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Free Granular synth i found that i used to create a creepy drone sound out of a phone beep. Increased play rate and automate the rate down, as well as which way it cycles through the sample.

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Bedingfield, D. (2002) Gotta get thru this. Gotta get thru this. [CD] London: Relentless

Yamaoka, A. (1999) Killing time. Silent Hill Original Soundtrack[CD] Japan. Konami

Yamaoka, A. (2001) Heaven's Night. Silent Hill 2 Original Soundtrack[CD]Japan. Konami

Yamaoka, A.(2001) The Day of Night. Silent Hill 2 Original Soundtrack[CD]Japan. Konami

Yamaoka, A. Never Forgive Me, Never Forget Me. Silent Hill 3 Original Soundtrack[CD]Japan. Konami

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m1 Korg style sound, bringing classic sound into modern. distorted and layered with another layer with a slightly different lfo and pitched up an octave

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decay sub for the hit

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Vocal sample from the original - dub style delay

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Reversed maraca sound with lots of reverb and delay, repeating, layered with a sweep up to create a hissing sweep.

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Resampled just the melodies reverb, and the compressed it and added chorus and phasing to add a spacey layer to the main melody.

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Sampled from the original track and then chopped, and manipulated with effects to personalize it and make it unique to my version of it. Reversed and stretched parts of it for movement.

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This wasn't recorded by me but i chopped up a break so that i could have just the hats and bongos and used that as an extra layer over the top of my hats for energy.

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Hat sequence all made out of one hat sample, pitched and stretched multiple versions of the same sample to create a sequence with lots of movement. Then all resampled so it could be mixed easily.

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3 layers of claps one of them being one i recorded at small pond

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Unfortunately I didn't have matching schedules with the rapper i wanted to work with which meant we didn't have enough time to fully re-write the vocals, record and process them. I also attempted to try and record some spoken word style (Piri, tommy villier for example) vocals and chop them up by recording them myself but It didn't really turn out how I wanted it to. Hopefully with future iterations of this cover i can work with someone to finish it how I wanted to.

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From never forgive me never forget me - silent hill 3 OST

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High pass eq with some reverb and a delay automation.

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I did the exact same thing but this time using wavetable instead of granular. the wavetable on the left is a waveform made out of the bell sound. pitched and distorted to make it thicker and punch with the bass.

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Using Harmor which has an imager i was able to use the bell sound above and pitch it down to make a plucky bass sound. i increased the playback rate to make it shorter and to squeeze the harmonics together.

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Chopped and repeated with reverb automations at the end to build into the second drop. Pitched to be in key

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Guitar Original sample (Silent hill ost - Killing time)

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Sampled from Silent hill 2 OST - The day of night

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Cut the beginning of the whip sound, pitched it up and distorted it and then resampled with the FX above.

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Originally a sound of a box being broken in silent hill 2, this also didn't require much processing just some reverb and eq's so it wasn't so abrasive, and a transient processor for some more attack.

I also cut the end of the sound off and then resampled it and reversed it for some movement.

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This is actually a sound from navigating the games UI and it didn't require any processing at all just an EQ and it worked perfectly. I just pitched and stretched it to create rhythms as you will hear in the audio file above

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I also chopped the sample so i only had the bassy tail-end of the sound, and then stretched it so it played faster and pitched it down an octave.

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This was what the cover sounded like after my proposal, however, due to reasons I explain in the proposal this ended up not happening. However certain elements have been kept such as some percussion and a couple of synths so its important to put this in to see how the track changed based on how i was innovating and changing approaches.

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PLEASE CHECK OUT MY NEW BASS MUSIC ALIAS: https://soundcloud.com/dojjabeats Melodic/Progressive EDM Producer Drummer and avid music lover. Will do any commission asked at a negotiated price, and will

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This idea turned out really nicely after my session in small pond re-amping the bass as well as doing an FX chain on the chords. These taught me new approaches to creating sounds outside of the box using hardware to create harmonics and tones. I also got some samples of percussions that I recorded myself meaning that I had samples that no one else had to use in my tracks. However I think conceptually the track is not innovative, it just contains elements that are, so i decided to keep this track for future personal projects. Despite that it helped me achieve some sounds in the silent hill track that I would not have made otherwise if this process had not happened so I was glad that I was able to have that opportunity.

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Below are ideas that never came to fruition but did inform and evolve into the final products.

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Creating a piece of music entirely out of samples from the silent hill franchise, using sound effects from in game or samples from the soundtrack to create an ethereal and chill track out of spooky/dissonant sounds.

132bpm future garage track, with lots of textures and layers.

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Creative Cover of "Gotta Get Thru this" - Daniel Bedingfield

Style/Genre:
Taking Old School garage and modernising it taking the only the melody and bringing it to the modern club world. Fusing the audience who are listening to the club classics with the new age clubgoers.

Jump up/neuro style DNB - Using a a rapper friend to create and write MC style vocal re-imagining to fit the track concept and tie it together.

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Live recorded sounds being soundscaped and thrown over liquid beats.
Patching multiple soundscapes together to create unique harmonics

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Using new technologies (AI, Soft synths, hardware, to make a re-imagining of a pre-existing track) bringing old into new while keeping the original "magic" of the track.

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y2k aesthetic visuals
limiting myself to only using samples gathered from old games consoles (start ups, in game sound effects etc.)
resampling and then using in studio (re-amping, soundscaping etc.)
Sample manipulation, eq'ing certain frequencies and then running them through FX