THIS IS NOT MY MUSIC, I DID NOT WRITE OR PERFORM THIS! DISCLAIMER! 

This FLAC file is part of the Gatchaman Crowds OST, and is listed as Track 01. The purpose of this upload is to discuss in real time what the chord progressions are. As a side note, the styles funk, soul, drum and bass, and dubstep are all quite nicely blended in this piece.

Again, this isn't my music, it's simply uploaded to show a really interesting piece, that I want to discuss in real time along with the audio with my fellow analysts. I could not find another way to do this task over the internet smoothly.

Gatchaman ～ In The Name Of Love

These are PREVIEW files for my senior project. More to come soon!!! 

Let Go (Preview)

Wallflower (Preview)

Meteorite (Preview)

This was a project for MUS-479, Digital Audio Recording And Editing, which I am remixing for my Senior Project. The Skeleton from Ableton is Available Below

Society's Trials - Original MUS-479 Project

Society's Trials (Remix)

This track is a preview and will be part of my senior project. I'm not quite sure how to end it yet! This was done entirely with a Roland TD-9, MOTU 896, Akai APC40, M-Audio Axiom 49, Ableton Live, Massive, and Absynth. Akhi in Arabic means "My Brother," and is dedicated to Taleb Al Yeme. Wherever you are old friend, I miss you. 

Originally I did not have downloads enabled, as this is unfinished, but I have been asked by a few people to change this. Enjoy!

Akhi (Preview)

This track is part of my senior project at WCU. It was made in Ableton Live 9, with many instances of Massive, Absynth, and Kontakt. Additionally, several of these synths were routed into a vocoder along with my vocal in Japanese through a custom U87. All parts composed and performed by myself. 

Bushido

This track is part of my senior project at WCU. It was made in Ableton Live 9 with Absynth, Massive, Kontakt, Antares Vocal Suite, Fabfilter and Waves plugins, a MOTU 896 Interface, an Ableton Push, and an Akai APC 40. The vocals were recorded with a U87. 

The goal in production was to have heavily processed electronic vocals, bridging the gap between modern EDM and Pop genres. Lyrically this was inspired by my grandparents Pete (who passed while I was in high school) and Barbara (who passed a year ago). The idea came from how I would handle how my significant other died in old age after being together for years. The concept describes the writing of a love song but completing it too late for her to hear. 

Production-wise, the goal was to evoke this dream state with the different patches and pads, with a rhythmic drive pushing a sense of confusion. The ethereal quality is added by the Mark Tree from Spitfire Percussion, a Kontakt Library, along with the overall chord progression for the A Section (Cmaj7, G, B-7) to the pre-chorus (E- add9, C #11). The chorus has a standard 4 chord phrasing, ending on a Bb chord to add pull and tension, with the pads providing this uplifting sense trying to emulate heaven.

Special thanks to my vocal coach Gregory Sankowich, you're an amazing teacher, and I would have never gotten these timbres without your lessons. If anyone reading would like to learn from him (highly recommended) his website is listed below:

www.vocalyoga.wix.com/sankowichvoice

I really can't emphasize enough how much help Greg has given me in life and music over the years. Thank you brother. 

All Of You

This track is part of my senior project at WCU. It was made in Ableton Live 9 with Absynth, Massive, and Kontakt. The piece was inspired by my old roommate Taleb Al Yeme, who had suddenly left WCU's campus and was not heard from for months. I had originally uploaded a simple preview when I was near completion, and had shared it with many over in the middle east. The goal was for him to hear about it, and know we (his American Family) were looking for and praying for him. Within less than a week, we were able to make contact, accomplishing the goal, which is why I finished the piece. 

The A section is very heavily inspired by Arabic dance music he had shown me over the years, with phrasing dictated by flow instead of a set pattern. There are a few key motifs that signal a phrase change, but most of it is a "come in when it feels right" sort of style, which wound up lining together quite well, and was naturally performable with the Akai APC 40. 

The B Section on the otherhand, has a very specific phrasing, with the house bass inspired by the Bourne Trilogy movies, where Jason would be running around either from someone or trying to find someone. The higher "bell" motif is meant to simulate one's eyes darting around filtering through enormous amounts of information to find important details, and the drone synth is supposed to be a small child crying out for someone. 

Akhi

Soraya and I put together this track in Ableton Live using only a Shure SM57, Fast Track Pro, and a Yamaha Classical Guitar. Bass was done by using Live's Pitch-MIDI conversion and uses one of the Kontakt Libraries. Drums will be fixed later using a Roland TD-10, but for now is just a simple Spark machine. 

It was tons of fun, and we both look forward to recording together again!!

AudicaLive

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