dwattonmd5311

[dwattonmd5311]

EP Development Statement

For my submission for the development track, I wanted to capture the singer-songwriter aspects of my music based around mellow chordal guitar and folk–influenced vocals in a way that would reflect my recent inspiration from hip-hop, alternative R&B and soul music, particularly that of Matt Corby and Tom Misch. To do this I began recording the guitars; the track is based around an all-major, 4-chord progression previously recorded on an acoustic guitar and piano. To create a sense of atmosphere and reflect upon my inspirations from blues and soul music I chose to include a sample of a record player scratching as though the music is being played through a gramophone, although this also creates dynamic in the music as the production builds in quality as the song progresses. I chose to create my initial guitar sound to emulate the effect of an old hollowbody, that typical warm chugging sound that one might hear listening to jazz through an old radio. This production technique has been employed by a number of artists including The Neighbourhood, who demonstrate this in songs such as ‘Baby Came Home’, and particularly in ‘Honest’ in which when performed live the guitarist slowly turns up treble using the tone knob to create a warm sound by rolled-off top end. I feel that my combination of this guitar sound, the initial slapback vocal and the use of a drum sound that resounds with J Dilla’s work is one success of the piece, as it creates a uniquely dark yet upbeat feel.

           The drum and bass tracks in the song are possibly my proudest parts, as I have tried to encapsulate ideas first presented to me in Matt Corby – songs from his album ‘Telluric’ such as ‘We Could Be Friends’ combine ambient sounds and gently melodic parts with a pulsing, breathing rhythm section. I wished to play on this idea, partly as I was afraid of the song becoming too saturated with emotional depth that would drag down the passion and the underlying soulful feel presented foremost in the lyrics, and I have found that this gives a gratifying lift. I wanted the kick to have a somewhat 90’s thump, and chose to boost an acoustic sample with a mid-heavy electronic one, although the snare perhaps provides enough edge to even out the varied sound. I have sidechained the hi-hat and cymbals to the kick to further emphasize the relationship between the drum and bass parts, and to give a driven yet breathing effect to the chorus.

           I remain unsure about the introduction of the distorted double track guitar in the last chorus, whilst providing a crescendo, perhaps takes away from the tension and ambience given in other elements of the production. However, this hint of alt-rock production was intended, as I chose to include a lengthy lead guitar part over the chorus. I mirror the production on the first guitar patch by scooping the high mids in the lead line and by including a healthy reverb and low-tone overdrive. The lead is panned hard left and right in the stereo field so as to not take away from the melodic lead vocal, which is effect heavy with a tape emulator, doubler effect and stereo delay, as I felt a dry vocal carried too little depth.

[dwattonmd5311]

Side Chain

https://soundcloud.com/marleystarr/sidechain-task

[dwattonmd5311]

Sampling Task

https://soundcloud.com/marleystarr/sampling-task

[dwattonmd5311]

Sound Design

https://soundcloud.com/marleystarr/sound-design-for-production-task

[dwattonmd5311]

Grid Culture

https://soundcloud.com/marleystarr/step-sequencer-task

[dwattonmd5311]

Flex Pitch

https://soundcloud.com/marleystarr/flex-pitch-task-1 

[dwattonmd5311]

Flex Time - Seven Nation Army

https://soundcloud.com/marleystarr/flex-time-task