the step sequencer? Click play to hear your pattern in the step sequencer.
If you like it, select a blank pattern in the step sequencer and get another loop from the FPC window. I used a total of three different loops and two fills for the pattern below.
Once your drum loops and fills are together, arrange them in the step sequencer in A,B,C form.
Now turn your attention to the bass line.
You can use any bass sounds you like in the browser. You'll find a lot under Channel Presets- 3x OSC, and TS404. You can also use the Boo Bass (which I used in the sample below) To get the Boo Bass, go to the top menu and select Channels-add one-boo bass. Then select the channel and right click it. Select Piano Roll, and the piano roll window opens. You can put in notes for the Boo bass to play in the window. You can make them long, short, whatever you like.
Some hints on bass construction:
1. Listen to your favorite music and notice the bass part. It sounds obvious, but I'm amazed by the number of submissions I get that don't sound like bass lines. Start by doing some thoughtful listening.
2. Keep the bass in the low register (below C5). Bass lines should not be very high in pitch.
3. Don't make the bass play more than one note at a time. Not that it can't be done, it's just simpler with one note at a time.
4. Be aware of how the bass line will fit with your drum pattern. A good starting place is to consider having the bass double the rhythm of the kick drum. Here's an example:
100 Maximum points :
20 The sound chosen for the bass had an appropriate bass timbre. I used the BooBass for the sample below (Channels-Add One- BooBass)
10 The bass line was in the correct register.
10 The bass line complemented the drums.
10 The mix was balanced.
10 The project was of proper length.
20 Effort/ Creativity
20 Blog post was descriptive, positive and constructive comments on classmates blogs were issued.
Good luck!
P.S. If you don't like the Boo Bass or any of the other bass sounds available, go to channels and explore some of the plug ins that we have. The Simsynth and Sytrus are both excellent. The Slayer has a lot of bass sounds as well as guitar sounds too.
Your next assignment is to make a second post to your blog. This one has to be a bass line to go with a new drum loop. This time however, you don't have to use the step sequencer to write your loop. FL Studio comes with many complete drum loops that you can link together to make a new song. Here's how you do it:
Open a new FL Studio file and in the top menu, go to Channels-Add one-FPC.
In the FPC Window, choose a drum style in the empty box in the top right corner of the window. I used several of the breakbeat loops for the sample below. Notice that the pattern enters directly into the step sequencer? Click play to hear your pattern in the step sequencer.
If you like it, select a blank pattern in the step sequencer and get another loop from the FPC window. I used a total of three different loops and two fills for the pattern below.
Once your drum loops and fills are together, arrange them in the step sequencer in A,B,C form.
Now turn your attention to the bass line.
You can use any bass sounds you like in the browser. You'll find a lot under Channel Presets- 3x OSC, and TS404. You can also use the Boo Bass (which I used in the sample below) To get the Boo Bass, go to the top menu and select Channels-add one-boo bass. Then select the channel and right click it. Select Piano Roll, and the piano roll window opens. You can put in notes for the Boo bass to play in the window. You can make them long, short, whatever you like.
Some hints on bass construction:
1. Listen to your favorite music and notice the bass part. It sounds obvious, but I'm amazed by the number of submissions I get that don't sound like bass lines. Start by doing some thoughtful listening.
2. Keep the bass in the low register (below C5). Bass lines should not be very high in pitch.
3. Don't make the bass play more than one note at a time. Not that it can't be done, it's just simpler with one note at a time.
4. Be aware of how the bass line will fit with your drum pattern. A good starting place is to consider having the bass double the rhythm of the kick drum. Here's an example:
100 Maximum points :
20 The sound chosen for the bass had an appropriate bass timbre. I used the BooBass for the sample below (Channels-Add One- BooBass)
10 The bass line was in the correct register.
10 The bass line complemented the drums.
10 The mix was balanced.
10 The project was of proper length.
20 Effort/ Creativity
20 Blog post was descriptive, positive and constructive comments on classmates blogs were issued.
Good luck!
P.S. If you don't like the Boo Bass or any of the other bass sounds available, go to channels and explore some of the plug ins that we have. The Simsynth and Sytrus are both excellent. The Slayer has a lot of bass sounds as well as guitar sounds too.
Monday, February 9, 2009
Project 1: Drum Loops
Your first assignment is to create three different drum loops in the step sequencer, and separate them with drum fills. In class, we discussed what constituted a "good" drum patter, and what constitutes a "good" drum fill. Keep your repeated patterns simple, and save the flashy/ busy stuff for the drum fills. The fills should not repeat in the playlist.
Use different sounds from the browser in your patterns and don't forget to use the graph editor, panning and volume controls for each sound in your final mix. Once you have rendered your file to MP3, upload it to your blog and write your post.
This is a sample description of what I'm looking for in your post:
I was inspired by the sounds of ZZ top, Justin Timberlake and Madonna. I have always been a fan of their music, and I guess it pours out of me easily. Anyway, I started with a straight four bass drum pattern with the snare on 2 and 4 and an eighth note pattern on the hi hat (al la "Legs" by ZZ Top). All of the sounds I used came right out of the FPC section of the browser. The A section morphed into something a little more syncopated in the B section where I used the ride cymbal instead of the hi hat and included two toms in the pattern. I was trying to make the B section strongly contrast to the simplicity of the A section by mixing up the rhythms with the toms. the ride cymbal has a darker color to it than the hi hat, so I figured it would contrast as well. Enjoy!
When you have finished your post, you need to go to the comments section of at least two other members of the class (all websites are on the chalkboard) and leave a comment. Click on the comments section of this post to see the sample comments I left about my piece.
Use different sounds from the browser in your patterns and don't forget to use the graph editor, panning and volume controls for each sound in your final mix. Once you have rendered your file to MP3, upload it to your blog and write your post.
This is a sample description of what I'm looking for in your post:
I was inspired by the sounds of ZZ top, Justin Timberlake and Madonna. I have always been a fan of their music, and I guess it pours out of me easily. Anyway, I started with a straight four bass drum pattern with the snare on 2 and 4 and an eighth note pattern on the hi hat (al la "Legs" by ZZ Top). All of the sounds I used came right out of the FPC section of the browser. The A section morphed into something a little more syncopated in the B section where I used the ride cymbal instead of the hi hat and included two toms in the pattern. I was trying to make the B section strongly contrast to the simplicity of the A section by mixing up the rhythms with the toms. the ride cymbal has a darker color to it than the hi hat, so I figured it would contrast as well. Enjoy!
When you have finished your post, you need to go to the comments section of at least two other members of the class (all websites are on the chalkboard) and leave a comment. Click on the comments section of this post to see the sample comments I left about my piece.
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