I wrote the music to the Fall 2013 BoldrDash Race campaign. For those of you that don't know: BoldrDash is New England’s premiere military-style obstacle course race that tests your strength and stamina. Over 20 obstacles on a 5K course designed to meet all fitness levels – elite to beginner.  This is NOT your average mud run.  Prove how BOLD you can be! :) For more info visit: www.boldrdashrace.com

Fall 2013 BoldrDash Race

"Old Brick Road" is the lead single from Witt Godden's upcoming album.

For more info on the album and to contribute:
http://www.kickstarter.com/projects/wittgodden/witt-goddens-debut-ep

CREDITS:
Music & Lyrics: Witt Godden & Dana Wells
Producer: David Bawiec
Vocal Coach: Drea Wiseman
Programming, Keyboards: David Bawiec
Guitars: Mathias Minquet Villarino
Drums: Massimo Buonanno
Mix: Yan Perchuk
Mastering: Yoad Nevo


"Old Brick Road" - Witt Godden

So thrilled to share with you this fantastic song that I produced and orchestrated for William Martinez's one-man show "SIGNing The Song"! It was so much fun to get in the studio with the extremely talented William and the incomparable Kirklyn Robinson and hear these two vocally fight it out for who "can do it better".

Produced and orchestrated by David Bawiec for "SIGNing The Song". http://www.davidbawiec.com/

Through American Sign Language paired with singing, “SIGNing The Song” shares the story of a boy who grew up in a deaf household with little exposure to TV, Radio, or Movies. Because of his incredible 8th-grade music teacher and the love and support of his parents, he came out of his silent world and discovered his voice through music. Watch how ASL and song lyrics meld together into a beautiful unique art form. This show celebrates the incredible impact educators and parents have on each child’s life… regardless of their struggles.

The song is written by Irving Berlin and originally comes from the musical "Annie Get Your Gun".

For more info about the phenomenal "SIGNing The Song" show, visit http://www.signingthesong.com/
Check out William Martinez at: http://william-martinez.com/

"Anything You Can Do I Can Do Better" - William Martinez & Kirklyn Robinson

This is a companion track to my article titled: "9 Simple Ways to Create New and Unexpected Sounds".
Learn how to stay original and stand out from the crowd by creating new sounds from existing instruments and patches.

https://www.izotope.com/en/blog/music-production/dont-blend-in-9-ways-to-create-unique-sounds.html


[Excerpt]
9. Mix and match
The true magic begins to happen when you start to mix & match and layer the various effects to create new sounds. Take a listen to the following example and note all the different processing that went into morphing and changing the sound of this instrument. What started out as a Woodblock sounds nothing like one in the end.

—Original Groove
—Pitched Down One Octave
—All of the above + Stereo Delay
—All of the above + Bit Crusher
—All of the above + Reverb
—Example of how the final version can be used with a Groove

http://www.davidbawiec.com

7. Creating the New & Unexpected - Mix & Match

This is a companion track to my article titled: "9 Simple Ways to Create New and Unexpected Sounds".
Learn how to stay original and stand out from the crowd by creating new sounds from existing instruments and patches.

https://www.izotope.com/en/blog/music-production/dont-blend-in-9-ways-to-create-unique-sounds.html


[Excerpt]
6. Wreck it!
This one is great if you're trying to create a rougher sound with a nice edge to it and something that sounds more aggressive. Run your sound through amps, distortion, and bit crushers. I can't count the number of shows where I was running strings through a guitar amp to give them bite. Trash 2 is a perfect companion for this. It lets you distort, wrangle, transform, and wreck any sound to your heart’s content.

—The strings you hear in the first part are just raw, beautiful strings
—The second half is exactly the same thing with one instance of Trash 2 on it to completely destroy the sound and make it aggressive beyond your wildest dreams (plus groove and bass added to complete the demo).

http://www.davidbawiec.com

6. Creating the New & Unexpected - Trashing Strings

This is a companion track to my article titled: "9 Simple Ways to Create New and Unexpected Sounds".
Learn how to stay original and stand out from the crowd by creating new sounds from existing instruments and patches.

https://www.izotope.com/en/blog/music-production/dont-blend-in-9-ways-to-create-unique-sounds.html


[Excerpt]
5. Get crazy
Similarly to the step above, it's all about layering. But don't be afraid to take it further. Apply absurd amounts of layers upon layers to get something truly otherworldly sounding. In the following example, I turn a clav into a pad. Didn't think that was possible? Let's see how I did it. Hit play and follow, as I create the sound. With each instance, you'll hear how I've added one new effect and how it affects the overall sound. By the end, I've applied so much, that the original clav is no longer recognizable in this new pad sounding instrument.

—I start off with nothing but a simple clav with a little compression and EQ
—Next, I added a stereo delay with some long feedback
—The third time around, I cranked up the amount of wet signal (the delayed audio)
—Then, I added a long 12-second reverb with a high amount of wet signal again
—If that wasn't enough, I decided to repeat the process by adding yet another stereo delay on top of all of that (with a tiny EQ shaping to fix a problem frequency that was starting to stand out a bit much). Unlike the first delay (which was set to 16th notes and dotted 8ths), this one was set to a slower repetition pattern consisting of quarter notes and quarter note triplets
—Still not crazy enough though. I inserted a very slow repetition tape delay (set to 1/2 note repetitions) and a high feedback (80%)
—We're pretty much there! But since I want to use this as a pad, I'm going to automate the volume to do a fade-up. However, rather than doing it right away, I'll do it after a couple seconds. That way all the delays have some time to start creating that wall of airy sounding goodness. Layer that with a cool groove, some bass, and the haunted piano note that I created earlier and you're on your way to an awesome song


http://www.davidbawiec.com

5. Creating the New & Unexpected - Getting Crazy

This is a companion track to my article titled: "9 Simple Ways to Create New and Unexpected Sounds".
Learn how to stay original and stand out from the crowd by creating new sounds from existing instruments and patches.

[Excerpt]
4. Layer effects
Now that you already have three tricks up your sleeve, how about we start combining them to create something new? Let's take a sampled Cimbasso (a brass instrument that kinda sounds like a Trombone and a Tuba had a baby). By pitch shifting it, delaying it, and throwing on a reverb, I'm able to turn this classical instrument into a low “Waaaah” that actually sounds a bit synthy despite being a fully organic sound.

—Original sound
—Pitched down one octave
—Pitched down two octaves
—Pitched down two octaves with a pulsing delay
—Pitched down two octaves with a pulsing delay + reverb


http://www.davidbawiec.com

4. Creating the New & Unexpected - Layering Effects - Cimbasso

This is a companion track to my article titled: "9 Simple Ways to Create New and Unexpected Sounds".
Learn how to stay original and stand out from the crowd by creating new sounds from existing instruments and patches.


[Excerpt]
3. Pitch instruments up/down

You'd be surprised by the cool sounds you can create just by pitching an instrument way out of its natural playing range. Take a Xylophone, for example. It's mostly a mid and high note based instrument with a playing range of F3-C7. So, it cannot play very low notes. 

But what if you pitched the whole instrument down a couple octaves?

Suddenly you're using samples from higher octaves that are pitched down and slightly time-stretched by the sampler's engine to make them sound a couple octaves lower. This creates a whole new sound out of that same instrument. The more you change the pitch, the more those samples will get morphed and warped. And that's not a bad thing when your goal is to exactly create something new. When pitching an instrument up or down, I like to jump by octaves and see how each jump affects the sound.

—Original sound at its original pitch
—Same sound pitched down by one octave (12 steps)
—Same sound pitched down by two octaves (24 steps)


http://www.davidbawiec.com

3. Creating the New & Unexpected - Pitch instruments up/down

This is a companion track to my article titled: "9 Simple Ways to Create New and Unexpected Sounds".
Learn how to stay original and stand out from the crowd by creating new sounds from existing instruments and patches.

https://www.izotope.com/en/blog/music-production/dont-blend-in-9-ways-to-create-unique-sounds.html


[Excerpt]
2. Create long reverb tails
Another fun way of creating slightly altered sounds is by applying a reverb with a long tail. Think big. Like a 14-second tail. In most cases, this would be considered way too much, but if used sparingly, this can create a pretty fun effect. Rather than setting it up as a send effect, we'll make it an insert on the track. And to make things truly interesting, let's take out the original source audio (called the "dry signal") and only use the processed reverberated signal (called the "wet signal"). Now you're starting to create some nice haunting sounds.

First, you'll hear four long single piano notes. Not very exciting
Next, you'll hear the same four notes, but this time with a very long reverb applied. Notice how each note actually seems more interesting now


http://www.davidbawiec.com

2. Creating the New & Unexpected - Create long reverb tails

This is a companion playlist to my article titled: "9 Simple Ways to Create New and Unexpected Sounds".
Learn how to stay original and stand out from the crowd by creating new sounds from existing instruments and patches.

https://www.izotope.com/en/blog/music-production/dont-blend-in-9-ways-to-create-unique-sounds.html


[Excerpt]
1. Add delays to acoustic instruments
One of the simpler effects that you can apply to give motion and increase the activity of an acoustic instrument without altering its original sound is by adding a delay plugin. Using the DDLY (Dynamic Delay) plugin (https://www.izotope.com/en/products/create-and-design/ddly-dynamic-delay.html), you can achieve some great activity. 

Take a marimba for example. This isn't necessarily an instrument that you'd see frequently used in a pop song. Yet by adding a cool stereo delay to a simple part, you can take that same instrument and give it motion. Suddenly it sounds a little more like something that may have come out of your favorite synthesizer. Take a listen.

First, you'll hear the original unaltered marimba part.
Then the same part using DDLY, finally adding in the groove.

http://www.davidbawiec.com

1. Creating the New & Unexpected - Delaying a Marimba

Funkalicious - Synth EQ Bass Cut

Funkalicious - Synth Time Stretched And Pitched

Funkalicious - Intro With Filter

Funkalicious - Intro

Funkalicious - Original Synth Sample

Check out the making of this track: https://soundcloud.com/davidbawiec/sets/funkalicious

Funkalicious

"I Need You Around" - The Off Chance

I orchestrated this wonderful song back in 2010. It's written by the one and only Pat Pattison and Scarlet Keys. Performed by the amazing Liz Longley.

"Pieces" - Liz Longley

This is an excerpt of my remix of Katy Perry's "Firework".
You think this is cool? Well wait to hear the whole thing. I'm putting Katy in a musical world she has never explored yet. Stay tuned!

Credits:
"Firework" written by Katy Perry, Mikkel S. Eriksen, Tor Erik Hermansen, Sandy Wilhelm, Ester Dean.
Remix by David Bawiec

"Firework" - Katy Perry : David Bawiec Remix excerpt

David Bawiec is a composer for film and TV as well as a pop music producer who despite his young age has already managed to establish quite a name in the music industry. A triple-major degree graduate in Film Scoring, Contemporary Writing & Production, as well as Songwriting from Berklee College of Music in Boston, MA. "I've always had both feet in two worlds of music. One in orchestral writing and film scores, the other in pop music. Having the opportunity to blend these two worlds to create a new level of expression is something beautiful."

David Bawiec

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