AUD 210 Research on wavetable synthesis.


Wavetable synthesis is technique that uses single cycle waveform that certain digital synthesizers can play on loop to produce a continuous tone musical notes. How fast they are played back determines the pitch and frequency.  Wavetable synthesis can be thought of sampling but with intentions of quickly morphing the cycles together. First invented by Wolfgang Palm in the late 1970’s. The waveform of a single note is sampled then analysed to be added to a sequence of tables of samples each table having one cycle of the waveform. These waveform can be altered and fetched by the user in the same way someone using a numerically-controlled oscillator. However, unlike a oscillator the wavetable waveform is not static and will evolve over due to one wavetable mixing with another.

“Wavetable synthesizers imitate dynamic filters and other computationally expensive synthesis steps by rapidly playing successive wavetables (each with a different waveform stored therein) in sequence. If each waveform is a little duller (or brighter) than the previous, a moving filter effect can be imitated.”


In the beginning

Before the common place plugin on the old laptop their was this!



Looks super easy, portable and fun. The above image is the PPG Waveterm this is what was needed for real time playback of your edited wavetable. You could buy pre-computed wavetables adding by memory card. Maybe they meant one of these bad boys.


There is even a thread for all you PPG Waveterm questions.

Some music by “The System” using the PPGWaveterm



Examples of plugin wavetable synthesizers include of today making it a little more easy for all of us.


By far one of the most user friendly and popular at the moment.




Don’t know much about, this nice lookin Abelton plugin.




A blast from the past my first DAW Cakewalk. I didn’t really know much about what I could really be doing with this. It looked insane.

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Unknown Author. 2010 . Retrieved from






AUD 210 Project 1 into Project 2


For my second project I choose to do a music video using my audio assets from project 1.

Screen Shot 2017-11-27 at 4.42.19 am

I was lucky enough to get onto film students at SAE to help create it. I would help them for a weekend and they would help me for a day.

I would be first helping them with their work. We started on a Saturday doing car shots of me driving in and out of a driveway. After 2 days at 2 different locations that was a rap. Jed and his film crew had enough footage to use.

Week 10 was our turn. Both Bianca and myself  had an idea of creating a backdrop for the video. I got to work creating it by looking through you tube to find footage that would be able to fit. After getting to know windows video editing in Movie maker I got together a nice looking storyline to fit as our backdrop. Since weeks had passed recording Jed’s teamwork project I needed to get onto it. The end of week 9 I had it finished.

Sound down for this. Just the video I had no time to strip the audio.

Next came the shoot. We had booked to shoot the video in the void. However at the last minute our booking was thrown out due to the Abelton 10 launch. This ment no more large space and no more projector. However on talking to Jed we managed to grab the film studio and disconnect a projector from one of the classrooms thereby saving the shoot, and in hindsight the film would not have worked without it.

The whole reason for the backdrop was to use as  an art piece in the background to cover any problems with staring at us for 2 minutes in the film shoot. With the help of some Mac Guyvering using a ladder some little gravestone set pieces and cable ties we set up the projector and shot the backdrop in the right area. With the help of the classroom studio speakers we could play the music and start syncing our playing to the music.

We started playing through, taking footage from 3 separate angles. First to the right, straight ahead, on the dolly and last was the GoPro, that was a rap. We packed up everything and left it in the capable hands of Justin their designated editor. I talked with Jed and the crew and we kept in contact making a date for the final product in week 13 due to their work commitments.

Looking back at that decision I would have just taken the footage that Saturday and done the editing myself. We had already studied a little with pro tools for sound effects, and knowing how the first edit came out I would have taken over at that stage. I feel the footage came out really well, but editing was terrible. Without really being their was always going to be an issue in hindsight.

Below is a small selection of all the camera angles.


I am not happy enough to release the first edit on this blog. Once i have had a shot at the editing I will place a copy here and on my blog and website.












AUD 210 Track Teardown of Red Hot Chilli Peper’s song Blood Sugar Sex Majik



Album Red Hot Chili Peppers ‎– Blood Sugar Sex Magik

Genre: Rock
Year: 1991
Notes: Album Sales: 13,000,000
First Release Date: September 1991The fifth studio album from Red Hot Chili Peppers and first release on Warner Bros. Records. It was their introduction into worldwide popularity and critical acclaim, and is also recognized as an influential and seminal component of the alternative rock explosion in the early 1990s.”Blood Sugar Sex Magik” reached #3 in the Billboard Top 200 and produced four of their biggest hits:
“Give It Away”
“Under The Bridge”
“Suck My Kiss”
“Breaking The Girl”



The Power Of Equality

If You Have To ask

Breaking The Girl

Suck My Kiss

I Could Have Lied

Mellowship Slinky In B Major

The Righteous & the Wicked

Give it away

Blood Sugar Sex Magjik

Under the bridge

Naked in the rain

Apache Rose Peacock

The Greeting Song

My Lovely Man

Sir Psycho Sexy

They’re Red Hot


Principal Members:

Anthony Kiedis – lead vocals, percussion on “Breaking the Girl”

John Frusciante – electric and acoustic guitars, backing vocals, keyboard on “If You Have to Ask”, percussion on “Breaking the Girl”

Flea – bass, backing vocals, trumpet on “Apache Rose Peacock”, piano on “Mellowship Slinky in B Major”, percussion on “Breaking the Girl”

Chad Smith – drums, tambourine on “Funky Monks”, “Mellowship Slinky in B Major”, “If You Have to Ask”, “Sir Psycho Sexy” and “Give It Away”, marimba on “Sir Psycho Sexy”, percussion on “Breaking the Girl”

Produced by Rick Rubin



This song to me gives me the impression the girl is god. With the main character pulling and scratching at their faith/soul to justify their wrongs.  With the way Anthony conveys lyrics this main character does not have within themselves any way to stop or redeem their actions. Set on a path of confrontation with their soul. The way the music is set out gives me the impression of god/their soul knowing of this confrontation and telling the main character it going to happen.


Lyrics to

“Blood Sugar Sex Magik”

Blood sugar sucker fish
In my dish
How many pieces
Do you wish
Step into a heaven
Where I keep it on the soul side
Girl please me
Be my soul bride
Every women
Has a piece of aphrodite
Copulate to create
A state of sexual light
Kissing her virginity
My affinity
I mingle with the gods
I mingle with divinityBlood sugar baby
She’s magik
Sex magik sex magik
Blood sugar baby
She’s magik
Sex magik sex magik
Blood sugar crazy
she has it
sex magik sex magik
Blood sugar baby
She’s magik
Sex magik sex magik

Glorious euphoria
Is my must
Erotic shock
Is a function of lust
Temporarily blind
Dimensions to discover
In time
Each into the other
Uncontrollable notes
From her snowwhite throat
Fill a space
In which two bodies float
Operatic by voice
A fanatic by choice
Aromatic is the flower
She must be moist

Blood sugar baby
She’s magik
Sex magik sex magik
Blood sugar baby
She’s magik
Sex magik sex magik
Blood sugar crazy
she has it
sex magik sex magik
Blood sugar baby
She’s magik
Sex magik sex magik
Blood sugar baby
She’s magik
Sex magik sex magik
Blood sugar baby
She’s magik
Sex magik sex magik
Blood sugar crazy
she has it
sex magik sex magik
Blood sugar baby
She’s magik
Sex magik sex magik
Blood sugar my girl
She’s magik
Sex magik sex magik
Blood sugar baby
She’s magik
Sex magik sex magik
Blood sugar crazy
she has it
sex magik sex magik
Blood sugar baby
She’s magik
Sex magik sex magik



click track


The BPM of the song varies between 74 at the beginning up to 149 using tap tempo and a click track. 


Breakdown of Instruments

Starts at a slow tempo with clean drums and rhythm guitar. Next are clean vocals. There is no reverb on any instruments/vocals or effects. This is one of Rick Rubin’s trade mark production techniques.

Anthony Kiedis Vocals


A very clean a spacious feel. Vocals slightly panned to the left and sound larger during the verse. On the chorus the vocals sit more in the middle and sound compressed. Anthony’s voice sounds more distant and compressed with less range in what I can hear. A very smart way of handling the change in volume from Anthony speaking to fully singing during the chorus.

Drums Chad Smith giving a tribute to the Shure 57 noted that the Red Hot Chilli peppers used the Shure 57 on Chad’s drum kit for the recording of Blood Sugar Sex Magjik.

Quote taken from



“I think once I got into the metal drum and the brass drums and the smaller sizes, found my sound. When we did Blood Sugar Sex Magik I used mainly this 5 Black Beauty. When you find a drum that sounds really good, it makes you play better. The snare is the drum you’re playing all the time. That’s the backbeat, that’ what people are dancing to, and that’s who the band hears. It’s what pushes the track.”

0006182_ludwig-lb417kt-14x65-inch-black-beauty-smooth-brass-shell-tube-lugs-snare-drum-hammered-black-chromeThe 5 inch black beauty.


Chad also noted for the recording of Blood Sugar Sex Magjik Rick Rubin liked to close mike the drums. This made sense seeing the documentary because they not in a recording studio. Canceling out room reverb and extraneous noises or bleed playing together.



Lead and rhythm guitar John Frusciante



An exerpt taken from explained how John used a 1960’s Fender Stratocaster for the recording of Blood Sugar Sex Magjik. His choice being a 62 or 63 sunburst which he used on tour.

The article went onto explain they had contradicted what he had said in a interview with Guitar Player  which he had stated he had used a 58 Stratocaster. However had noted in the documentary Funky Monks none of the guitars he had been shown with where a 58 Stratocaster.




Flea Bass guitar

In an interview with Bass Player Flea had stated he had changed his style to a more  melodic/roots style keeping less notes than he usually would have to emphasize other instruments and cross over and block them out on the recording. this changed his signature technique to give a better outcome on the recordings.

Taken from Malandrone, Scott (October 1995). “Flea Interview”. Bass



“I was trying to play simply on Blood Sugar Sex Magik because I had been playing too much prior to that, so I thought, ‘I’ve really got to chill out and play half as many notes’. When you play less, it’s more exciting—there’s more room for everything. If I do play something busy, it stands out, instead of the bass being a constant onslaught of notes. Space is good.”

On a side issue how Flea perceives the creative process.


“Any instrument is just a vehicle to express who you are and your relationship to the world. No matter what level you’re doing it on, playing music is an opportunity to give something to the world.”

Leigh, Bill (June 2006). “A Rock Star & A Jazz Legend Find Common Ground in Music’s Beauty and Depth”Bass Player. Retrieved 2008-01-16.


Short video of Flea’s different styles of bass guitar showing what he had stated for the recording of Blood Sugar Sex Magjik.

This is a quote from Radio Swiss Jazz on how Flea came up with a more comfortable fit for Blood Sugar Sex Magjik.

“When we [the band] made Blood Sugar Sex Magik we spent a lot of time jamming every day, for hours and hours. I remember during that time Anthony went off and made a movie, and for a long time it was just me, John and Chad, and we’d just go in there and play. Me and John were hitting the bong and we just rocked and grooved forever. It was the first time we went in to make a record where there wasn’t this feeling of being sort of intimidated by what was going to happen.”





Lou Carlozo.  May 15, 2017. Gear History. Retrieved from

Malandrone, Scott (October 1995). “Flea Interview”. Bass Player.

“2002 Interview with Flea”. YouTube. Retrieved from

Leigh, Bill. June 2006. “A Rock Star & A Jazz Legend Find Common Ground in Music’s Beauty and Depth”Bass Player. Retrieved from

Flea’s Quotes from Music Database

Retrieved from

Kiedis, Sloman. 2004. Scar-Tissue. Retrieved from https://ww


Nonperiodical Web Document or Report

List as much of the following information as possible (you sometimes have to hunt around to find the information; don’t be lazy. If there is a page like, and somepage.htm doesn’t have the information you’re looking for, move up the URL to

Author, A. A., & Author, B. B. (Date of publication). Title of document. Retrieved from http://Web address

To cite a YouTube video, the APA recommends following the above format.




































AUD 210 Track teardown Tricky’s Hell is around the corner.



Black Steel
Hell Is Round The Corner
Abbaon Fat Tracks
Brand New You’re Retro
Suffocated Love
You Don’t
Feed Me



“Hell Is Round The Corner”

I stand firm for our soil
Lick a rock on foil
So they juice me, seduce me
Dress me up in Stussy

Hell is ’round the corner where I shelter
Isms and schisms
We’re living helter skelter
If you believe or deceive
Common sense says you shouldn’t receive
Let me take you down the corridors of my life
And when you walk, do you walk to your preference
No need to answer ’til
I take further evidence
I seem to need a reference to get residence
A reference to your preference to say
I’m a good neighbour, I trudge
So judge me for my labour
Lobotomy ensures my good behavior
The constant struggle ensures my insanity
Passing the evenings ensures the struggle for my family
We’re hungry, beware of our appetite
Distant drums bring the news of a kill tonight
The kill which I share with my passengers
We take our fill, take our fill, take our fill

I stand firm for our soil
Lick a rock on foil
So they juice me, seduce me
Dress me up in Stussy

Confused by different memories
Details of Asian remedies
Of what’s become of enemies
My brain thinks bomb-like
So I listen he’s a calm type
As I grow
And as I grow, I grow collective
Before the move sit on the perspective
Mr. kray in the crevice
And watches from the precipice
Imperial passage
Heat from the sun somedays slowly passes
Until then, you have to live with yourself
Until then, you have to live with yourself

I stand firm for our soil
Lick a rock on foil
So they juice me, seduce me
Dress me up in Stussy

Hell is ’round the corner where I shelter
Isms and schisms
We’re living helter skelter
If you believe and deceive
Your common sense says you will receive
Let me take you down the corridors

My brain thinks bomb-like
My brain thinks bomb-like, bomb-like, bomb-like
My brain thinks
Beware of our appetite





“Hell Is Round The Corner”, a  duet between Tricky and Martina Topley-Bird. Co produced by Tricky and Mark Saunders.



This song gives me the impression of 1960’s James bond meeting trip hop. Laid back a clean bass and drums set in a 1960’s style James Bond classic meeting elements of trip hop.

The lyrics to me, set in this piece represent a warning of a time coming. A refection of society speeding through a life completely oblivious of where we are heading. Tricky noticing how this journey is effecting our souls which seem to play no part in our journey speeding through life unknowing how much we are effected by our emotional state.


Breakdown of Instruments Critical listening

Tricky’s home studio put together by Island Records for recording Maxinquaye.

s1000_kb Akai S1000 sampler

4cee904a20fae6041e9c6e2f19bea96e  Atari 1040 computer with Logic software


mackie-1604-vlz-pro-447  a Mackie 1604 mixing desk.


Alesis-HD24 Alesis ADAT HD24

composer-proBehringer Composer compressor


C3000B  AKG C3000 microphone


Tricky Hell is Around the Corner

Using tap tempo. The Bpm of the track is is 120.

The general rundown of the Instruments used on this track.

Quoted from SOS on Mark working with Tricky.

“”You see, Tricky’s genius is just being Tricky, and I couldn’t make a Tricky record without him because I wouldn’t have ever tried those things. To be honest, he had no idea of pitch whatsoever, and also not much regard for any kind of timing. He really couldn’t get the concept of four-bar, eight-bar, 12-bar sections; that stuff meant nothing to him. But at the same time he also thought differently to anybody I’ve ever known. When I was asked to match together bits of two songs that were in totally different keys and 30 bpm apart, it didn’t occur to me that by de-tuning one to slow it down, both might then gel musically at that point.”


Bass guitar

Is clean with no distortion, reverb or any other effects. Just a warm bass finger plucked holds the melody throughout the whole song  referring to different bass online it could easily be a Fender Precision.


Moving onto drums sound clean missing the kick. The snare is the focus with a closed high hat in the background keeping the melody with the bass. The drums again have no special effects no reverb or distortion added.

Moving onto effects The drums are assisted with a kick and snare which has been treated with reverb with added bass boosted on eq. and removed higher frequencies.

Below is my recreation of these effects.


My recreation of an effect is used on the whole track giving the effect of being played on the grammar phone.


A sample at the very beginning used to set up the melody is a heart beat is used to start the song along with a delicate synth beat.

Violin playing a sample or replicating violin scene music from classic 1960’s James Bond films.

Piano clean used in the background always playing higher notes.

Synth is used in conjunction with the piano and the violin to create

Snow noise similar to the noise on an old television or a transceiver (walky talky).

A treble guitar is used near the end of the song gently strummed. Very metallic in it sound.




Richard Buskin. June 2007. Classic Tracks: Tricky ‘Black Steel’

AUD 210 Week 5 Peter’s feedback plus extra effects.

Week five studio consisted fixing some the vocals in melodyne. Peter suggested adding vox effects to the lyrics to get a better fit but it work for me. I did want to really hide Bianca’s voice or start to muddy her down with distortion for this song. It didn’t feel right. The option was melodyne and fix her voice to a auto pitch.



I had been told before normal lyrics for editing are about 8 hours. As soon as Bianca started hearing it she got very over it. So I worked on the beginning notes she sang and raised her key. That worked well but I had a idea for a while to have a shot at a reverse reverb like the The Prodigy had done on Keith’s voice in Firestarter.



To get this effect I used Space. Which for me had only just became available in pro tool subscription. I had been having a lot of trouble getting it for a while however after updating everything I could get the magic to work. I had only one class on it, but good fun finding a reverb in reverse that worked.



AUD 210 Week 4 Laying down in time vocals.


After locking down the scratch track. Knowing what we wanted to create. We headed back into the studio to get the lyrics down in time with the boom midi we had tweaked a little since week 3. Now knowing how to properly fit the lyrics around better drums with a bit more accent learning the bar count when to come in on the beat.

This time I set up up all three mics remembering Rose’s technique to get rid of the hiss and ss’s by side micing. I used the Nt-2a on cardioid with a pop filter. A Nt-1a on the left and a audio technica ribbon mic on the right.

Then I worked on the levels getting as hot as I could on all 3 and started getting takes. It didn’t take too long to find a good take over the entire song that we both liked.



week 4 screenshot of vox


After a few takes we got something we both felt confident in using. I then stated playing around with the fit and using different plugins to help song fit on the page. With a rough take to showed Peter Trimbacher my teacher for AUD210.


AUD210 Week 3 Blog Alex on the Audient B


Next was Alex my group partner for this project.


Trance music is his thing finishing a diploma in EDM. This meant he had no experience in the Audients at all. Just a hour or two to actually figure it all out.

p-4149-asp_0752 Audient 4816

We both had decided that we could help each other create our own singles for this project. I could help him work the Audient and get to know the ins and outs of it all. Hopefully afterwards he could create his recordings and not require any assistance. For my self he could help with the EDM side of things.

For Alex I walked him through the Audient setup and showed him how to turn it on get a recording track up on Pro tools and set up the live room. I got 3 mics together the same setup I would use for Bianca’s vocals. One Nt-2-a set on cardioid one Nt-1-A and an audio technica ribbon mic.


I used the Nt-2-A to catch the Alex’s diggeridoo and the others as room mics. He had a great crack at it and it was picked nicely by all 3 mics. I made sure to keep them on the hot side to use as extras on stereo tracking or for anything else he could conceive.

Next I suggested he have a crack at a bit of bass guitar doing the same thing we do. Alex knew he could grab out some of the Bass licks and turn them into a sample for some of his work.


That was it, all recorded and saved, Alex had enough to start arranging.