CD Single: AD

AD - Single Mix Version I

Total Time: 3:53

This version not only gives me the opportunity to arrange my ideas, but also becomes the backbone to the other remixes that follow. The first note heard in this version is the first lead melody (subject) this is dominant throughout acting as a vocal point to the song. Following this is the second main subject which is accompanied by a sixteenth note scoring on a mid-bass timbre synthesizer. At their starting point the hi-hats play in eighth notes giving the percussion a steady motion, the change to sixteenth notes therefore changes the percussions motion while at the same time increasing its perceived tempo. This style continues until the bass kick is removed and then reintroduced performing a volume controlled roll. A return to the first subject follows, only this time with an altered drum pattern. This alteration has allowed the first subject to now sound as if it is rising, giving a different perspective to it first inclusion. The style from this point stays the same with the exception to the bridge that happens 4/5ths of the way through the composition. This uses the same ideas as the transition from first to the second subject, only this time introducing the snare as part of the roll. As the song concludes (and to add an extra degree of euphoria) the final instruments to be included are the strings, lifting the finale as they play chords that are in harmony with the rest of the piece.

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AD - Remix I - Extended Mix

Total Time: 6:33

As this version is intended to be an extension of the original version, the diversions from the original thematic elements are small. However what is achieved in this mix is a prolongation of the ambient timbres that played a countersubject role in the first mix.

Although extended this does not mean that repetition of parts has played a key role in the structure. The structure of this piece has been dictated to by the extended parts that have used added effects as a way of altering the overall timbre. The main instruments that perform this task are of the FM synthesis type, using a random band pass generator linked into the process. As the instruments use semiquavers rather than quavers they are able to disguise the randomness of the band pass unit when used, adding more of a flowing motion to the piece. These attributes are also important when aiming to achieve the perception of rising or the reverse.

The percussion used in this version can be viewed as juxtaposition of patterns altered or re-arranged to fit the dynamic requirements of any given part of the arrangement. The main thematic development of the percussion changes are aimed at giving the mix a more ambient approach, with small sections of dance fill-ins/rolls used as changing points.

Both of the main melodic parts from the original are included but are recorded with slightly less emphasis placed on the dynamic/amplitude levels, This is to enable the accompany parts to move to the forefront of the piece, at times taking on the lead role. The main melodic subject from Single mix I, also under goes manipulation with its melodic part being cut and repositioned to create a broken fragmented version of the original, this when placed in the mix adds a great deal of perceived motion at the same time as feeling somewhat blocky in its overall timbre.

For the finale a constant toying with the listener is portrayed with an overall timbre that continually suggests the entrance of a euphoric conclusion; yet returns to much the same emotional state as was perceived before the initial development. The only time this is not true, is when the final eight bars are introduced, where on their conclusion, the FM synthesis sounds are heard alone finishing the piece.

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AD - Remix II

Total Time: 7:14

Whilst studying one of my other subjects I was given a disc of radio shows, whilst listening to these shows a small section of conversation stood out. Not wanting to forget, I quickly recorded the audio and archived it for possible future use. It is within this mix that the words recorded seemed most acceptable, as it was my intention to create a mix that would alter dramatically the timbre properties of the instruments used, while at the same time keep its relation to the original piece.

The piece opens with a band pass effecting one of the main thematic pieces of the mix while the radio vocal content is heard for the first time. The following sixteen bars are somewhat similar to the construction ideas of Remix one, however the arrangement is placed in this way to allow for the introduction of new melodic material. Once established within the piece the new melodic line becomes the main thematic element before taking a counterpoint position as the original theme is reintroduced. From this point a development of all the original parts of Remix one are juxtaposed with the new elements of this mix. On the sections conclusion the reintroduction of the vocal part (a small degree of delay along with real-time cut-off has been used to achieve the desired effect needed) changes the overall timbre in preparation for the development of the finale.

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AD - Remix III

Total Time: 11:12

The aims of this mix is to take all the elements of the previous two mixes and remix them in such a fashion that the original structure is lost and a new more broken and dynamic arrangement is produced. This however must retain the feel and relationship to the original mix; that is to say it does not sound a completely new piece of music with the same overall timbre. The title to this mix is derived from sections of speech used in Remix II.

The bass kick used in the opening bars of this piece play an important role in not only development but deception as continually throughout the piece it suggests a euphoric entrance whenever reaching a high amplitude presence (a similar idea to Remix I). To add an individual timbral quality to the mix two new repetitive melodic lines have become the main thematic parts of this mix. The percussion in this mix has also been rearranged with additional elements being added, creating a rock feel to the percussion. This is only contrasted when the bass kick used in the introduction is dominant.

To be concise the structural aims have been to create a false sense of development with the percussion continually suggesting a conclusion or the arrival of euphoria in the form of a mass of collected sounds.

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AD - Single Mix Version II Final

Total Time: 3:54

With all the remixes covering all the possibilities of the elements used in Single mix version one, this mix brings all those ideas and additional timbres into a final single mix.The overall time and structure of this version is unchanged, however the mix has been re-mastered and at times rearranged slightly so as to enable the new elements to fit within the final mix.