Synth Rush

As I reflect on this piece, I get the feeling of brisk, motivated, and purposeful movement. I hear heavy influences of early ‘90s pop synth sound frequently used in workout videos and anime. It has quite a bit of nostalgia to it, so I went with it. It could be used for workout routines and motivational videos. I could also hear it in a video game, with a car race.

The meter of my composition is 4/4, and the tempo is at 120bpm. I started with the high hats on the up and down beats and ended each bar with a clap sound as the “open high-hat.” I added the snare to beats 2 and 4, with some syncopation to every 4th bar. To add more syncopation, I put extra kicks and snares in some measures, as well as a snare in the final beat of bar 16, which brings the beat back. I also added percussion sounds and used them to double up the high hats at the beginning of each bar. The bass was derived from the beat of the kick drum, and it followed that rhythm throughout the piece. I then lengthened some of the notes at the end of most bars. It gave it a bit more of a drawn-out feel, which grooves nicely to the harmony.

The first half of this piece is in the key of A minor, and the chord progression I chose is, Am | F | C | G. This progression has a powerful, consonant sound. I then inverted all the chords to sound more even and not jump from one octave to another. I used one chord per bar and repeated the 4 bars until the end of bar 16. For my melody, I went with a motif, giving it a relaxing feel, but also one that expresses movement. The second half of the piece is in the parallel key to A minor, which is A major. For the chord progression, I went with is, A E | D G#dim | Bm | A. I kept the melody as a motif, with different, and longer notes. The tone is still relaxing but has more of a cooldown effect than movement.

Starting at bar 17, using Quick Sampler, I created an original audio sample for my kick track from a sound effect I had recorded for a different project. I then used ES P to manipulate white noise and create original synth sounds for my snare. Continuing to use ES P, I dialed in some square waves for my bass track. I then recorded the sound of a pair of rusted scissors “cutting” to the rhythm of the beat. This added a slightly percussive and ambient sound.

For mixing, I used dynamic processors on every track, but mostly compressors and EQs. First, I placed a compressor on my recorded audio track to level out the highs and lows. I then went in with an EQ on the same track to cut the high frequencies. Next, I went in with some time-based effects. To make the drums and percussion sound fuller, I added a Chroma Reverb effect. I put the same effect on the recorded audio, as it helped it merge better into the mix. Lastly, I added a Stereo Delay effect to the recorded audio to help it carry throughout the song.

Sound Design Reel

As a sound design student, I am passionate about exploring how sound can enhance the user experience and evoke powerful emotions. This demo reel I created for school showcases a variety of techniques that I used to create unforgettable soundscapes, from foley and field recordings to editing and layering. Dive in and discover how powerful sound design can be when it's created with creativity and passion.

Will It Stop

In mixing and mastering "Will It Stop," I carefully blended a combination of loops, MIDI instruments, recorded sounds, and vocals to create a cohesive industrial dance vibe. I balanced the rhythmic drive of the loops with aggressive, mechanical textures from the MIDI instruments, enhancing their presence through precise EQ and compression. The recorded sounds provided a gritty, tactile quality that added depth to the track, while the vocals, processed with reverb, were carefully placed to cut through the dense instrumental layers. I ensured the overall energy remained intense and dynamic throughout the mastering process. I used multiband compression and limiting to maintain clarity and punch while optimizing the song for various playback systems.

Cinderella Remix

For this remix project, I chose Cinderella by Mikaela Davis and Southern Star from the Cambridge library, categorized under psychedelic rock. The original song has a slow groove with a folk/country feel, and I was especially drawn to its mesmerizing, dreamy melodic harps. While listening, I envisioned a way to change the groove, making the percussion bigger and more upfront to give the track a fresh dynamic.

In this variation, I replaced the drums with a more rock-oriented, electric sound. I also changed the groove to double-time in the chorus, adding more energy and drive to that section.

In this variation, I recorded and incorporated a live shaker to enhance the double-time groove sections. The added shaker brings a more organic feel to the rhythm, creating a natural, driving pulse that complements the increased energy in these parts. It also adds a subtle dynamic texture, helping to glue the percussion together while maintaining a lively, human touch.

Building on the previous two variations, I created ambient wind sounds to add a final touch of natural movement. This element not only enhances the atmosphere but also serves as a subtle cue for the transition into the double-time groove, reinforcing the rhythmic shift and making the change feel more organic and intentional.

Skateboarding Video Sound Design

For this project, I crafted the complete audio experience for a skateboarding video—from custom sound design and an original soundtrack to a signature sonic logo that opens the video with a clear sense of brand identity. The goal was to energize the visuals, enhance storytelling through sound, and create a cohesive, immersive audio environment.

To reinforce the Nomadic Sound brand right from the start, I developed a short sonic logo that captures the essence of what we offer: clean, modern, and creatively mobile. I layered tonal swells to suggest movement, using spatial effects and EQ to give the logo clarity and presence. The result is a polished, recognizable sound mark that sets the tone for the video and can be reused across future branded content.

This project is a strong example of Nomadic Sound, a high-quality, end-to-end audio production that adapts to various environments, platforms, and creative needs, all while maintaining a consistent sonic vision.