Full Sail University Portfolio

   This piece draws its primary inspiration from the hostile and rude nature of geese, a concept that emerged from personal encounters during field audio recordings. The geese's confrontational behavior, rather than any specific musical genre or artist, sparked the creative process for this track. The composition adopts an electronic-freestyle approach, reflecting the unpredictable and somewhat chaotic nature of these interactions with geese. The piece could serve a dual purpose: firstly, as a light-hearted, humorous diss-track aimed at the feisty birds, encapsulating the amusing yet challenging experiences with them. Secondly, it could fittingly serve as the backdrop for a YouTube skit, playfully cautioning viewers about the perils of crossing paths with these seemingly innocuous but surprisingly aggressive creatures.

   The track unfolds at a measured tempo of 118 BPM, set in a 3/4 time signature, lending an offbeat rhythm and a slightly quirky character to the piece. Its structure is organized into two basic A/B sections, each bringing a distinct rhythmic personality. The "A" section features drums with a linear, straightforward rhythm, while the "B" section introduces a contrasting syncopated, bouncing rhythm that adds dynamic interest. The drum sounds, sourced from the "Analog Dreams" kit within Logic Pro, contribute an electronic texture, aligning with the overall electronic theme of the piece. Meanwhile, the bass track (track 13), meticulously synthesized using the ESM Synth in Logic Pro, is imbued with a vocal-like quality that aims to mimic the honking of geese. This choice of bass sound further emphasizes the central theme of geese, blending the electronic and natural elements in a novel way.

   Set in the key of F Minor, the piece weaves a compelling harmonic narrative divided into two distinct parts. The first part, the A section, unfolds with a chord progression of i-III-iv-V, comprised of F minor (Fm), A♭ major (A♭), B♭ minor (B♭m), and C major (C), with the latter borrowed from the F Major scale. This progression is enriched as the F minor and B♭ minor chords are extended to their seventh forms (Fm7 and B♭m7) by the last region of this section, adding a layer of emotional depth and complexity. The second part, or the B section, introduces a subtle shift with the progression i-iiº-iv-V, featuring a tension-inducing G diminished (Gº) chord. This is further moved into a v-iiº-iv-i sequence, and the final variation finishes with an F minor suspended 2nd (Fmsus2) chord that resolves back to F minor. This harmonious journey, reflective of the unpredictable nature of geese, is enhanced by a “quacking” pad sound from the ESP synthesizer on track 14 (more on that later). The pad's distinctive timbre, blending square and triangle waves, is carefully crafted to produce a sound reminiscent of a duck, contributing to the track’s avian thematic coherence.
 

   The melody of the piece, carried out on track 15, is a dynamic and evolving entity, embodying the unpredictable nature of its muse, the goose. It begins with an arch pattern between measures 5-20, gracefully ebbing and flowing in a structured manner, which instills a sense of anticipation and curiosity. This approach then transitions into something of a motif melody in measures 21-24, introducing slight variations and signaling a subtle shift in the musical narrative. The culmination of this melodic journey occurs from measure 25 onwards, where the structure adopts a more chaotic form. This intentional disorganization peaks in pitch at measure 29, then gradually descends into a lower register, symbolically resolving the chaos into a calmer conclusion.

The core of the melody is crafted from a goose honk sample, a nod to the original inspiration of the piece. This sample, recorded during an encounter where the bird displayed overt aggression, is transformed through creative sound manipulation (more on that later).
 

   The audio track (track 19) opens with a unique spoken-word element, a short poem read aloud and recorded using a Sennheiser e835 microphone, provided by the Launch-Box setup. This poem, "Boss of the land, Bold and brash, Cross their path, Geese're quick to clash," crafted by my artificially intelligent agent Miss Modulations, sets the thematic tone of the composition. It underscores the aggressive nature of geese, serving as an introduction to the narrative. The vocals undergo artistic processing, including bitcrushing and intense pitch correction, adding flair and depth to the track. Moving into the synthesized elements, the bass (track 13) is crafted using the "ESM" synth, starting from a tweaked default patch. The filter cutoff is lowered and resonance heightened, aiming to mimic a goose's honk. This sound is further shaped with an adjusted filter envelope, creating a plucking, vocal-like effect. Complementing this, the pad track (track 14) on the ESP synth merges triangle and square waves for rich harmonics. The track undergoes filtering with slight resonance, and its amplitude envelope is meticulously configured to yield a "quacking" effect. The fast attack and decay, paired with a sustain slightly below maximum, facilitate the distinctive decay. A subtle release ensures smooth note transitions, and the amplitude envelope's influence on the filter cutoff underscores the quacking character. At the heart of the piece is the goose honk sample on track 15, a centerpiece that undergoes significant transformation. Captured with a Zoom H-8 field audio recorder, this sample is manipulated using an LFO to modulate the filter's cutoff and resonance within the sampler instrument. This process significantly alters the honk, distancing it from its natural form and turning it into a key harmonic element. This reimagining serves as a metaphorical retaliation against the goose's hostility, transforming its taunts into a complex musical motif. The sample is further enhanced with reverb and stereo delay, applied through separate buses to add spatial depth. Tracks 17 and 18 feature both the original and edited versions of the honk, which underwent EQing, expansion, and compression. These processes isolate the honk, removing background noise and human interference, and repurpose it almost as a percussive element to signal the transition from part A to part B.
 

  In the final stages of production, meticulous attention was given to the processing and mixing to ensure the track achieved both clarity and impact. On track 14, which features the pad, a compressor was utilized. This dynamic effect played a crucial role in maintaining a consistent level, especially important as the filter cutoff increased and allowed higher frequencies to pass through, increasing the level of the pad. By having the compressor trigger at these moments, the level was stabilized, ensuring a balanced and controlled output that didn't overpower the mix. In a similar vein, the sampler track (track 15), carrying the crucial goose honk melody, was treated with an equalizer. This EQ was carefully adjusted to remove a low-frequency ringing around 482 Hz, and enhancing the clarity of the honk by accentuating the higher harmonics above approximately 800 Hz. Time-based effects were applied to the sampler track, adding depth and texture to the piece. A delay effect created a rhythmic call-and-response feel, augmenting the playful yet aggressive theme of the track. In tandem, a reverb effect provided a sense of ambient space, making the goose honk resonate more expansively within the track's sonic landscape. This combination of delay and reverb on the goose honk sample served to elevate it from a simple natural sound to a more complex and integral part of the musical composition. The mixing stage involved careful consideration of each track's relative levels to ensure a harmonious blend. The bass track's volume was reduced by 5.4 dB, effectively preventing it from overpowering the mix, while the chords (pad) track was dialed down by 3.7 dB to maintain balance. Conversely, the kick drum's level was boosted by around 3 dB to lend more punch and presence to the rhythm section. These nuanced adjustments were key in achieving a well-rounded mix that allowed each component to shine without overshadowing the others. The culmination of this process was the application of a limiter on the master fader, crucial for maintaining the track's high energy and fullness without incurring clipping. The limiter was set to ensure that the track's level stayed below 2.2 dBfs, allowing the piece to be both loud and impactful while preserving the dynamic range and sonic quality of each element, as well as maintaining some headroom.