Sound Design

I highlighted each of the instruments I used with the following colours:
RED: Motion Pad
Cyan: Crazy Lead
White: Swirking Pad
Black: Warmy Pad
Light green: Glowy Electric Piano
Dark Blue: FX Whoosh
Yellow: Drum kit
Brown: 808's
Green: Found sounds.

1. Motion Pad

This Pad is actually a Logic preset except I just tweaked it into making my own mad, I boosted attack a bit more so the attack of the pad could be slow while the sustain is up just so that the pad could go on for longer. In the filter area I turned it on and made it fat because I want a fat type of pad, I then turned down the cut off because I wanted more of the low end area. On the router the filter cut off has been turned up only because I wanted MORE of the cut off in the pad. It was sent to Envelope 1, I raised the attack of Env1 So high because I wanted the attack to be even more slower, while the release is also high, so the sound doesn't finish quick.

Even though I didn't do much in the EXS24 Sampler, I used another plugin called 'Spectral gate'. The spectral gate is like an effect that can be used for vocals, you can use it for LFO's, treat it like an EQ and so on it can also help you cut frequencies off! So it is sort of like an EQ. But in this sense I used it an pad to create this bubbly effect. Which was really useful. The Motion pad was used as the backing track.

2. Swirking Pad

 Here is how I made my 'SWIRKING PAD'.  I used 3 Oscillators, but they're not the default ones. I used the ones that are  not in the sign wave of 'sine, saw, triangle or square'. These Oscillators are the ones that come with different options under the sine wave (when you right click) these are called 'Digiwaves'. I brought all of the Oscillators down by -12 semi tones but the first Oscillator went up by 5 coarse while the rest of the Oscillators went dow by -12 coarse. I did this to manipulate my sound, and to get a bit of the bass.

Routing.

The attack in 'ENV 3' is not that high so is the Release, I wanted to have a medium length of an attack only for the cut off 1 ), however in the 'ENV1' the attack is quite long but it's for the cut off 2. I added a 'OsC3WAVE' which went into the' LFO1' to make it crazy, the LFO1 made the sound cut in and out like a filter, except the rate (hz) wasn't that fast and so was the delay. I added 'Reso 1'  to give it a bit of that high frequency range but I turned it down and made the source the LFO2 to make it cut in and out again just like the LFO1 but although I added 2 LFO's this one would cut in time which was (1/16)

After sorting out the Swirking pad, I added some reverb to it just to make it more and more spacious but I didn't add that much because it was taking the clarity of the sound off. I usually use the reverb on a bus for the swirking pad. I did add some distortion as well.  The swirking pad (wet with reverb) was also used as a backing track while the swirking pad (dry without reverb) was used as the backing as well but it was one of the main backing track.
Without the Reverb it creates more of a LFO plug sound.

3. Crazy Lead

Original

Tweaked

4. 808's

I created my own 808's using the EXS24. The 808's was used as the bassline, the way I created my 808's was like this: 

As you can see here in this picture the Attack wasn't raised at all this was because I wanted to have a quick attack, as an 808 is usually a quick type of bass. This bass is actually made using only a sine wave. The release ( the tail ) is quite long so that it can have that long boomy tail at the end of the 808, the sustain is also at the same level of the release, it's at the same level because I didn't want the tail of the release to be short, the sustain is what makes the tail carry on with the sound. The decay is what stops making that awful rumble noise when playing 2 notes with the 808.

The filter was raised all the way up to create a high pass effect, and the drive was also turned all the way up to make it fat, I also turned on the Fat option to make it even more FATTER.

5. Glowy Electric Piano

The Glowy Electric piano was used as the backing track, which stands more as the background.

How I made the electric piano was that I made it more warm by raising it at full volume, only because I didn't want that tanginess I just wanted that warm feeling of the piano, to make it sound like a pad. The tanginess isn't completely gone off the piano though. I also raised the bass of it so it can act more than just a electric piano. The Tremelo effect rate was raised almost half way only because I wanted the speed of it to happen at medium level, the Tremelo Intensity is what made it go from the left to the right speaker.

The tone of the Electric piano is quite bright, as I said before this explains why the electric piano isn't completely warm like a normal synth pad.

6. FX WHOOSH

As you can see this was used in the intro... but it was also used in different sections in the track for creativity. I made a windy type of noise, as a FX.

Now on to the A.D.S.R (Attack, Decay, Sustain , Release ) 

I turned the release up because I wanted the tail of it to last long. The attack is also raised but it's almost the same level of the release 

 the chorus is raised so it could double the effect.

The overdrive is also raised almost all the way to make it fat, I wanted it to be fat so that the FX could be noticeable making it thin wouldn't give the taste that I want.

7. Warmy Pad

The warmy pad is used as the backing track since it's a synth pad. This pad is very warm but it has a lot of bass to it. The pad swirls from right to left, this is because the intensity level was raised quite a lot, I wanted to be really creative and just make a pad that goes from left to right. Just like a Tremelo type of pad. The sine level is raised, this is what caused the pad to have more bass and warmth. As you can see in the picture I used 3 router's, one for the cut off 1 which is being controlled by the filter in the middle circle box. The blend is all the way to the right because it gave me more of the warmth rather than the less warmth. The cut off is almost half way so but it's more towards the low pass to make it a bit more dark and gloomy.

The ENV 3 attack is raised quite a lot this is because I wanted the pad to have a slow attack, since it's a pad it deserves to have a slow attack. The Warmy pad has a really long tail which is a good thing because if the tail was short, the pad sound of the tail would of ended so short, that it wouldn't really be a pad.

8. Drum kit

I made my own kick by using 2 kicks together, one was the punchy kick while the other was a bass kick. They were both compressed by a little bit. I blended those kicks by using a glass type of sound which sounded really nice.

The kick I made is called the 'Slang kick' 

I also made my own snare, which I took from a sample and edited by Eq'ing.

The glass type of sound is a found sound.

9. Bottle Camp (edit no echo)

This is one of my samples which I made. How I made this is that I recorded a bottle cap dropping on the table with my phone. I then put it onto logic and edited it. I Eq'ed the bottle cap, by raising the high end to get rid of that unnecessary noises that was happening, I even chopped the beginning part of because it was unnecessary. This is used as a percussion in the demo.

10. Beep (edit)

This is the Beep. This is one of my found samples. I recorded this sound using my phone, the actual sample its from a microwave, when the timer finishes. I added some echo to it and EQ. Again I cut off the begin because there was unnecessary noises, I did the same processing with the 'Bottle Camp except this one has echo and a bit of reverb onto it. This was also used as a percussion in the track.

 

Mapping

The way I've mapped my drums is that I selected the drums and claps on each key, so they have their own key. For example the drums have their own key, if you play the note 'C' you would only be playing the kick.

As you can see for this lead I used another logic preset and tweaked it up. This original sound was a pad but I just did some changes. As you can see from down below. 

The only changes I did was that I turned on the filter and raised the cut off to create a hi pass effect, so I can take away the low end and bring up the high frequency,  afterwards I raised the drive to make it a bit more louder and fatter (as you can see the fat option is on). I then added a bit of Resonance to lose more of that low end, which I did not want.
The crazy lead was used as the main melody throughout the track.