FullSail
🎼 PORTFOLIO SUMMARY — “Primary Tension”Composer/Producer: Donny Smith (Silverback Music Group LLC)
Genre: Cinematic Tension / Trailer Hybrid
Duration: 2:18Overview:
“Primary Tension” is a hybrid tension cue built around evolving orchestral textures, processed percussion, and a handcrafted live violin section recorded by Keri Choi. The cue focuses on slow-building anxiety, orchestral motion, and controlled intensity suited for thriller, investigation, and suspense-driven media.⸻Creative BreakdownConcept & MoodThe musical goal was to create a tight, atmospheric tension cue that gradually expands in scale. The composition avoids large thematic melodies and instead leans on texture, orchestral pulses, and hybrid rhythmic layers to generate forward motion.InstrumentationThe cue blends:
• Live violin section (9 tracked layers)
High, octave, and low articulations for width and realism.
• Kontakt orchestral strings & brass
Supporting ensemble for harmonic weight.
• Cinematic drums & low percussion
For heartbeat-style rhythmic pressure.
• Hybrid textures
Drones, motion beds, and filtered ambiance.
• Felt piano
Subtle harmonic grounding.
• Processed vocal texture
Adds tension without lyrical focus.⸻Production & Sound DesignRecordingAll violin parts were performed and recorded by Keri Choi, delivered as separate mono tracks (high, high dbl, octave layers, and low sustains).
These were stacked, panned, and processed to function as a single playable section.Sound DesignHybrid textures were layered using:
• filtered noise beds
• low-frequency drones
• subtle mid-range motion pads
• percussive accents for hit pointsThe combination supports a modern trailer-tension aesthetic without overpowering the orchestral elements.⸻Mixing WorkflowGain StagingAll individual tracks were staged to hit their busses between –20 dBFS and –12 dBFS for optimal headroom.
Final mix bus peaks were controlled at –1.0 dBTP.Processing
• FabFilter Pro-Q3: surgical cleanup, low-end control, M/S widening
• FabFilter Pro-C2: glue compression on busses
• FabFilter Pro-MB: dynamic control on violin and orchestral busses
• Direction Mixer: stereo width shaping
• Reverb Folder: room, hall, and parallel ambience
• Music Bus Chain: Pro-Q3 → Pro-C2 → Pro-L2 → Youlean meter (final)Final Master
• Integrated LUFS: –11.6
• True Peak: –1.0 dB
• PLR: 10.6 LUThese values are ideal for streaming, portfolio playback, and sync library submission.⸻NotationFull score was prepared with correct track organization, articulations, divisi, and orchestral layout reflecting the clean routing and the live violin session.⸻Creative GoalThe cue demonstrates professional hybrid scoring, tight orchestration, modern tension sound design, and a clear ability to integrate live performers into an otherwise digital workflow.
🎬 Portfolio Summary – “Intense Action” (Orchestral Hybrid Cue)“Intense Action” is a high-energy hybrid orchestral cue designed to deliver cinematic tension, momentum, and impact. The track blends a full orchestral ensemble—strings, brass, and low-end power elements—with modern hybrid sound design layers to create a polished, trailer-ready intensity.Instrumentation & ArrangementThe cue features a full orchestral lineup, including:
• String Section
Violin I, Violin II, Viola, Cello, and Basses
(with clear separation by articulation: Legato, Sustain, Short Notes, etc.)
• Brass Section
Trumpets, Horns, Trombones, Bass Trombone, Tuba
(processed as a unified brass bus for cohesion and scale)
• Hybrid Elements
• Ferrum cinematic percussion
• Punch/kick layers
• Tonal pulses and synth accents
• Sub-bass reinforcement
• Impact and riser textures
(all routed into FX / Music buses for modern scoring punch)Sonic Design & Mixing ApproachThe track sits around –13.2 LUFS integrated, with a –1.0 dB true peak, giving the cue a competitive loudness level for sync while preserving headroom and dynamics.
Routing follows a professional trailer-mix layout:
• Individual instrument tracks →
• Section buses (Strings Bus, Brass Bus, FX Bus, Sub Bass, etc.) →
• Music Bus →
• Master BusFabFilter tools (Pro-Q3, Pro-C2, Pro-L2) were used strategically for:
• tonal shaping
• compression and movement
• transparent limiting
• controlling peak dynamics
• maintaining clarity across dense orchestrationPercussion & Hybrid ElementsCinematic percussion was built using multi-layer techniques:
• Low-end hits
• Punchy mids
• Metallic textures
• Risers and downersFX & riser channels show stacked sound design layers, capturing a true modern trailer aesthetic.Overall Style & Purpose“Intense Action” fits perfectly into:
• action film trailers
• game cinematics
• tension-driven promos
• combat / chase sequences
• high-impact sync placementsThe blend of orchestral writing with hard-hitting hybrid elements gives the cue both emotional weight and commercial appeal.
PORTFOLIO SUMMARY — (Horror Short Score)”
Composer/Producer: Donny Smith (Silverback Music Group LLC)
Genre: Horror / Thriller / Hybrid Sound Design
Duration: 1:22
Project Type: Original Score for Short FilmOverview:
“Horror Short Score” is an original horror score created for a short film about a detective infiltrating an underground clinic where illegal animal experiments transform creatures into monstrous beings. All sound sources—music, textures, atmospheres, and impacts—were created from scratch using hybrid orchestral writing and custom sound design. No samples or external loops were used. The cue blends psychological tension, modern horror sonorism, and urban thriller aesthetics to serve the film’s pacing and suspense.Creative BreakdownConcept & Narrative Function:
The score follows the detective’s journey from suspicion, to discovery, to full horror. Instead of using melodic themes, the composition relies on sonic storytelling—evolving textures, dissonant clusters, and abrupt dynamic shifts that support jump-scares, visual cuts, and emotional pacing. The cue is designed to escalate tension and mirror the unfolding story.Instrumentation & Sound Design:
• Low strings and bass clusters for weight and dread.
• High dissonant strings (minor 2nds, tritones) to create anxiety.
• Cluster chords, glissandos, and extended techniques for sustained tension.
• Custom horror textures using Kinetic Metal, Pharlight, and Form.
• Reverse stabs, sub impacts, and granular drones for major transitions.
• Metallic scrapes, breathing textures, and processed noise beds.
• Analog Dreams low-end pulses used for heartbeat-style rhythmic pressure.Percussion & Impacts:
• Multi-layered risers, downers, and impacts (3–5 layers minimum per professor requirements).
• Designed low percussion hits for scene transitions.
• Air whooshes, tremolo pulses, and sharp accents for scares.
• MOS (mono) for close, tight impacts; SOS (stereo) for wide atmospheric layers.Spatial & Mixing Approach:
• Distance is conveyed using reverb amount and EQ roll-off:
– Dry = close to camera
– Moderate verb = mid distance
– Heavy verb with high-cut = far distance
• Hybrid scoring workflow using CC1 and CC11 automation for expressive shaping.
• Dissonant intervals used intentionally: m2, M7, tritone clusters, etc.Technical Execution:
• Composed and mixed in Logic Pro.
• Fully original sound design—no sample libraries or loops used.
• Synchronized precisely to the film’s hit points (reveals, camera shifts, scares).
• Final loudness: (Insert Orban or Youlean reading).
• Delivered as full mix plus stems for professional use.Outcome:
The score enhances the short film’s horror atmosphere with a polished hybrid approach. Through layered textures, custom-designed sounds, and orchestral dissonance, the cue heightens tension, supports the narrative, and demonstrates advanced cinematic scoring and sound design skills.
Horror Short Spotting Notes:
00:00- 00:22 – Music should be dark, ominous, but not overly orchestrated. Use music to highlight when woman looks at the book
00:23-00:57 – Music should be creepy and tense and should slowly layer. Light creepy pulsing might work well here.
00:58-01:07 – Music should be an intense build into a chaotic sound. Think sonorism.
01:08 – 01:16 – Music changes to a dark action. Possibly time the music with the different scene cuts.
01:17- 01:22 – Music should hit and be static before starting another sonoristic build up to a hit when the man appears behind woman. One last big hit as the scene cuts to black.
Bourbon Blues
Donny Smith
Key: E Major
Form: 12 Bar Blues / song Form
Meter: 12/8
Tempo:
Reference Song: “Hoochie Coochie Man” By Muddy Waters 1954
My instrumentation: Solo Vocals, Guitars, Bass, Drums, Harmonica, PianoVerse 1
I (E)Well, I woke up this morning, feeling mighty fine.
Got me a bottle of bourbon, gonna sip line by line.IV (A)
Said I woke up this morning, with that bourbon on my mind.I (E)
Gonna pour me a glass, let the good times unwnwind.V (B)
Oh, bourbon sweet bourbon,
you know you treat me rightIV (A)
With your smooth, rich flavor, you keep me up all night.I (E)
I said bourbon sweet bourbon, you make everything alright.
When I’m feeling low, you lift me to new heights.I (E
I raise my glass up high, to the bourbon in my hand.
Each sip goes down easy, like walking on soft sand.IV (A)
I said I raise my glass up high, to that bourbon so grand.I (E)
Got the bourbon blues baby, ain’t it so grand.V (B)
So, let the music play on, as I drink away my woes.
IV (A)
With the bourbon in my hand, my troubles come to a close.I (E)
I said let the music play on, as the bourbon flows and flows
Got the bourbon blues baby, and that’s how it goes.I (E)
Oh, bourbon sweet bourbon, you know your my best friend
In a world full of troubles, you’ll stick with me till the end.IV (A)
I said bourbon sweet bourbon, you’ll be with me till the end.I (E)
Got the bourbon blues baby, gonna keep on blendinV (B)
Yeah, I got the bourbon blues, but I ain’t feeling blue.IV (A)
Long ass I got my bourbon, I’ll see the day through.I (E)
I said I got the bourbon blues, but I ain’t feeling blue.
Bourbon in my soul, gonna see me through and throughI (E)
Well, that’s the bourbon blues, a story of love and cheer
Just me and my bourbon, never shedding a tear.IV (A)
I said that’s the bourbon blues, a story so clear.I (E)
Bourbon in my heart, gonna hold it dear.V (B)
So, raise your glass up high, shout out with prideIV (A)
To the bourbon blues, with nothing to hide.I (E)
I said raise your glass up high, let the bourbon provide.
With the bourbon blues, let the good times collide.I (E)
Yeah, that’s the bourbon blues, the song’s end is nigh.
Hope you enjoyed the tune, under the smokey sky.IV (A)
I said that’s the bourbon blues, the songs end is nigh.I (E)
With the bourbon in our hearts, let the music fly.V (B)
Yeah, that’s the bourbon blues, the song’s end is nigh.IV (A)
Hope you enjoyed the tune, under the smokey sky.I (E)
I said that’s the bourbon blues, the songs end is nigh.
With the bourbon in our hearts, let the music.
This is My Final track Project for Project and Portfolio I.Making the music was not hard but it was not all the way simple. I really had to pay attention on this track, especially considering I will be graded on it. I stuck to what I knew for music and applied all the things I learned in this course. From the programming a synth to harmonies and melodies. I really had a time.The meter of the song is a 4/4 with a tempo of 97 until it gets to bar 17 where then I changed it to 117. As far as the structure I tried to keep it simple and basic so that I did not overload myself and get confused on what I was doing. A simple back beat with a few extra kicks to give a little bounce. I allowed the bass to have a rhythm in its own little way but not to take the shine from the melody of the song.The song starts off in the key of C# Minor with a transition at bar 17 to C# Major. So for my chords in the first 16 bars are bars 1-4 C#m7 G#m C#m7 A6 A then for bars 5-8 I played B6 Emaj7 F#maj6 C#maj7 Bmaj7. Then I just repeated them for the next eight bars. The melody just plays on the notes of the scale C#m. Then comes the transition to track 17, but before we hit track 17 the last half of track 16 I converted the midi files to audio files so I could create a Vari-Fi type of effect. I had to create a fade on the end of the clips the create a slow down. Now comes bar 17 with the tempo change and new key. C# Major. Bars 17-20 C#maj7 F#maj7 B#7 A#m7. Then bars 21-24 C# F D#m G#. These eight bars were repeated to stretch out to 33 bars.Original sounds include two separate recordings I made with my microphone. First is me giving a little history in the first 16 bars and in the 17th bar I incorporated my moniker. I put effects on the first 16 bars recording. Eq, reverb, Pitch Shift just to help with my vocals.Now comes the mixing and good stuff. I added eq to almost all tracks. A compressor on both basses. Synth and original. For time based Processing I used the Chorus on the melody and the Ensemble on the harmony also on the melody as well. I panned several tracks so that everything was not centered.Hope you all enjoy the track.