This keys layer was beautiful and Ben, who recorded this on my Launchkey MK, and myself both agreed that this would be the main melodic foundation. This meant very little editing with the exception of omitting or adding relative notes for dynamic and melodic variation.

A few days later after a few other layers were added, I duplicated the keys and threw the Canadian Keys instrument on the MIDI. The auto-pan delay on the instrument added euphoric and darker air to the track.

In the beginning, the bass introduced a swing groove that was accompanied by very reggae inspired beat. I had experimented with variations of arrangement as it was difficult at first for me to organise these tracks into appropriate places. After much trial and sonic error, I heard the bass fit perfect at the end of the track, allowing the other layers to evolve and breathe first.

Michael, who created the sawtooth keys layer, mentioned that the song would be better off with a straight four on the floor feel. Personally, I think he was absolutely right!!

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Chopping sample

This chopped up sample was an experimentation on what I could do with a percussive loop and a filter delay. I wanted to create something eerie but adds energy and another driving force to the track.

My friend Mark mentioned that a sound effect in the background would be a good addition to add to the atmosphere, but all to assist in transitioning to different sections. Going through so many samples, this crackling sound needed some reverb and differently pitched notes. I personally didn't like it too much at first, although I loved the idea of a transitional sound. But very quickly after adding the right amount of verb and a little 'Disharmonics' delay, the airy melodic pad and keys entering the song follow cohesively after the panned crackle.