Where Your Game Sounds Epic, Your Beat Slaps, and Your Stream Sounds Pro.

By: VOX

The track really started getting interesting when I first found the sound of the dripping water as a percussion element (hence the name), and the drums kind of felt more alive after that. That organic noise really influenced my creative process after that, inspiring me to later use more organic sounds in layering the different sounds. I can’t really think of a genre for the first half, maybe a lo-fi, bounce-y tune. In its current state, maybe it can be used in a commercial or something in the background with some guy or girl talking. I plan to actually separate the two parts and make them into two different songs, with additional elements and separate structure for both.

I chose to go with a 6/8-time signature as the opener to give a more laidback vibe, and then it gets into it later on with a 4/4-time signature. I did this because I felt I could surprise the listener more. I wanted the bass to be a main factor, and I’m excited to turn both parts into separate full songs on my own time. I chose to have the bass be the latest thing in the project, with a “save the best for last” mentality. I enjoyed writing in a different time signature, however I’m not sure if I really am taking full advantage of the time signature.

The first part of the track is in C#, while the later part is Bbm, I originally liked the key of Bbm, and C# is just the relative major. The harmony sounds were picked simply because I liked the way they sounded, they added more of an organic feel to the track. I enjoy synth bells, and it can be seen in the track, I just tweak with certain presets to get the sound that I liked to fit with that specific range. The chord progression for the first part was:

 C#m7 |  A  | F#m | G#m |

As for the second part of the song:

Bbm7 | F# | Ebm | Fm |

I wanted to keep the gloomy dark vibe that I had going with the subtle chord progressions.

            I wanted to add to the water effects and water vibe I had going with the drip, so I added underwater sounds in the later part of the song. I really like that I also have a swell going on my recorded audio track of my midi keyboard in the corner of my room. The keyboard was given to me by a friend, and I really like the fact that I can use it now. I have a lot of synth tracks that are to add to the layer the melody, chords, different kicks, and the arp. I need to do more research into Logic’s Arp system and see what kind of fun grooves I can come up with. The custom synths were the custom melody arp, I really enjoy the ES2, I think it’s a great synth. I used it again in a different arp layer named custom Arp synth. The sampled track is just a Guzheng ( a Chinese instrument)  with some parameter tweaks: The cutoff was lowered, the resonance boosted, and the drive turned up a little. 

            I used EQ and compression on every single track except the sampled track. Honestly, I just forgot to do it, and am planning on fixing that as soon as I finish this. There is an auto filter put on the first part of the song to make it sound like its underwater and more lo-fi. I decided to let the later part of the song play in its full, without any filter. Reverb was used on every single track, just chromaverb. Also, some delay was put on tracks in the melody and drip percussion, along with some chord layers and some arp layers to give more space. All in all, I had a lot of fun making these pieces and am looking forward to turning them both into separate and new original songs.