Weißes Rauschen

Weißes Rauschen = White Noise [in German] "white noise is a random signal having equal intensity at different frequencies, giving it a constant power spectral density" Idea: This track was conceived in about two hours in a coffee shop down my street. I used a white noise sample that I gathered from leaving mics on in my studio. The noise is actually signal noise from using sub-standard cables. I then processed the noise further to make it more appealing and the sample was born. Step 1 [synthesis of the idea] Then, to create an composition around this idea - I set a tempo of 130bpm, which is a nice groovy tempo for dancing, to a loop in my DAW for 2 bars, just playing the metronome over the white noise sample and started to hear rhythms. I then plotted various rhythms in two-bar phrases, not listening to reference the previous bar - in this way - I can make a satisfying arrangement that is both different every two bars but also has a cohesive sound due to the fact that I used the same white noise sample. This was also the perfect time to set levels of all the instrumentation thus far.. Since it was white noise [or at least as close to white noise as possible] I could set the levels of the instruments using the equal-level contour provided by that sample. Step 2 [the work begins] Then, when I was happy with the main rhythms, percussion beds and sound timbre's - I started chopping the white noise to hit on every kick. I then split the white noise into two groups - one hitting on every "kick" and one hitting on every "snare". This way I can keep the white noise going, have the cohesion and keep the listeners attention since it is following the rhythm < that is important. There are a few chops on the "snare" pitched white noise that actually work more like hi hats than snares. It all stays cohesive though. I then started to make a bunch of two-bar phrases and started labelling them by feeling: "verse" "chorus" "vibe" or "intro" to name a few. I then experimented with pan positions of each section and made judgement calls on what should go where and at what interval. The upper "snare" white noise sounded really good when panned furiously within some sections. Step 3 [pre-arrangement] Once I was happy with a few different bars of rhythmic ideas, I decided it was best to make a "drop" section, for a listening break. Since this composition was turning out to be so rhythm heavy, I decided this was the best course of action. Originally, I intended this section to just hit once, but once I listened to it with another section previously dubbed "chorus" [in step 2] I really liked how interchangeable it was. It was satisfying to listen to since the heavy rhythmic nature of the arrangement, then falling into nothingness, then back up into a very pulse heavy and driven chorus. Step 4 [sweetening] At this time, I took a moment to objectively think of the main idea to this piece. What is this trying to convey? While I thought of this, I decided to add a little groovy bassline to the chorus, as well as 2 sets of synth strings panned L and R to create a widening of the stereo field once the chorus was in. This was especially effective since the "drop" section featured some manic panning of the full white noise sample. I also extensively used the low cut filter on quite a few sections. I feel like this is a great alternative to volume adjustment or EQ. It sounds a lot more natural with the same effect. Step 5 [finishing] Once all the pieces were together, I arranged the sections. Luckily, the program I use to make this stuff comes with a handy tool to make a flag above the timeline so that I can label appropriately what section is which [step 2 was where I labelled]. With those labels in place it makes it easy to arrange the sections. I simply have to make sure the transitions are good, levels are matched and that it all flows naturally one into the other. Once I was happy listening back, the composition was done.