Racing Time Process

I was originally only going to include my own phone recording of cars on my street. I had randomly selected 120 bpm and started working with my “New Dover” recording. Not satisfied with just the one found sound, I decided to look through my classmates’ recordings and came across Krystelle’s “Clock Ticking on a Snowstorm,” which worked perfectly with my 120 bpm. So instead of having a literal car racing idea, I toyed with the titular racing time idea. The song starts off with the loop Alpha Omega Bass and the clock recording, which continues throughout the entire piece, becoming prominent again when the music gets softer toward the middle and the very end. The purpose of the first four bars being just the clock represent the growing anticipation right before a race. After the first four measures, my New Dover recording begins and continues through the rest of the song as well.

The song builds up intensity as “the race” begins. I used Aurora Beat, Bell Ringer Arpeggio, Rapid Snare Topper, and Accelerate Synth, as well as a Rising Synth Effect and Diving Synth Effect, to do this, each entrance contributing to the race effect. After a combination of Alpha Omega Beat, Accelerate Synth, and Rapid Snare Topper at a loud dynamic, I brought the volume down on those three parts to serve as a sort of background sound to the newly introduced calmer section. This section uses two more loops: Set Free Synth Pad and Slow Motion Piano. During this section, one imagines a more inner dialogue with the clock recording subtly in the background. I liked having the juxtaposition of the two calm loops with the clock recording and the three background intense loops with the New Dover recording; it gave the song a sort of eye of the storm feeling here.

The song ends with a sort burst of intense music again, using Aurora Beat, Accelerate Synth, and Set Free Synth Pad, as well as the Rising Synth Effect once more. After eight measures of this, Aurora Beat and Set Free Synth Pad drop out, Accelerate Synth gradually fades away, and Slow Motion Piano comes in, also gradually fading away so that the last sounds are the New Dover recording and the clock recording, bringing the song full circle.

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