1. The final layer uses a swirling pad timbre to play block chords
Bass timbres are in two parts: a pumping bass at the very low end with a second more melodic bass in the mid bass. This is made from a further two components: - the mid tones from a modified saw lead and a hi-bass for the attack part of the sound
Typical trance drum kit with a short punchy kick, hand clap snare, slightly swung hi-hat 1/16ths, a crash and an additional percussive snare loop
FX sweeps made up from two synth settings the main white noise with a more subtle deep tone
The saw lead in the chorus has a duplicated part which sits towards the high end of the frequency spectrum and allows it to cut through the mix when the texture is at its most complex
The timbres
The main melody has two components: a modified acoustic piano layer and an airy, top end synth timbre
The final layer uses a swirling pad timbre to play block chords
7: Texture and Instrumentation

2. 3: Use of Music Technology
Timbres crafted using the Prologue VST synth –the FX is crafted from two synths this shows the settings for the FX noise
All oscillators off and a white noise generator used as the basic timbre
FX noise
A low pass filter is used and the cutoff automated to create a sweeping effect
3: Use of Music Technology
7: Texture and Instrumentation

3. Texture thickens with return of bass parts.
Intro using a typical club dance build up in four stages. Texture develops with:
Melody, pad chords & hi-bass;
Kick drum & thicker mid-bass tones;
1st sweeping filter FX leads into:
Pumping sub-bass, snare & crashes;
Texture remains static but harmony and melody develop
Verse1 texture drops to pumping sub-bass, kick & snare. But with new rhythmic idea in the percussion. Harmony remains in D major.
Chorus has fullest texture, all parts plus new synth lead part. Harmony follows the original stimulus material
2nd Chorus returns to fullest texture and original harmonic progression extended by 4 bars to end
Bm chord taken from the stimulus and extended across intro until the 4th part of the build up where the harmony modulates to D major
Texture thickens with return of bass parts.
Verse2 texture drops synth lead, rhythmic percussion & hi-hat and returns to Bm.
Modulates back to Bm
The development of structure, texture and harmony
Texture develops further with return of melody, pad chords but without hi-hat
Sweeping filter effects develop through this section to create interest
5: Harmony
7: Texture and Instrumentation
8: Form and structure

4. Synth lead melodic idea developed to follow the harmony of the stimulus material
Bass melodic idea repeated and developed to follow the harmony throughout
2nd Chorus melody same as the first but with last phrase repeated to end
Intro with rising 3-note idea taken from last phrase of chorus
Rising 3-note idea returns in second part of the verse
Rising 3-note idea returns in 2nd verse with rhythm developed
The melodic development
Chorus melody taken entirely from stimulus
Full last phrase again leading into the chorus
Complete last phrase heard for the first time
4: Melody

5. Variations in volume and filter automation for a more subtle FX tone
Sweeping low pass filter and track volume automation to fade in FX to mark section and texture changes
Variations in volume and filter automation for a more subtle FX tone
Sweeping low pass filter used to bring bass & lead parts up and down in the mix creating crescendo and diminuendo effects
Main automation – sweeping filters and track volume changes
3: Use of Music Technology
8: Form and structure

6. 3: Use of Music Technology 8: Form and structure
Chopper effect used in the verse 2 section to develop the FX noise with variations on the oscillation rate
Chopper effect also used on the FX tone matching the effect on the FX noise . Also used earlier to emphasise the entrance of the pumping bass and at the modulation back to Bm in the verse 1 section
3: Use of Music Technology
8: Form and structure

7. Gate added after the reverb to keep reverb tail short and keeps percussive parts sounding tight
First reverb channel set up with Plate Reverb settings for all kit and percussion
Reverb 1

8. First delay channel set up for percussion, melody and melodic bass parts with stylistic trance ping-pong delay using a delay rate synchronised to the track tempo
Delay 1

9. Kit and percussion aux sends to Reverb channel 1
Kit and percussion aux sends to Delay channel 1
Sends 1

10. Bass aux sends to Delay channel 1
Melody aux sends to Delay channel 1
FX noise aux send to a separate Delay channel 2
Sends 2

11. Second delay channel set up exclusively for FX noise using the same settings as for the other instruments until the verse2 section.
This allows the Feedback to be increased during the verse 2 section to develop the sweeping filter FX noise further
Delay 2

12. There is also a second reverb channel set up with long reverb settings
The sidechain is activated to control when the compressor opens and lets the long reverb through
There is also a second reverb channel set up with long reverb settings
Reverb 2
There is a compressor inserted after the reverb with heavy compression settings to limit the amount of reverb through.

13. The melodic bass tone is sent to Reverb channel 2
To prevent a blurred wash of reverb the sidechain on the compressor for the reverb channel is activated when there is a strong signal from the bass or the first reverb channel.
The long reverb will only sound in the gaps between these channels. This gives a pumping effect for the reverb shown here by the changes in levels: when the bass is loud the reverb is turned down

14. The pumping bass effect operates in the same way with heavy compression on each of the bass parts
The sidechain of each is activated to control when the compressor opens and lets the bass through
Inserts

15. The sidechain for the bass is connected to the kick drum tracks
The sidechain for the bass is connected to the kick drum tracks. This results in a pumping bass effect – the bass only plays between the kicks (being turned down when the kick is actually playing). This also brings the kick out more in the mix as the bass does not mask the lower frequencies

16. EQ1
Panning has been sparingly used because of the extreme use of the stereo field with the ping-pong delay effect.
Clarity in the mix has been achieved by EQing – levels have been turned down and only the frequencies characteristic of the timbre have been boosted

17. EQ2
Each part is given its own space in the mix in the frequency range it occupies.
There are a lot of filters (cuts) used to keep the mix as clean as possible