When it comes to this track, I can say the sound leans more towards electronic and synth music. The rhythm follows the foundation of a back-beat, with variations every 4 bars.

 

The genre of this audio track leans more towards an alternative pop sound. Even though it borrows a lot of aspects from electronic music, I believe it could very well be used on a pop record.

 

The sounds I like using are less acoustic and more electronic based, as you can probably tell from the synths and drums, for which I decided to use the electronic drum machine instrument logic offers.

 

The tempo is set at 100 bpm, but changes after the initial 16-bar loop to 86 bpm. This gives it a nice transition and adds more variation from the initial loop. The rhythm tracks, which include the kick drum, snare drum, and hi-hats are #3, #28, and #53.

 

The bass follows the kick drum on both loops since the rhythm does not change. After the chord and melody change from bar 17 to 32, some of the notes had to be adjusted for the bassline to fit into the track seamlessly. The bassline can be found in track #104.

 

The key stays in C minor for the first 16 bars and transitions into G major at measure 17.

 

The harmony chords for the first loop are C, Eb, Ab, and D, which then transition to C, Am, Em, and D. The chord progressions are notably different but still go together to provide a smooth transition from one loop to the next. These are tracks #106 and #107.

 

Since I wanted to maintain an electronic instrument sound, I loaded a new instrument on the previous piano instrument track. I changed the acoustic sound from the Steinway Grand to the Driven Keys instrument found in the Quick Sampler instrument menu.

 

I added two more tracks in the second 16-bar loop, which were synth tracks created with the ES P synthesizer instrument. These are the last two tracks, #111 and #112.

 

For this track, I used my interface and compressor microphone to record a verse for both loops. This can be found in track #108

 

I used a noise-gate and compression dynamic effect on the recorded vocal track, which helped to keep the track at the same level volume-wise and lower the amount of background noise that entered the recording.

 

I used the mixer window to bus the texture tracks #109 and #110 to the Chroma Verb reverb plug-in, along with the harmony and lead tracks, and the cymbal swell apple loop to add more atmosphere to the track.

 

When it comes to the overall mix of the session, I used the Equalizer plug-in tool to lower any unwanted frequencies, the volume meter to decrease the volume of certain tracks, and automation on the cymbal swell, apple loop track to have it lean into the track smoothly.