CREATIVE LOG - LOSS OF SOUND

"Loss of Sound" is an ambient piece exploring the emotional transformation of moving from South Africa to Canada. It focuses on space, absence and identity through a blend of textures and minimal melodic elements. The track started in Ableton Live as a stereo mix, then was moved into Logic Pro for a Dolby Atmos mix to enhance the sense of immersion and displacement.

Performance Material: In the box:

1. Serum 2: Texture Presets that match the emotional flow of the track

2. Ableton: for the original composition process, Logic for the Dolby Atmos mixing phase.

In the Studio:

1. 5.1 Speaker Set Up to get an accurate spatial mix.

SOUND DESIGN (MAIN):

FOLEY SOUND (HYBRID) -Ghost Windswell

• Dynamic Filtering & EQ - Shifting bandpass filters were used to sculpt airy textures and introduce spectral movement, mimicking the motion of ghost wind.

• Time-Stretching & Reverb - Synthetic and natural wind elements were time-stretched and processed with long convolution reverb to create a sense of spaciousness and a lingering, otherworldly presence.

• Subtle Modulation & Reversed layers - Low-pitch drift and amplitude LFOs were introduced to add instability, while reversed swells enhanced tension and sense of backwards, unnatural motion.

Reflected Piano Texture

• Piano To Pad transformation - The original was softened and stretched using reverb and EQ to remove its attack and emphasise sustain, transforming it into a smooth ambient pad.

• Reversed Clone Layer - A reversed version of the same sound was layered underneath and slightly offset in time, producing a swelling pre-echo that enriched the texture.

• Blended Temporal Contrast - The combination of forward and reversed layers created a push-pull effect, merging natural decay with reversed buildup to add emotional depth and spatial ambiguity.

Layered Octave Piano Pad with independent Delays

• The original piano pad was layered with a version pitched +24 semitones to introduce a shimmering, bright top layer. "Preserve transients" was selected during time-stretching to retain the clarity of the initial attacks, helping high frequencies cut through the mix.

• Each layer was processed with its delay: a slow, spacious delay on the lower pad for depth, and a tighter delay on the upper layer to add movement and definition. This combination enhanced both the vertical spread and rhythmic clarity of the overall sound.

  
  

  Automation Technique used across multiple productions

  
  

  Links to any source information will be listed below

  
  

  DOLBY MIX

FINAL BOUNCE APPROACH:

The final bounce/mastering process was approached with restraint, reflecting its nature as an auditory, ambient-style soundtrack. The mix had already achieved the intended tonal balance, spatial depth and dynamic range, so further mastering was minimal to preserve its natural rises and falls. Traditional mastering objectives, such as competitive loudness and extensive dynamic compression, were avoided to maintain the immersive quality and nuanced contrasts integral to the work. Given that the piece was designed for focused listening in a controlled environment, priority was placed on transparency, ensuring the final bounce remained faithful to the original mix while making only subtle adjustments for overall cohesion.

Source - https://www.youtube.com/watch?v=j4pQzAgVdLU

CHALLENGES & CREATIVE SOLUTIONS:

One of the main challenges during the creation of Loss of Sound was navigating the transition from stereo mixing in Ableton to building a fully immersive Dolby Atmos mix in Logic Pro. While I had a clear emotional vision for spatial placement, translating that into a 3D environment required both technical adaptation and creative decision-making. Fortunately, I had access to a 5.1 Dolby Atmos studio where I collaborated closely with my tutor to refine the spatial layout. This hands-on support allowed me to understand better panning priorities, speaker distribution, and how to maintain clarity in a dense ambient mix. Another challenge was avoiding overcrowding in the front sound field due to overlapping stems, which I resolved by carefully balancing send levels and repositioning aux effects within the spatial field to retain the track's sense of depth and movement.

PERSONAL REFLECTION:

Working on Loss of Sound challenged me to step outside my usual sound creation approach. I typically produce more structured, cinematic pieces that are rhythm-driven and built around drums, so creating something this ambient, spacious, and abstract was unfamiliar territory. While the track does carry emotional weight, my focus here was more on translating atmosphere and environment than telling a clear narrative. It taught me to trust slower builds, subtle textures and spatial movement as core compositional tools. Exploring Dolby Atmos added another layer of depth, pushing me to think in three dimensions and approach and approach sounds more sculpturally. Overall, this process helped expand my creative range and develop a deeper understanding of immersive mixing.

The Final Mix & Master

BIBLIOGRAPHY:

Sound Design source:

Mix elite (2024). How To Use Dynamic EQ: The Ultimate Guide For Producers. [online] Mix Elite. Available at: https://mixelite.com/blog/how-to-use-dynamic-eq/.

McAllister, M. (2023). What Is Time Stretching and When Would You Use It? [online] Produce Like A Pro. Available at: https://producelikeapro.com/blog/time-stretch-explained/.

Perez, M. (2020). Modulation Effects Tips. [online] Iconcollective.edu. Available at: https://www.iconcollective.edu/how-modulation-effects-will-improve-your-music.