Future Funk Femme
Welcome, Thank You So much for Stopping By my Portfolio, Here you can see some of the work I have done or you can browse the webpage to check socials on the right hand side of the webpage
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You can also inquire about Prices for commissions via out chat, business email or at the bottom of the page!
HYDROPHONICSTV
This track was a delight to work on, it allowed me to utilize the skills that I have tried to perfect over the years. This class has helped me so much in music theory that properly thank my professor. The Class this month has also helped me Identify Scales and helped me form a sense of muscle memory for these scales, although they are not perfected yet, they do help!
To start, I started with a 4/4 rhythm at 110 bpm, I wanted something that could catch the ear promptly. Then I started my kick pattern, when I work on kicks or snares, I usually use the drum pads to lay out a beat, because I am more used to analog input like Sabian drum sets and DJ Launchpads, so working with these pads really helps me get something solid out. Then next I'll work on a snare, I usually like to play around with it before recording so I can get a general idea of what I may or may not want to write. Then finally, I added the Hi-hats with variations so that way it can sound less bland. In the second have of the song I re-wrote the kick, hi-hats, and snare to really cultivate the listener.
For the Bass, I had to write the Harmony first so that Way I could Match the bass notes to the chords that were being played. I ended up writing this piece in Bm because To me it sounded light and dark at the same time, it gave me a feeling of struggle, but then hope at the end of the tunnel. Once I had the Harmony Down I was able to make the Bass which I ended up matching with the drum beats for the first 16 bars. But afterward, I went with me playing it on the keyboard, because I wanted to improve my pianist skills. I'm always looking to up the ante when I produce.
For the harmony itself, I was able to conjure up the harmony in the first 16 bars as Bm, Bm, A, D, but for the second 16 bars I wrote Bm B Augmented, A, D, which helped variate it a little, I tried my best on this project but between work and school it has been really difficult. As for the melody, I made the first 16 bars a Motif Melody. but then switched it out for a Falling Melody. This switch-up is very noticeable so I tried to mediate the change by making a fill for the last 1/2 bars.
When it comes to the audio, I ended up recording my voice in the Bm, Bm, Bm, D. To match the Harmony and give it more resonance. Then in the second part, I was able to chop the vocals to give them more variation. Then for the Synths, I made two of them, one is a backup WOMP to the bass to give it extra flavor. Finally, I added A synth with the harmony to really add some variety in the second half. Finally, for the sampler, I decided to use a sample of a Retro 8-bit synth to help give the track even more flavor and catch the listener off guard
Finally, For my Processing, I started with a Bus Time based Reverb on my snare, I used this at about -8.7 DBS, I also Used Pedalboard to distort and fatten the snare. Finally, I compressed and Eq-ed. On my main harmony, I ended us using another Time based reverb to give the depth of the note. I also ended up compressing and eq-ing. On the Harmony Sampler, I ended up using 2 different Time-Based Effects, one being Chromaverb, and the other being the Pedalboard. Then I eq-ed and Compressed. I also Added a Time Based Effect for Chorus on the melody to make it sound more electronic. Finally, for my vocals, I was able to add two time-based effects on the regularly pitched vocals which were ChromaVerb and Pedalboard. Then for my backup vocals, I was able to pitch shift them down 12 semitones. Then I was able to Add 4 time-based effects which were Chroma verb, Flanger, Pedal Board, and Chorus, I finally Compressed and eq-ed most of the tracks to keep dynamic range. And that is basically how this track came to fruition.
If you like this, please consider checking out my other tracks in the next session!
CottontailVA Commission
Project: CottontailVA - “Cottontail Fever” Back in April of 2023, I was commissioned by CottontailVA https://twitch.tv/cottontailva, a well-known talent in the V-tubing community, to make her a song for her channel. Cottontail is what is known as a Lewd tuber, this means they are well known for their sex education talks as well as Crude or Crass comedy, that follows with it. With a Staggering viewing of 1000+ viewers a night, this was an opportunity that I could not refuse and jumped on it immediately. Vocals: (What can I and Can’t I use) Working on the vocals of this track had to be the most difficult task due to what her manager Lylris would consider acceptable and unacceptable to be used in the song. I went through many different clips of Cotton saying the most out-of-context things. I figured that would be a good baseline to see where boundaries get set up. Immediately Lylris would start Identifying what was not socially acceptable and I would go ahead and correct them. This is what took the longest due to the number of times I had to go back and re-edit vocals. Luckily on 05/08/2023, we were able to agree upon a final mix and I ended up with my payment for the song.
Drums: What was the inspiration The Plan for the drums was more of a disco and French house theme, A lot of my tracks are heavily influenced by Daft Punk and Justice, two of my favorite French artists. In the bridge of the song, however, I went for a more Le Castlevania approach to the song whereas the kick and snare are now distorted with light saturation. I ended up using samples from the Bvker Vaporwave Aesthetic free sample pack, plus the Logic Pro drum ai to make these drums pop. I also equated the kick in the lower sub-region, getting rid of most of the noise but keeping its definitive qualities.
Bass: How was it made The bass guitar used in the song is a royalty-free sample from a user known as Marlowe DK on Looperman, What I did was multed (Multiple layered) distort the original track, and pitch it to the key I wanted in Gm. I then decided to use a lowpass filter and pan each bass track both left and right. Since these were two different bass guitars, I chopped them on their samples, so they did not bleed heavily. Finally, I wrote a bass section that worked with the track to give it a Dance/disco vibe. All while distorting said bass and playfully giving it a bit of saturation to taste.
Keys: The flavor of the track When It came to the keys, I decided it would be best to write in triplets. I also used different instruments that are well known in disco, this would include the classical electric “Wurley” piano, A Tonewheel organ, and a clavinet to bring in the 70’s feel to the track. I also incorporated synth-work at the bridge to give it a more EDM or in. Finally, to bring the track to a close, I did add a lot of distorted Reese leads, that did not have any sub to complement the bass.
Mastering and EQ: The mixdown When mastering the track and EQ work, I tried to focus on the basics. First, I made sure that the vocals were volumed at a decent level, then I equated each vocal track based upon their vocal tone, Cotton's voice peaked somewhere between 2000-3000 hz, so I focused the Parametrics on that end. I then equed the bass, the only bass that got equed out was the sub bass, there was too much noise on the higher frequencies, so I shelved it out. When it came to the keys, a good majority of them got bandpass filters. Then I moved on to the drums. The hi-hats ended up getting de-users, and the snares were saturated and distorted with a peak parametric of plus 6 dB from 1000 to 3000 Hz. Finally, the kick was boosted from 0-100 hz at +6 db and was also narrow boosted from a parametric eq at the 1700 Hz range.
The Final Mix: how this applies to my business idea In essence, this all came together because I put myself out there, and a person liked what I did. It made me realize afterward, that there were more v-tubers and content creators out there who needed these services readily available to them. And now armed with the knowledge that there is a demand out there for services like this. People love having art that they can call their own, and when you can give someone as special as that, it makes it not only a passion but a calling.
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Cottontail Credit
The Videos Below Are from CottontailVA's Stream, The Commission was the song itself.
I do not claim ownership of anything in these clips, except the song that is played.
Please do not screen record or copy these clips. I was given permission by CottontailVA to use these clips in my portfolio.
Please Unmute the videos before playback. Unmute can be found on bottom right of videos.
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Business Plan Highlights
Bio
Funding
Competition
Project IV
I chose the song GOTGF by The Timezone, due to its electronic influence on me and the fact that I resonate more with writing funk music than I do with any other genre.
This song is like if the Gorillaz met The Temptations, it is such a unique sound that I firmly believe cannot be replicated or duplicated due to this band dynamic. However, the remixability of this track proves fruitful.
This song has unique band and synth dynamics that work with it as well. Finally, this track has unique vocal tones that match very well and help the overall feel of the track.
Demo Reel & Process Video
In these clips, you will see the sound design I made for two projects involving recorded raw input sounds and sources used in Wesstar. The first video dubbed as graveyard used all pre-recorded assets that were found on the wesstar page, however, these assets were still equalized and implemented using a master technique that I have done since I was 23 years old which involves going from asset to asset, and adjusting volumes where needed, using my ear and a simple peak meter to verify the integrity and quality of the sound and threshold.
The next video, known as the Sci-Fi facility, used raw input sounds recorded from different machines and devices in the real world and pre-recorded assets. To receive the quality that I needed, I put my all into imagining different sounds as something more than it was. Take for instance the Door opening sound effect on my Sci-fi facility project. The sound that was involved used two pre-recorded assets, both a paper cutter dragged across a carpet and a balloon inflating, and raw inputs which were a Mountain Dew being opened for the first time, and a bubblegum machine latch being fidgeted with at the mall. It was crucial to utilize varispeed, and post-processing to achieve not only the pitch of the sound but also the speed at which it was played, to make a symphony of poetic justice to what we hear when we think of an automated door on a space station
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Finally is the clip where I run down the exact process of how and what the alarm is consisted of. I break down not only the techniques that are used but also show how it was utilized for the final product.
I hope with the knowledge I have shown and not only the music, brand, and dedication I have provided, that I can be a suitable candidate for whichever and whomever I am given the opportunity to work with. I hope that I can also provide stellar results with my work ethic shown in the examples below
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