FINAL PROJECT
AKADEMIK DAN FAKULTI MUZIK, ASWARAAMZ 2482 MUZIK PROGRAMMING
SEMESTER 2, SESI AKADEMIK 2014[Type text][Type text][Type text]
AKADEMIK DAN FAKULTI MUZIK, ASWARA AMZ 2482 MUZIK PROGRAMMING
SEMESTER 2, SESI AKADEMIK 2013
FINAL TERM PROJECT PAPER
INSTRUCTIONSRead all instructions carefully!
The due date for this project is 8th May 2014, Monday at 5pmAll
projects handed after this date and time will be marked late.This
project has a total of 100 points, which will contribute 40% to the
final grade.Late submissions will be deducted 10 marksYou will be
assessed on the following criteria:
MarksParticipation40%Project Submission40%Presentation20%Total
100%
InstructionEach student enrolled in the course is required to
complete Option A or Option B. Projects will be graded based on
your monopolizing the programming software, your abilities to
combine audio and midi plus process music loop. There will be no
final exam for this course. Grades for the course will be based on
attendance/participation in addition to project completion and
presentation.
Organize your project according to the following outline:
Participation 40%Complete the following exercise:Exercises will
be used to guide students through operating certain parts or
functions of Audio One 2, Cubase 5 and Reason 5 for rewire
exercise. Late projects will lose a letter grade (3 points) per day
that they are late.
To completed one song of programming music 40%
Option A: Songs of your favorite or your own compositionYou are
to program one of your favorite radio edit commercial song or your
own composition. Programing must consist of midi track for basic
instrument, and dubbing instrument can be insert with audio loops
or native instruments. No vocals are required but you are welcome
to add it or combine any acoustic recording materials at your own
afford and cost. Duration of 5 min and not less than 4 min or not
less than the proposed song. You should plan on 4-6 hours to
complete this project as your of out- of-class preparation are
recommended.
Option B: Club MixYou are to build one of all favorite song into
club mix version. Your Club mix must consist of the original Audio
track, layered midi track, and process loop track. Your
understanding of pitching, Beatmap and time stretch technique or
physical editing knowledge is required to accomplished a good
result. Remix song duration is not more than 7 min and not less
than 4 min or not less than the proposed song. You should plan on
4-6 hours to complete this project as your of out- of-class
preparation are recommended.
Presentation 20%
Each student will name your CD/DVD rom not more than 8
characters in length as AMZ2482_NAME for example " AMZ2482_KARIM"
(Course A2482 and your name KARIM)
CD/DVD must present in hard-case cover come with inlay your own
imaginative cover design printed as follow:
Your name and your student matrix number The course number,
course title, and semester Original Credit (Composer) Secessionist
if applicable Program software been used
(Example of the layout will be discuss in classes)
In the CD/DVD the folder consist of complete data of session. In
this case Cubase session files with its media files. Sessions not
labeled properly will lose a letter grade (10 points)
First Level Autorun.info, script as
follow:[Autorun]open=Autorun.exeicon=Your.ico,0
AMZ2482_KARIM.wav
Second Level AMZ2482_KARIM (Folder) AMZ2482_KARIM.acd All your
related media files
CLUB MIXGoal: It is a dream for many of us to get our tracks
played in the clubs. However, if you want DJs to pick up your
tunes, you need to ensure that they're dancefloor friendly. Dance
tracks are all about what might come next and the idea is to make
each breakdown could put the crowd into frenzy, building interest
and anticipation without having much change in the music.
Tips/Considerations
Dance tunes generally progress in 16-bar sections. Within each
of these sections, elements may consist of 1-, 2-, 4- or 8-bar
repeating phrases, and elements tend to be changed (added, removed
or altered) every four or eight bars. 4
For a quick logically laid-out arrangement, place the main
breakdown in the middle at the 129th bar and then split each side
of this in half again so, a first mini breakdown might occur at the
65th bar and a drop to the outro beats could come at the 193rd bar.
4
The first three quarters of a track generally consists of
'build-ups' (with intermittent breaks) and dance tracks are all
about what might come next. You can increase the sense of
anticipation with use of rising or falling sound FX, reverse
cymbals and automated delay or reverb effects. 4
Filtering a whole mix or groups of elements in a track (such as
the drums or synths) is a great way of building interest and
anticipation. Removing the entire bottom end with a high-pass
filter (HPF) just before a new section works a treat, and opening
up a low-pass filter during a breakdown can put the crowd into
frenzy, without having much change in the music. 4
Breakdowns should strip the track back to basics removing the
kick drum and bass is a good place to start. Consider dropping
high-frequency rhythmic elements such as hats and shakers these
give the track extra energy and are best saved for when it's really
'pumping'. 4
A breakdown is all about anticipation. You are toying with the
listener but if what comes after the breakdown doesn't hit the mark
and make them dance, or the transition is forced, then something is
amiss. You don't always have to come in with all guns blazing. You
could also try lowering the level of everything in the breakdown by
a few dB. 4
"Breakdowns should strip the track back to basics removing the
kick drum and bass is a good place to start." 4
Remember that your target audience is initially the DJ. Make the
arrangement DJ-friendly something that will make them look good and
want to play it. Avoid overly melodic elements at the beginning or
end of a track. This makes the record easy to mix. 4
Use silence to enable the listener to 'take a breath'. For
example, when coming out of a breakdown, try muting all the parts
apart from a snare hit on the downbeat just before everything comes
back. Leave the reverbs engaged though, so you get a nice bit of
ambience hanging over. Leaving a gap of silence also lets the
compressors and limiters in the club rig reset themselves and the
lets the speaker cones retract, resulting in a drop with much more
impact as the compressor kicks in fresh. 4
One advantage of recording your whole tune (or grouped elements)
to a single audio track is the ability to chop, change, pitch,
stretch and reverse whole sections. Chopping beats and repeating
them can be great way of adding more interest to a fairly simple
arrangement. 4
Rules are there to be broken. It's good to have some
tried-and-tested arrangement tricks, but some great club tracks
throw all the rules out of the window, so be prepared to
experiment. However, you should always keep in mind that it's all
about the dancefloor. 4
REMIXGoal: To give a formerly popular song a second chance at
radio and club play; to create a stereo or surround sound version
of a song where none was previously available; to improve the
fidelity of an older song for which the original master recording
has been lost or degraded; to alter a song to suit a specific music
genre or radio formatto alter a song for artistic purposes.
Tips/Considerations
A remix is an alternative version compared to original
commercial release song, A remixer uses audio mixing to compose an
alternate master recording of a song, adding or subtracting
elements, or simply changing the equalization, dynamics, pitch,
tempo, playing time, or almost any other aspect of the various
musical components. Some remixes involve substantial changes to the
arrangement of a recorded work, but many are harmonic, such as
creating a "vocal up" version of an album cut that emphasizes the
lead singer's voice. 3
Remixes should not be confused with edits, which usually involve
shortening a final stereo master for marketing or broadcasting
purposes. Another distinction should be made between a remix and a
cover. A remix song recombines audio pieces from a recording to
create an altered version of the song. A cover is a recording of a
song that was previously recorded by someone else. 3
Copyright Implications
Because remixes may borrow heavily from an existing piece of
music (possibly more than one), the issue of intellectual property
becomes a concern. The most important question is whether a remixer
is free to redistribute his or her work, or whether the remix falls
under the category of a derivative work according to, for example,
United States copyright law. Of note are open questions concerning
the legality of visual works, like the art form of collage, which
can be plagued with licensing issues.3
There are two obvious extremes with regard to derivative works.
If the song is substantively dissimilar in form (for example, it
might only borrow a motif which is modified, and be completely
different in all other respects), then it may not necessarily be a
derivative work (depending on how heavily modified the melody and
chord progressions were). On the other hand, if the remixer only
changes a few things (for example, the instrument and tempo), then
it is clearly a derivative work and subject to the copyrights of
the original work's copyright holder. 3
The Creative Commons non-profit group created the ccMixter
website to provide remixers with creative material licensed for
remixers to use with permission. A number of netlabels have
similarly used liberal licensing to facilitate remixing. 3
Reference:
1. Creative Sequencing Techniques for Music Production, A
Practical Guide to Pro Tools, LogicPro, Digital Performer, and
Cubase. 2nd edition. By Andrea Pejrolo. Copyright 2011, 2005 Andrea
Pejrolo. Published by Elsevier Ltd. All rights reserved. Kostrey,
Steve. (2008). Cubase Essentials Tutorial. Steinberg Media
Technologies GmbH
2. Modern Recording Techniques by David Miles Huber & Robert
E. Runstein Seventh Edition. Copyright 2010, Elsevier Inc. All
rights reserved. Focal Press is an imprint of Elsevier, 30
Corporate Drive, Suite 400, Burlington, MA 01803, USA. Linacre
House, Jordan Hill, Oxford OX2 8DP, UK
3. The Remix Manual. By Simon Langford. Focal Press is an
imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA
01803, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5
1GB, UK 2011 Elsevier Inc. All rights reserved
4. Synthesizer Basics by Dean Friedman. Publisher: Amsco Music,
1985-06. ISBN:0825624096
5. Future Music (FM206), http://www.musicradar.com/futuremusic.
Copyright 2006 - 2010 Future Publishing Limited, Beauford Court 30
Monmouth Street Bath, UK BA1 2BW England and Wales company
registration number 2008885
Lecturer: Ahmad Abdullah Page 1 of 5
Lecturer: Ahmad Abdullah Page 2 of 5
