Foo Fighters teamed up with Billy Idol over the weekend to perform a cover of Sex Pistols classic ‘Pretty Vacant’.
Idol joined Dave Grohl‘s band on vocals for a performance of the 1977 single during the Jazz Aspen Snowmass Labor Day festival on Sunday night (September 3). You can view footage below.
The band last teamed up with with Idol in 2018 when they covered John Lennon’s ‘Gimme Some Truth’ at the Welcome to Rockville festival.
Idol’s guitarist, Billy Morrison also shared a photo with the band following the performance, writing: “Thank you Aspen, and thank you @foofighters – it was a great day yesterday. We had an amazing show, @billyidol did pretty vacant with the Foos, and I started a new ‘Where’s Waldo’ game with @joshfreese.”
The singer-songwriter also took to Twitter to comment on the performance and wished Pistols guitarist Steve Jones a Happy Birthday.
It comes after the Foo Fighters recently joined forces with Michael Bublé to perform his 2009 hit single ‘Haven’t Met You Yet’.
At the time, Shane Hawkins, the son of late drummer Taylor Hawkins, also took to the stage with Chevy Metal for a couple of gigs in California.
The 17-year-old took to the stage and sat behind the kit for two recent shows from his dad’s own covers band in California, performing rock classics, including Black Sabbath’s ‘The Wizard’ and Led Zeppelin’s 1969 hit ‘Moby Dick’.
Meanwhile, Foo Fighters and Alanis Morissette recently paid tribute to Sinéad O’Connor, who passed away in July at the age of 56, with a cover of ‘Mandinka’ at Japan’s Fuji Rock Festival.
The band are set to tour the UK next year. You can purchase any remaining tickets here.
Fresh off the heels of their massive VIP remix for “Rock My Body” together, R3HAB and W&W have released their fourth official collaboration, “Million Places.” This one is really unique as it’s a Eurodance inspired track; a genre that W&W is very familiar with, but we haven’t really seen R3HAB dabble in. The result is, as you would expect, an incredibly catchy melodic track that will have the festival stage hopping.
The Dutch superstars first premiered the song during their Tomorrowland Winter b2b and it’s pretty clear why this track dominates festival stages. It’s anthemic, it has ethereal vocals, there’s piano breaks, everything about the track is huge. I’ve only caught this track via livestream, but there’s no doubt, “Million Places” is sure to be a mainstay in both W&W and R3HAB’s live sets.
“After months of testing and finesse-ing, Willem, Ward, and I are excited to officially release ‘Million Places.’” R3HAB says. “It was inspiring to premiere this record at Tomorrowland Winter during our b2b set, and we agreed the record was ready to release after the great response at Tomorrowland Mainstage last month. It’s our fourth and most anticipated collab, and I think our work keeps getting better.”
“Loved working on this one with R3HAB, the vocals instantly hit us,” W&W say, “And it’s goosebumps every time we play it.”
Check out the latest from R3HAB and W&W, “Million Places” out now on Rave Culture. Re-live their Tomorrowland Winter set below as well.
15 electronic music producers are joining a tribute effort to breathe new life into one of Nintendo’s most iconic video game titles, The Legend of Zelda: Majora’s Mask.
The Legend of Zelda: Majora’s Mask, which hit shelves at the turn of the century, has sold over three million copies to-date and remains the #12 best-selling title of all-time on the iconic Nintendo 64 console. Released on the video game-focused GameGrooves label, Milk Bar: An EDM Tribute to Majora’s Mask revitalizes the original soundtrack’s chiptune-inspired sounds with modern dance elements.
The wide-ranging tone of the soundtrack is met with an equally diverse stylistic set of cover remixes. The engines powering this sonic journey rev to life with “Termina Fields” from SaiyaSounds, an offering that transitions seamlessly from cinematic, suspense-building strings to a powerful melodic dubstep catharsis.
At the opposing side of the sonic spectrum, the hard electro interpretation of “Deku Palace” by Ryu Matrix is characterized by a blistering barrage of punchy kicks. Meanwhile, DeBisco delivers a fitting send-off with vintage video game-style textures while inducing a sense of nostalgia.
Former TEEN TOP member and K-pop idol C.A.P has opened up about how he’s happier now after leaving the music industry.
C.A.P recently appeared on a South Korean YouTube channel where he spoke about his life now compared to when he was a K-pop idol. The musician had left TEEN TOP and the industry this May, after receiving criticism over comments he made during a livestream.
“I make far less money now, but I’m much happier,” C.A.P said, as translated by Koreaboo. “Back when I was an idol, I may have earned thousands of dollars for ten minutes of performing. Now, I make ₩300,000 (about US$227) for two to three hours of landscaping.”
However, despite the drop in income, the former K-pop idol said that he has “come to find [his new line of] work more worthwhile”. He added: “That’s how much I struggled with the idol lifestyle. I’m happy because I can do whatever I want now.”
Since C.A.P’s departure, TEEN TOP has continued on as a four-member boyband, featuring members Chunji, Niel, Ricky and Changjo. The group made their first comeback as a quartet in July with the mini-album ‘4SHO’, led by the single ‘HWEEK’.
In other K-pop news, Tomorrow X Together (TXT) and Brazilian singer Anitta have teased their new song ‘Back for More’. Prior to the song’s release, the musicians will perform the song for the first time at the MTV Video Music Awards 2023.
Fans of Canadian electronic music producer Defunk have been waiting ever-so-patiently for a new album. Out now by way of Westwood Recordings, The Voyage marks his first full-length album in nearly a decade—and it was worth the wait.
Spanning 14 tracks, the new album features collaborations with the likes of Liinks, RUSUR, Lily Fangz, Wildabeast, Taylr Renee and ero808. True to its name, The Voyage is an introspective journey that transcends both time and space through genre-blending soundscapes, eloquently showcasing Defunk’s artistic evolution.
“I’ve never worked so hard on such a large project, with so much of my heart poured into every song,” Defunk said in a press release shared with EDM.com. “The Voyage is a very personal 14-song concept album that tells the story of my evolution, both personal and musically, through the pandemic and into my new role as a parent.”
Cover art for Defunk’s “The Voyage” album.
c/o Press
The journey begins with “The Departure,” where Defunk makes it clear that his voyage is not for the faint of heart. What starts out as an ethereal piano chord progression with soft melodies soon shifts gears, launching us into the barrage of basslines and serrating synths of “Blast Off.”
Enlisting Liinks, a powerful writer and producer duo, “Whiplash” speaks to the dangers of acting on something without thinking it through first. “Two steps forward and two steps back,” the lyrics affirm atop a palpitating beat.
Each track seamlessly transitions to the next. Defunk expertly steers us through groovy tech house sensibilities in “Coming In Hot,” sweltering Latin-infused licks in “Losing It” (with Lily Fangz and Wildabeast) and then stunning drum & bass rhythms in “Waves” (with Taylor Renee).
Moving to a new leg of the adventure, “Sacrifice” is an unwavering collaboration with ero808 that proclaims the importance of pursuing a particular partnership no matter what. Defunk then segues into the hip-hop behemoth “All Your Love.”
“Coming Back Down,” Defunk grounds us with a newfound sense of purpose, while “Stay” is an invitation to commit. Returning to his funky roots, “The Return” invigorates the beholder with the use of funky guitar riffs and irresistible, synth-laden sonics.
The album concludes with “Sunrise,” which is celebratory in nature and marks the completion of a long, seemingly endless soul-searching cycle. But alas, just as night turns to day, the dark night of the soul will come to an end, and light will once again shine.
Listen to The Voyage below and find the album across streaming platforms here.
Defunk is now set to kick off his North America album tour in Louisville, with stops in Detroit, Vancouver, Portland, Kelowna and Las Vegas, among others.
Defunk’s “The Voyage” Tour:
Sep 08 – Galaxie – Louisville, KY Sep 09 – Unison Festival – Aztek, MN Sep 15 – Tangent Gallery – Detroit, MI Sep 16 – The Stache – Grand Rapids, MI Sep 23 – The Red Room – Vancouver, BC Sep 30 – Pryes Brewing Co. – Minneapolis, MN Oct 05 – The Get Down – Portland, OR Oct 07 – Waverly Hotel – Cumberland, BC Oct 20 – Distrikt – Kelowna, BC Oct 21 – Five Mile Hall – Grande Prairie, AB Nov 04 – Arkadia Festival – Las Vegas, NV Nov 09 – Summit Music Hall – Columbus, OH
Noel Gallagher reportedly turned down an offer to front Have I Got News For You.
The ex-Oasis man admitted that he didn’t think the opportunity was “for him” and feared that he couldn’t hold his own against the show’s panellists.
“I was actually asked to present Have I Got News For You, but I’d be so out of my depth with those guys who are like fucking amazingly funny and witty – Paul Merton and Ian Hislop and whoever else would be on it,” he told The Daily Star.
“But like, you see people on Have I Got News For You and you just think, ‘Why are they on it?’
“And they don’t say a thing because obviously they’ve not said anything funny and it’s just edited out and they just sit there and it’s just a pointless fucking exercise.
“But I’ve been asked to do things like that and I’m always like, ‘No, it’s not for me’.”
Noel Gallagher performs during South Facing 2023 at Crystal Palace Bowl on July 28, 2023 in London CREDIT: Gus Stewart/Redferns
Gallagher previously told his friend Matt Morgan on his podcast that he’d also received offers from other comedy shows in the past. “They’ve been trying to get me on Never Mind The Buzzcocks for years but I don’t really do those kind of things.”
Elsewhere, Gallagher revealed what it was about Adele that “riled” him to call the singer “fucking awful” and her voice “offensive”.
Elaborating on the Matt Morgan podcast, the musician said his frustration stemmed from an invite from the ‘Hello’ singer to meet up – but it didn’t come directly from her.
“I don’t think I have ever gone out of my way to start anything, it’s always been a reaction to some fucking idiot having a go in the first place,” Gallagher said. “You know me, I keep myself to myself.”
The artist said that Adele “sent someone over to fucking ask, ‘Did I want to meet her?’ That’s what riled me”.
“I’m not one for causing a scene, I just stick it in the vault and just think revenge is a dish best served cold.”
Two years since AC Slater and Chris Lorenzo first collaborated on a track called “Fly With Us” on Nightbass, the two titans of house music have finally released an official single under their new collaborative project of the same name. Fittingly, Fly With Us’ debut release is “Shrine Banger,” the opener to their first b2b performance at the Shrine Auditorium in Los Angeles a year ago.
“Shrine Banger” is an absolute house heater, needless to say it’s the perfect blend of Slater and Lorenzo’s similar, but unique styles. The drop hits hard with some squeaky synths, a nasty low end, and that perfect vocal sample, “And, I’m flying on a jet!”
Coming off a hot performance at HARD Summer last month, Slater and Lorenzo have announced their first ever Fly With Us show next month, appropriately at the Shrine. Tickets for the show are available here. Check out the debut single from Fly With Us (AC Slater x Chris Lorenzo), “Shrine Banger” out now on UKF.
“Miracle,” a melodic and uplifting new collaboration between Adriatique and WhoMadeWho, is a blissful statement on deep connection and effortless compatibility.
Flowing, euphoric and passionate, the new track on RÜFÜS DU SOL’s Rose Avenue Records explores themes of love, spirit and soul for a rapturous listening experience. Poignant vocals float atop ecstatic basslines, melodic beats and surging synths.
The track beautifully unites the strengths and skills of Adriatique and WhoMadeWho, colliding their stellar production techniques with finesse.
“Our deepest thanks go out to Rose Avenue for giving us the platform to share this unique creation with the world,” WhoMadeWho said in a statement. “‘Miracle’ is a tribute to that extraordinary feeling you might experience while looking into the eyes of your most beloved. When you connect on a deeper level. When everything makes sense. You are invincible and nothing can harm you.”
Listen to “Miracle” below.
“‘Good things come to those who wait’ is normally not the right quote when making music but in the case of ‘Miracle’ it is true,” Adriatique added. “This was one of the projects which had given us an immediate excitement but ultimately it took time to make it what it is today.”
Adriatique have upcoming performances in Paris, Barcelona, Ibiza and more. Meanwhile, fans can catch WhoMadeWho at a show in Milan, Belgium, Ibiza and more.
You can find the new track on streaming platforms here.
Note: a lot of the Memphis rap scene from that era has a… controversial history. We are not condoning any of that, but simply tracing back the roots of today’s Phonk music.
What stands out immediately is the low quality of the recording. This is reminiscent of the Soundcloud rap scene of the 2010s.
Other notable characteristics include repetitive vocal hooks and simple melodies.
Check out this other track from 1994 by Skinny Pimp. At the 1:20 mark, you’ll hear the basis of today’s Phonk music:
Phonk takes direct inspiration from Memphis rap while adding a darker layer. This is often achieved with heavy distortion, pitched-down vocals, and eerie atmospheres.
The sub-genre of Phonk you’re probably familiar with is called “Drift Phonk”.
This sub-genre became massively popular on TikTok, often accompanying drift or fighting videos. Funnily enough, a lot of these videos were coming from Russia. From Memphis to Moscow… Who would have thought? 😅
In this tutorial, this is what we are going to re-create. I am going to use this track from Kordhell as a template for our own track:
Kordhell – Murder In My Mind
Almost half a billion streams… I think it’s a safe bet to imitate this track 😇
So without further ado, let’s get started 👇
How to Make Phonk – Step 1: Lead Melody 🎶
First things first, let’s set a BPM.
Phonk is quite a versatile genre in terms of tempo: anything from 120 all the way to 150 will work.
You can also go up to 170 or 180 BPM, but you would then be in half-time (i.e. the kick is not on every beat, like for drum and bass).
For our project, I’ve set the tempo to 130:
Setting the BPM to 130
But before writing our melody, let’s find our sound.
Finding the right lead sound
The most famous sound in Phonk melodies is the pitched cowbell. It sounds something like this:
The classic Phonk cowbell
There are a million different variations of this sound on Splice and Loopcloud. So pick one that you like – you can always swap it out later.
I’ve written the following melody with it:
My Phonk melody in the piano roll
And here is what it sounds like:
My Phonk melody
A very common scale in Phonk is the Phrygian dominant scale.
Don’t worry, I won’t bore you with complex music theory 😅. If you want to learn more about this scale and others, I’ve made a full guide over here.
In a nutshell, the Phrygian scale starts with the natural minor scale. If we are in A, this would be
A – B – C – D – E – F – G
All you have to do next is flat the second note:
A – Bb – C – D – E – F – G
And there’s your Phrygian dominant scale! Another example with E would be:
E – F# –> F – G – A – B – C – D
The notes that sound the best for Phonk within this scale are usually the 1st, 2nd, 5th, and 6th. In the case of the A Phrygian scale, this would be A, Bb, E, and F.
Of course, you can always write without any music theory. But it helps to know which notes sound good together 😉
What about designing my own lead sound?
But maybe you’re more interested in designing your own lead?
If that’s the case, let’s have a look at how to do it 🔥
I will be using the free synth Vital, which you should definitely grab:
The free synth Vital
By the way, if you want to grab this custom Vital skin, head over to our Free Downloads page 😉
First, I am going to load up 2 different wavetables:
Crappy Toilet
Annoying OP
Both are available in the preset bank when you download Vital.
Next, pitch down OSC 2 by 7 semitones:
OSC 2 down 7 semitones
You will need to manually scan through the wavetable to find a sound that fits. I settled roughly in these positions:
Choosing a wavetable position
Now, we want to draw our ADSR envelope to create a plucky sound. I’ve set the following times:
Attack: 0 sec
Decay: 0.54 sec
Sustain: 0%
Release: 0.321 sec
This is what it should sound like at the moment:
Designing our Phonk lead
Next, add a Noise layer to introduce some grit. I’ve gone with the Grinder preset. But you can load up any noise sample you like:
Adding a noise layer
Adding Some FX
Now, it’s time to process our sound! The goal here is to make it huge, dirty, and distorted.
I’ve gone with the following effects chain: Chorus –> Compressor –> Distortion –> Reverb.
Here are the settings I used. Feel free to copy them and use them as a template:
Adding some effects to our Phonk lead
Your lead should now sound something like this:
Adding effects to our Phonk lead
Finally, let’s add some more movement with envelopes and LFOs.
Firstly, I added this very short envelope to the pitch of OSC 1, OSC 2, and the SMP. You want to keep the amount small so that you don’t turn your lead into a laser:
Adding a short envelope to the pitch of the oscillators
I also added an LFO to:
the cutoff of FILTER 1
The Distortion Drive control
This adds some more movement to each note.
In the end, you should have something like this:
Our very own Phonk lead
What’s even better, you can now layer this in with a cowbell from Splice:
Blending our own lead with a sampled cowbell
Still with me? Awesome 😇 Let’s move on to some drums now 👇
How to Make Phonk – Step 2: Add a Mean Beat 🥁
Drums in Phonk can vary widely. I’ve heard Phonk tracks with a classic Trap beat or UK Drill beats. I’ve even heard Phonk tracks with a 4-on-the-floor House beat.
In the track “Murder in My Mind” from Kordhell, you actually get a pretty basic House beat:
“Murder In My Mind” features a basic House-type beat
There is however one common denominator: HEAVY distortion!
So let’s build our beat up. For our tune, I wanted to go with more of a Drill type beat.
First, let’s lay down a Kick and Snare pattern:
Kick + Snare pattern
Next, I am going to layer up the snare with another snare and a clap. I’ve also added one hit of a “reverb clap” to add some space:
Layering up the snare
If you want to add some extra width, add another clap. Add a high-pass filter to it, then add some stereo widening.
Processing Your Drums
While I lay the drums down, I am also doing some processing.
When layering sounds, it’s especially important to process sounds in a single bus. Here on my Snare/Clap bus, I’ve added some EQ and Saturation:
Adding EQ and Saturation to my Snare bus
Remember, you can’t go overboard with Phonk. So crank up that distortion!
Next, let’s fill up the beat with some hats. I downloaded different loops from Splice, then cut and pasted sections I liked.
Next, I routed all the hats to a single bus. There, I added some EQ, OTT, and (again) heavy saturation.
This is what my beat sounds like now:
My full Phonk beat
What you can also do is add something like LFO Tool (or STFU, a free alternative) to your hats bus. This will add some extra movement:
Adding STFU for some more movement
While we’re at it, let’s add some sidechain compression to our lead melody. I am going to duck manually the volume of the lead on each Kick and Snare hit:
Adding some volume automation
Melody with volume automation
This is going to let the kick and snare cut through the mix.
How to Make Phonk – Step 3: PHAT 808s 🥴
Right, time to add some PHAT 808s!
We’ve done a complete guide on 808s over here, so feel free to check it out.
For this tutorial, I am going to grab a sample directly from Splice:
Searching distorted 808s on Splice
Here are a few guidelines for writing an 808 bassline for Phonk:
Add an 808 on every kick
Stick (mostly) to the root note
Cut out the 808 on every snare/clap (optional)
Add some glides between octaves (optional)
DISTORT IT 😍
Here’s what it sounds like:
Nasty 😈
How to Make Phonk – Step 4: Hip Hop Vocal Sample 🎙️
Let’s move on the one of the most crucial aspects of Phonk: the vocal.
For this, I wanted to pay homage to the roots and looked up some Memphis rap acapella.
Memphis rap acapella
Now, let’s process it a bit to make it sound… Phonk 😍
I’ve created several layers using Soundtoys Little Alterboy. Here’s what they sound like:
Low octave layerHigh octave layer
And yes, they sound “Low Quality” on purpose. Mixing them all together, this is what we get:
Vocals in context
Phonk vocals are often buried in the mix and unintelligible.
If you’re sampling old records, here are a few guidelines to follow:
Remove most of the low and high frequencies to create a radio-style EQ
Degrade the audio with distortion and bitcrushing
Don’t be afraid to sidechain your vocal directly to your kick and snare
Nice! Now, let’s fill out our loop a bit more 👇
How to Make Phonk – Step 5: FX and Background Ambiance 🌫️
This part now is totally up to taste. But the goal is to insert some effects, transitions, gang shouts, and noises to fill out the arrangement.
Here are a few samples I selected:
Adding FX to our Phonk track
You can also fill out your drum loop with some white noise, reverse claps, percussion, and more.
But for now, let’s move on to the arrangement. Once our whole track is laid out, it will be much easier to fill in the gaps with more FX and transitions.
How to Make Phonk – Step 6: Arrangement 🎼
The arrangement is a crucial part of any song. This is how you keep your listener engaged for the whole duration of the track. By the way, if you haven’t yet, check out our Free Arrangement Checklist 😉
We are going to use “Murder in My Mind” as a template here. You can take any song you want, but this is an excellent trick for “getting out of the loop”.
I am going to mark down every time the track changes section:
Identifying the main sections of the track
In this 2:25 track, we have in order:
a 2-beat “Pre-Intro”
an 8-bar Intro
an 8-bar Drop
an 8-bar Drop with vocals
an 8-bar Chorus (or Switch)
an 8-bar Drop
an 8-bar Drop with vocals
a 16-bar Chorus (or Switch)
a 4-bar Outro
And that’s it! So let’s replicate this with our own track. First, let’s lay down some markers:
Laying down the arrangement
If you’re in Ableton Live, you can use Dummy Clips instead (I talk about this more in detail in this guide). As you can see, I’ve already filled in the arrangement with our drop.
Adding an Intro
After a bit of work, this is what my intro sounds like:
Fleshing out my intro
Here are some ideas I used that I encourage you to steal.
Firstly, I used the free Izotope Vinyl plugin to create that LoFi effect. I also added some different risers to introduce every new 4-bar section.
For the main build-up before the drop, you want to create as much tension as possible. Here, I played on the classic kick build-up:
The classic kick roll
I also removed every single element besides the vocal right before the drop hits. This creates an additional impact when all the elements return.
You could also slowly high-pass the drums as the drop approaches.
My best tip for you here is to listen to your favorite tracks. What sort of effects do they use? How do they arrange every bar of their sections? By observing the pros, you’ll pick up tricks you can use in your own productions.
The Switch
Let’s move on to the rest of the track. After our intro, we have our main drop with no vocals. Then, our vocals enter.
What you can do here is pitch your melody up or down an octave. This will introduce some variation, for a minimal amount of effort 😅
Pitching up one layer of the lead when the vocals hit
This is what it sounds like:
Pitching up one layer of the lead
Now, we need a proper switch. This section basically acts like a sort of chorus or breakdown.
The main elements you want to change here are:
The lead melody
The vocal
Let’s fill out this section
For the purpose of this tutorial, I’m going to keep things simple. I’ve changed the lead melody to make it more discreet and layered different vocals and pads. I am intentionally changing the mood of the track to create that “switch” effect.
This is what it sounds like:
Creating a switch
However, you don’t want to remove every single element. Your track needs to keep some continuity, so you should at least keep:
Main beat or groove
Lead sound (but change the melody)
808s
Some vocal chops
Great! Now you have every single section of your track! Now let’s move on to the last stage of this “How to make Phonk” tutorial 🤩
How to Make Phonk – Step 7: Mixdown and Final Touches 🎛️
A big part of what makes a Phonk track “Phonk” is the audio aesthetics.
Just like with LoFi Hip Hop, Phonk aims for low-quality audio on purpose.
So when mixing down your track, keep 2 things in mind:
Have I added enough distortion? (probably not 😅)
Am I using enough sidechain compression to make room for the elements?
Let’s tackle distortion first.
My favorite plugin to “dirty up” a sound is Decapitator by Soundtoys:
Soundtoys Decapitator
If you want a “free” alternative, check out CamelPhat3 (we’ve done an extensive guide on it here by the way).
My recommendation is to apply a healthy dose of distortion on every bus track. Some examples of bus tracks where you can apply distortion are:
Processing a bus track as a whole will give more cohesion to your elements. You can also use a good amount of compression (think OTT-style) to glue all the elements of your bus.
Sidechain Compression to Create Space
Next up is sidechain compression.
This is crucial to ensure your track doesn’t become one big soup. I know we are going for “degraded” quality, but we still want to make out the different elements 😅
If you’re in FL Studio, you can use a stock plugin like Fruity Limiter:
Fruity Limiter for sidechain compression
In Ableton Live, load up the stock Compressor and set it to “Sidechain” mode:
Sidechain compression in Ableton Live
If you want to learn more about sidechain compression, check out our extensive guide over here 🔥
The main elements you want to cut through are the Kick and Snare. So most of your elements should be ducking when those two hit.
At this stage, you also want to add the final 5% that will make your track sound professional.
This includes:
Polishing every 4-bar or 8-bar transition (check out this guide for some inspiration)
Layering, especially for your lead sounds
EQ’ing every sound and bus track
Volume automation
Clipping and Brickwall limiting
The last stage is crucial if you are mastering and uploading yourself.
This will ensure your track has the proper loudness and will compete with others. Don’t be scared to go overboard here! Phonk is all about pushing things beyond a reasonable limit 😅
Finally, make sure you are using a reference track. This is how you’ll know you’ve gone too far, or not far enough!
That’s It For This Guide on How to Make Phonk! 🙏
This wraps up our guide on how to make Phonk! I hope I was able to give you some pointers and ideas to start your own tracks 😊
Did I miss out on anything? Any questions? Feel free to reach out to me at [email protected]
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