My current favourite sounds. These are the sounds I play on Sundays and come from Omnisphere, Zebra, Sample Libraries and are processed with a concoction of filter, modulation and reverb effects.

Brass Patch is a brilliant horns pad that I created at 301 in Sydney.

Electro Glockenstein is my replacement for standard glockenspiel sounds. It really works well as its replacement in Gracious Tempest.

Mini Thick Pad is my usual go to pad. Played really subtle at first and opened up when the songs builds.

Prophessor is a patch I play over the Y&F tracks. It is a different sound that really compliments what the tracks are doing.

Subtle Trumpet Lead is the soaring lead I use during some of the Y&F tracks to double the line, or to countermelody some of the verses.

Tinker Pad is my 2nd go to pad. It has enough interest up the top to not be a simple, boring pad.

Verby Rhodes is the sound I use for Gracious Tempest and for any solo rhodes parts. I've messed with the velocity so it doesn't bite too hard and cranked multiple verbs. Some may find it too messy, I find it ambiguously perfect.

Whambience Pad is almost like a patch for the 3rd keyboardist. It's a really slow ambient texture, that can open up to an almost metallic timbre. I only use it as colour and tension.

DA Tinker Pad

Intimate solo piano re-imaginings of beloved songs — warm, emotional, and cinematic.
Each track was recorded with storytelling in mind: minimal, spacious, and built to live beneath dialogue or carry a scene on its own.

Perfect for film, TV, trailers, and brand moments that call for tenderness, nostalgia, or quiet power.

🎹 Composed & Performed by: David Andrew (Grammy-winning pianist & composer)
✉️ Licensing & Inquiries: davidjandrew@me.com

🌐 www.davidandrewmusic.com

All of Me

Mr Brightside

Still The One

Just The Way You Are

Isn't She Lovely

CHRDS Not 2DayFM 1

Art with Limitations:

This is what happens when you are given 4 notes to compose with. The only pitches used in this piece are F, A, C, E.

I tried using dynamics, timing, phrasing and being flexible with time signatures to create movement as the full range of a scale wasn't available to me. I also tried to pre-empt the movement from time signature to time signature by shifting accents around to create new strong pulses.

This is the piece in its 5th incarnation.


davidjandrew

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