Newfangled Hotel Ambience 8: 3:20 am
Notes on Newfangled Hotel Ambience 8: 3:20 am
TRACK DATA
Composition tool: MuseScore3, Studio One 5 Professional
Recording tool (DAW): Studio One 5 Professional
Number of tracks: 18
Sound source: Presence XT, (All built-in sound sources of Studio One
Composition and Recording period: Aug 20 2021 - Aug 25 2021
Even though I love all the tracks of the Newfangled Hotel Ambience Series, I would choose this if I were told to pick up just one. Now that about six months have passed since the composition, I feel this work symbolises Eric Satie's influence on me, which was not my intention at all. (After composition I asked TI if this was too similar with any composer. "Not that much", he answered.)
When I was composing this, I had a clear vision. The large, almost silent reception hall of the hotel at 3:20 am. You dreamed a quaint dream during your short sleep and you walked out of your room down to the hall, wanting fresh air. No one but a few staff there. There remain such instruments as a piano and drums. No one, of course, is playing them, but you hear some music of full of wonder that you have never heard.
The lower piano part plays many major sevenths and ninths. The middle piano reverses a semi-tone progression on the upper part. While there is no resolution, you might say there is just slightly. I do not use dynamic signs (like forte and piano) at all in order to bring out a non-human feel. As a listener in the hotel, I would be surprised when the wind instruments join. The ending chord, like G# sus4 M7 add9, appears for the first time there, which I love very much. Approximately four minutes is quite short as a track of FMT's.
(TI writes:)
Sound Creation and Mixing
I had very little to do with the composition of this piece. I just separated the strings and wind parts into single melodies and assigned them to the right instruments in the right ranges.
The mix was also done in 5 days, as there are very few tracks (18) compared to our usual tracks.
In terms of tone selection, we used only the best sounding acoustic guitars, pianos and orchestral packs from Studio One.
For the sound quality, I used the format of the other NHA series (only with reverb for spatial expression) and adjusted the volume, equalization and compression to create a sense of dynamics and depth for each instrument.
The only effectors I used were a reverb, parametric equalizer and compressor.
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