Fri, 24 Apr 2026 04:06:55 +0200 https://hearthis.at/danieldiaz/ en-EN contact@hearthis.at contact@hearthis.at https://hearthis.at/danieldiaz/ https://img.hearthis.at/7/7/6/_/uploads/8880557/image_user/w1400_h1400_q70_ptrue_v2_----cropped_1502471677.jpg no no https://hearthis.at/danieldiaz/ceramic-notation-sequence-disquiet0311/
It’s my first exercise on graphic notation, didn’t’ have much time today so excuse me if I’m being this simple/straightforward in my interpretation of it

The image attached to the track shows how I translated the ceramic sculpture to a step sequencer on my DAW
Found 3 lines and 16 slots in the photo so I replicated that on a 16th note 4 bar grid

First line plays its pattern in E note, second plays a C and third an A.
On the track, after a brief beat-announcing intro you hear the patterns:
1, 2, 3,, then 1, 1+2, 1+3, 2+3, and then the three at the same time.
Midway through it I start changing notes and added a synth pad bass sound and a brass section playing sustained harmonies, to make the whole thing a bit more “musical”

Created by DD Friday 15th December 2017 for Disquiet Junto Project 0311: Ceramic Notation


More on this 311th weekly Disquiet Junto project (Ceramic Notation)

https://disquiet.com/0311/2
More on the Disquiet Junto at:
https://disquiet.com/junto/1

FREE DOWNLOAD]]>
It’s my first exercise on graphic notation, didn’t’ have much time today so excuse me if I’m being this simple/straightforward in my interpretation of it

The image attached to the track shows how I translated the ceramic sculpture to a step sequencer on my DAW
Found 3 lines and 16 slots in the photo so I replicated that on a 16th note 4 bar grid

First line plays its pattern in E note, second plays a C and third an A.
On the track, after a brief beat-announcing intro you hear the patterns:
1, 2, 3,, then 1, 1+2, 1+3, 2+3, and then the three at the same time.
Midway through it I start changing notes and added a synth pad bass sound and a brass section playing sustained harmonies, to make the whole thing a bit more “musical”

Created by DD Friday 15th December 2017 for Disquiet Junto Project 0311: Ceramic Notation


More on this 311th weekly Disquiet Junto project (Ceramic Notation)

https://disquiet.com/0311/2
More on the Disquiet Junto at:
https://disquiet.com/junto/1

FREE DOWNLOAD]]> 1676784 no no Fri, 15 Dec 2017 15:26:31 +0100 2017-12-15T15:26:31+01:00 2:02 https://hearthis.at/danieldiaz/december-vignette-naviarhaiku206/ Celeste

Process: paulstrech, reverbs, delay.

Music for this haiku:
yuki wa haretaru
kodomora no koe ni
hi ga ataru

"Snow stopped
in the voices of children
The sun shines"

Poem by Ozaki Hōsai
Picture by Jessica Furtney

@naviar-records

http://www.naviarrecords.com/2017/12/13/naviarhaiku206-snow-stopped/


Composed and performed by DD, December 2017 in Paris.]]> Celeste

Process: paulstrech, reverbs, delay.

Music for this haiku:
yuki wa haretaru
kodomora no koe ni
hi ga ataru

"Snow stopped
in the voices of children
The sun shines"

Poem by Ozaki Hōsai
Picture by Jessica Furtney

@naviar-records

http://www.naviarrecords.com/2017/12/13/naviarhaiku206-snow-stopped/


Composed and performed by DD, December 2017 in Paris.]]> 1676785 no no Wed, 13 Dec 2017 14:02:47 +0100 2017-12-13T14:02:47+01:00 2:00 https://hearthis.at/danieldiaz/from-memory-the-wind-disquiet0310/
Here I try to recreate from my memory the sound of the wind in the mountains, more precisely in some high altitude trekking spots in Patagonia, Argentina.
That sound that fills the surrounding silence, almost “silent sound” in terms of decibels, but one that can be deafening loud as a presence , completing the landscapes in such an hypnotic way. Soothing and strong, peaceful and wild.

Sounds:
Two bamboo flutes performed by DD in Paris, December 8th 2017 in the morning.
(5 overdubbed tracks)
Lexicon reverb @35 sec
Convolution reverb taken from Sandstone Canyon, Ocotillo, California (4.2sec wav sample)

Photo by Chris Herath

Wind samples by Chris Watson (courtesy soniccoutures)

Wind field recording by Mike Koenig


More on this 310th weekly Disquiet Junto project (From Memory: Recall — and then recreate — a favorite sound) at:

https://disquiet.com/0310/1

Project discussion takes place on
https://llllllll.co/t/disquiet-junto-project-0310-from-memory/]]>
Here I try to recreate from my memory the sound of the wind in the mountains, more precisely in some high altitude trekking spots in Patagonia, Argentina.
That sound that fills the surrounding silence, almost “silent sound” in terms of decibels, but one that can be deafening loud as a presence , completing the landscapes in such an hypnotic way. Soothing and strong, peaceful and wild.

Sounds:
Two bamboo flutes performed by DD in Paris, December 8th 2017 in the morning.
(5 overdubbed tracks)
Lexicon reverb @35 sec
Convolution reverb taken from Sandstone Canyon, Ocotillo, California (4.2sec wav sample)

Photo by Chris Herath

Wind samples by Chris Watson (courtesy soniccoutures)

Wind field recording by Mike Koenig


More on this 310th weekly Disquiet Junto project (From Memory: Recall — and then recreate — a favorite sound) at:

https://disquiet.com/0310/1

Project discussion takes place on
https://llllllll.co/t/disquiet-junto-project-0310-from-memory/]]> 1676786 no no Fri, 08 Dec 2017 14:40:29 +0100 2017-12-08T14:40:29+01:00 4:47 https://hearthis.at/danieldiaz/love-war-and-a-circle-of-birds-naviarhaiku205/ Bamboo flute
Synthesizers
Samples
Electric Pianos.
Ondes Martenot.
Percussion.

Music for this haiku:

shrapnel
brings from the grove of trees
a circle of birds


Photo by Samuel Seller

Poem by Georges Sabiron


http://www.naviarrecords.com/2017/12/06/naviarhaiku205-shrapnel/

@naviar-records]]> Bamboo flute
Synthesizers
Samples
Electric Pianos.
Ondes Martenot.
Percussion.

Music for this haiku:

shrapnel
brings from the grove of trees
a circle of birds


Photo by Samuel Seller

Poem by Georges Sabiron


http://www.naviarrecords.com/2017/12/06/naviarhaiku205-shrapnel/

@naviar-records]]> 1676787 no no Wed, 06 Dec 2017 22:32:49 +0100 2017-12-06T22:32:49+01:00 4:04 https://hearthis.at/danieldiaz/before-and-after-the-last-boat-disquiet0308/
1- gratitude and remembrance (bittersweet pseudo-tango ballad)
2- mourn and sadness (ambient bass live take and audio detritus from the previous part)

Dedicated with gratitude and love to PDN, May 1934 - Nov 2017

No synthesiser used on this one.

Electric bass guitar (my Drake DiazCustom5)
Wurlitzer A200 electric piano
Vibraphone
Melodica
2x Charangos
String samples (orchestra)

Performed by DD in Paris, November 22nd and 23rd 2017
DR10
24bit/96kHz master.
Photo by Mario Ho

More on this 308th weekly Disquiet Junto project (Giving Thanks: Write a short piece of music for a person or thing you’re thankful for) at:
https://disquiet.com/0308/
More on the Disquiet Junto at:
https://disquiet.com/junto/

@disquiet]]>
1- gratitude and remembrance (bittersweet pseudo-tango ballad)
2- mourn and sadness (ambient bass live take and audio detritus from the previous part)

Dedicated with gratitude and love to PDN, May 1934 - Nov 2017

No synthesiser used on this one.

Electric bass guitar (my Drake DiazCustom5)
Wurlitzer A200 electric piano
Vibraphone
Melodica
2x Charangos
String samples (orchestra)

Performed by DD in Paris, November 22nd and 23rd 2017
DR10
24bit/96kHz master.
Photo by Mario Ho

More on this 308th weekly Disquiet Junto project (Giving Thanks: Write a short piece of music for a person or thing you’re thankful for) at:
https://disquiet.com/0308/
More on the Disquiet Junto at:
https://disquiet.com/junto/

@disquiet]]> 1676788 no no Thu, 23 Nov 2017 21:59:39 +0100 2017-11-23T21:59:39+01:00 6:26 https://hearthis.at/danieldiaz/aux-compositeurs-barbares-disquiet0307/ Shared for: Disquiet Junto Project 0307: Black and White and Punk All Over: Pay tribute to the Sex Pistols on the 40th anniversary of Never Mind the Bollocks. (November 2017)

Disclaimer: I participated on this one because I love the idea of black/white contrasts in music, I do like the “Hurlements en faveur de Sade’ concept, and can have a dose of punk, particularly when it allows me to kick myself out of any comfort zone.
But, FWIW, I won’t pay tribute to “Nevermind the bullocks” cause I never liked that album at all ! Back then I just couldn’t’ get that people were putting the Pistols in the same league as The Clash, how dare them my goodness!

I never spent so much time in a junto track before. I started recording a simple riff, and wanted to repeat that all over with many subtle variations, alternating between Black and White versions of it.
Thought about White=Acoustic/Black=Electric, didn’t work, then White=Bass/Black=Guitars, that was worst.

In the end I had 20 tracks of the same riff performed with variations and interpolations, on
Stratocaster guitars (crunch & overdrive versions, different octaves) 4 tracks
Epiphone Casino Guitar (clean and crunch) 2 tracks
Bass harmonics
Fretless Bass
Electric bass 1 (low B)
Electric bass 2 ( jazz bass, pick and mute)
Electric Bass 3 (crunch tenor bass) 2 tracks
Upright Bass pizz
Upright Bass bowed
Ukulele
Classical Guitar

Processing: decided to use almost no reverb, just some delays here and there, modulation and distortion pedals.
Took one Epiphone chord and passed it thought PaulStrech to have that “pad” sound that gets in/out the mix sometimes.
In the end the black/white idea didn’t work, just couldn’t make it sound right. SO I made a pastiche/collage using all the tracks, and the real punk attitude is putting everything in and just delivery the whole thing with no artistic-censorship.
There’s still Black and White sections, mind, even if most of the time you get shades of grey:
0:00 Black
2:00 White
2:48 Black
3:54 White
4:18 Black

This is the most over-long, never ending, (boring?) and self-indulgent piece of music I ever did. So that’s punk in my book, like “you don’t like it? f**k yuou!”
Sorry.
DD 18/NOV/2017

Photo by Frida Bredesen

@disquiet

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0307-black-and-white-and-punk-all-over/]]> Shared for: Disquiet Junto Project 0307: Black and White and Punk All Over: Pay tribute to the Sex Pistols on the 40th anniversary of Never Mind the Bollocks. (November 2017)

Disclaimer: I participated on this one because I love the idea of black/white contrasts in music, I do like the “Hurlements en faveur de Sade’ concept, and can have a dose of punk, particularly when it allows me to kick myself out of any comfort zone.
But, FWIW, I won’t pay tribute to “Nevermind the bullocks” cause I never liked that album at all ! Back then I just couldn’t’ get that people were putting the Pistols in the same league as The Clash, how dare them my goodness!

I never spent so much time in a junto track before. I started recording a simple riff, and wanted to repeat that all over with many subtle variations, alternating between Black and White versions of it.
Thought about White=Acoustic/Black=Electric, didn’t work, then White=Bass/Black=Guitars, that was worst.

In the end I had 20 tracks of the same riff performed with variations and interpolations, on
Stratocaster guitars (crunch & overdrive versions, different octaves) 4 tracks
Epiphone Casino Guitar (clean and crunch) 2 tracks
Bass harmonics
Fretless Bass
Electric bass 1 (low B)
Electric bass 2 ( jazz bass, pick and mute)
Electric Bass 3 (crunch tenor bass) 2 tracks
Upright Bass pizz
Upright Bass bowed
Ukulele
Classical Guitar

Processing: decided to use almost no reverb, just some delays here and there, modulation and distortion pedals.
Took one Epiphone chord and passed it thought PaulStrech to have that “pad” sound that gets in/out the mix sometimes.
In the end the black/white idea didn’t work, just couldn’t make it sound right. SO I made a pastiche/collage using all the tracks, and the real punk attitude is putting everything in and just delivery the whole thing with no artistic-censorship.
There’s still Black and White sections, mind, even if most of the time you get shades of grey:
0:00 Black
2:00 White
2:48 Black
3:54 White
4:18 Black

This is the most over-long, never ending, (boring?) and self-indulgent piece of music I ever did. So that’s punk in my book, like “you don’t like it? f**k yuou!”
Sorry.
DD 18/NOV/2017

Photo by Frida Bredesen

@disquiet

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0307-black-and-white-and-punk-all-over/]]> 1676789 no no Sat, 18 Nov 2017 15:48:12 +0100 2017-11-18T15:48:12+01:00 6:16 https://hearthis.at/danieldiaz/the-wind-blows-its-way-deep-in-the-night-naviarhaiku202/ Deep in night
Alone"

A single baritone guitar chord, strummed and treated with paulstrech.
Synthesisers.
Bowed upright basses.
Electric bass.
Granular treatments.
Sounds and samples from my vaults.

Poem by Taneda Santōka https://terebess.hu/english/haiku/taneda.html

Picture by Patrick Fore https://unsplash.com/@patrickian4

Created by DD in Paris, November 2017

free download]]> Deep in night
Alone"

A single baritone guitar chord, strummed and treated with paulstrech.
Synthesisers.
Bowed upright basses.
Electric bass.
Granular treatments.
Sounds and samples from my vaults.

Poem by Taneda Santōka https://terebess.hu/english/haiku/taneda.html

Picture by Patrick Fore https://unsplash.com/@patrickian4

Created by DD in Paris, November 2017

free download]]> 1676790 no no Wed, 15 Nov 2017 19:12:13 +0100 2017-11-15T19:12:13+01:00 3:49 https://hearthis.at/danieldiaz/so-long-so-soon/ RIP my friend.

Performed by DD in Paris, France
Ukulele, Upright Bass, Piano, Orchestral Soundscapes.]]> RIP my friend.

Performed by DD in Paris, France
Ukulele, Upright Bass, Piano, Orchestral Soundscapes.]]> 1676791 no no Mon, 13 Nov 2017 15:57:13 +0100 2017-11-13T15:57:13+01:00 1:59 https://hearthis.at/danieldiaz/through-the-virgin-fields-disquiet0306/
The best travel companion for me it’s an Ukulele. And my laptop and my AT stereo microphone.
This track features all that road companion set, an Uke stereo take and a country side field recording made with that stereo mic
Love
dd
Photo by jordan whitt

Disquiet Junto Project 0306: Music in Motion
Record a piece of music while en route somewhere

Created by DD on the road in Spain.
Ukulele and field recording.


More on the Disquiet Junto at:

https://disquiet.com/junto/1

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0306-music-in-motion/]]>
The best travel companion for me it’s an Ukulele. And my laptop and my AT stereo microphone.
This track features all that road companion set, an Uke stereo take and a country side field recording made with that stereo mic
Love
dd
Photo by jordan whitt

Disquiet Junto Project 0306: Music in Motion
Record a piece of music while en route somewhere

Created by DD on the road in Spain.
Ukulele and field recording.


More on the Disquiet Junto at:

https://disquiet.com/junto/1

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0306-music-in-motion/]]> 1676792 no no Sat, 11 Nov 2017 10:46:45 +0100 2017-11-11T10:46:45+01:00 1:48 https://hearthis.at/danieldiaz/until-the-light-gives-out-naviarhaiku200/
"We've explored miles
Drive until the light gives out
drive the day away"

The track is darker than the haiku, but I took the darkest part of the poem and interpreted in the actual state of mind here, that's dark as night.
Synths, piano, electric bass and samples performed by DD in Paris , France and Marbella, Spain.
Clarinet originally performed by @gustavo-bulgach in Los Angeles, treated, transformed ans sonically slaughtered by DD in an hospital in Marbella...

Late October, first days of November 2017.

Haiku by Haiku Lizard

http://www.naviarrecords.com/2017/11/01/naviarhaiku200-weve-explored-miles/]]>
"We've explored miles
Drive until the light gives out
drive the day away"

The track is darker than the haiku, but I took the darkest part of the poem and interpreted in the actual state of mind here, that's dark as night.
Synths, piano, electric bass and samples performed by DD in Paris , France and Marbella, Spain.
Clarinet originally performed by @gustavo-bulgach in Los Angeles, treated, transformed ans sonically slaughtered by DD in an hospital in Marbella...

Late October, first days of November 2017.

Haiku by Haiku Lizard

http://www.naviarrecords.com/2017/11/01/naviarhaiku200-weve-explored-miles/]]> 1676793 no no Fri, 03 Nov 2017 13:50:31 +0100 2017-11-03T13:50:31+01:00 5:28 https://hearthis.at/danieldiaz/travelling-in-situ/ Arpeggiators (Korg, AAS)
Martin acoustic guitars (x2)
Drake Custom5 electric basses (x2)
"Low B" Riverhead bass
Rhodes electric piano (x2)
Stratocaster electric guitar.

Performed by DD october 2017 Paris, France
Mixed and edited Marbella, Spain.

Photo by Tomasz Frankowski]]> Arpeggiators (Korg, AAS)
Martin acoustic guitars (x2)
Drake Custom5 electric basses (x2)
"Low B" Riverhead bass
Rhodes electric piano (x2)
Stratocaster electric guitar.

Performed by DD october 2017 Paris, France
Mixed and edited Marbella, Spain.

Photo by Tomasz Frankowski]]> 1676795 no no Wed, 25 Oct 2017 17:19:38 +0200 2017-10-25T17:19:38+02:00 3:56 https://hearthis.at/danieldiaz/computer-controlled-bass-line-disquiet0303/ "Record a short piece of music that is somehow apart from how you think the 303 was intended to be utilized."


All sounds here are the actual samples (waveforms) from the Roland TB303 but used on different sample player and soft-synths.
Tried to use the TB-303 in a “contra-natura” way somehow.
I guess most people using this great little toy usually stick to the normal 4/4 time signature, in my time using drum machines and sequencers I was striving hard to make beats in “weird” signatures on some hardwares so I went for it now that I’m free from the hardware UI restrictions.

This is a maniac and stubborn (albeit a bit lyrical) 7x4 beat using bass waveforms from the TB 303 in my own 2017 workflow.


More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0303-out-of-sequence/



This one's a free download BTW]]> "Record a short piece of music that is somehow apart from how you think the 303 was intended to be utilized."


All sounds here are the actual samples (waveforms) from the Roland TB303 but used on different sample player and soft-synths.
Tried to use the TB-303 in a “contra-natura” way somehow.
I guess most people using this great little toy usually stick to the normal 4/4 time signature, in my time using drum machines and sequencers I was striving hard to make beats in “weird” signatures on some hardwares so I went for it now that I’m free from the hardware UI restrictions.

This is a maniac and stubborn (albeit a bit lyrical) 7x4 beat using bass waveforms from the TB 303 in my own 2017 workflow.


More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0303-out-of-sequence/



This one's a free download BTW]]> 1676796 no no Fri, 20 Oct 2017 15:06:55 +0200 2017-10-20T15:06:55+02:00 2:41 https://hearthis.at/danieldiaz/panamericana-1/ Charango, bombo, guitars(nylon), kuntrun (brushes), acoustic bass guitar by DD

Photo by Diego Jimenez

Publisher: Cezame-FLE
For licenses please visit:
CEZAME MUSIC AGENCY
http://www.cezame-fle.com/compositeurs/fr/5/Daniel-Diaz.html

@cezamemusicagency

Recorded by DD at the Pleasure Dome, Paris and Exile Studios, Argentina.
Mixed and mastered by Etienne Colin at GUM studios Paris
(C)&(P) Daniel Diaz/DedeLand/Cezame 2010]]> Charango, bombo, guitars(nylon), kuntrun (brushes), acoustic bass guitar by DD

Photo by Diego Jimenez

Publisher: Cezame-FLE
For licenses please visit:
CEZAME MUSIC AGENCY
http://www.cezame-fle.com/compositeurs/fr/5/Daniel-Diaz.html

@cezamemusicagency

Recorded by DD at the Pleasure Dome, Paris and Exile Studios, Argentina.
Mixed and mastered by Etienne Colin at GUM studios Paris
(C)&(P) Daniel Diaz/DedeLand/Cezame 2010]]> 1676797 no no Tue, 17 Oct 2017 12:57:34 +0200 2017-10-17T12:57:34+02:00 3:03 https://hearthis.at/danieldiaz/gratitude-naviarhaiku197/
"Gratitude
tears melting into
mountain snow"

Performed by DD: acoustic piano, electronica, string and orchestra samples. Arpeggiators.
Paris, October 2017.

Dedicated to Tom Petty

Photo by Ian Dooley
Poem by Soen Nakagawa Roshi (1907–1984)

@naviar-records
free download]]>
"Gratitude
tears melting into
mountain snow"

Performed by DD: acoustic piano, electronica, string and orchestra samples. Arpeggiators.
Paris, October 2017.

Dedicated to Tom Petty

Photo by Ian Dooley
Poem by Soen Nakagawa Roshi (1907–1984)

@naviar-records
free download]]> 1676798 no no Sat, 14 Oct 2017 14:09:03 +0200 2017-10-14T14:09:03+02:00 3:02 https://hearthis.at/danieldiaz/greetings-from-gronkytown-disquiet0302/ Gronkytown it’s the birthplace of Gronky Music.
Gronkytown It’s in the North.
Gronkytown It’s underground. The only entrance to the city is shown in the picture.

Created for junto302 challenge:
There’s a genre of music called “gronkytonk” in Malka Older’s novel "Infomacracy"
Consider what gronkytonk might sound like.
Record a gronkytonk single.

For this track I used standard Gronkymusic instrumentation: electric guitar, delays, synths and noises.

Photo by Yeshi Kangrang

More?
https://disquiet.com/0302/

@disquiet]]> Gronkytown it’s the birthplace of Gronky Music.
Gronkytown It’s in the North.
Gronkytown It’s underground. The only entrance to the city is shown in the picture.

Created for junto302 challenge:
There’s a genre of music called “gronkytonk” in Malka Older’s novel "Infomacracy"
Consider what gronkytonk might sound like.
Record a gronkytonk single.

For this track I used standard Gronkymusic instrumentation: electric guitar, delays, synths and noises.

Photo by Yeshi Kangrang

More?
https://disquiet.com/0302/

@disquiet]]> 1676799 no no Fri, 13 Oct 2017 16:28:51 +0200 2017-10-13T16:28:51+02:00 3:50 https://hearthis.at/danieldiaz/la-morne/ Additional sounds are orchestral samples, synthesizers, a violin track through granulate plugin and some martin J15 acoustic guitar strums severely manipulated using Paulstrech software.


The photo is courtesy of Yann-Arthus Bernard.

Track inspired by the magnificent light and amazing wind blowing around La Morne, in the middle of the Indian Ocean, at the south-west end of Mauritius, during certain days of the month of August.]]> Additional sounds are orchestral samples, synthesizers, a violin track through granulate plugin and some martin J15 acoustic guitar strums severely manipulated using Paulstrech software.


The photo is courtesy of Yann-Arthus Bernard.

Track inspired by the magnificent light and amazing wind blowing around La Morne, in the middle of the Indian Ocean, at the south-west end of Mauritius, during certain days of the month of August.]]> 1676800 no no Thu, 12 Oct 2017 19:30:15 +0200 2017-10-12T19:30:15+02:00 6:22 https://hearthis.at/danieldiaz/memories-mistreat-me/ Drums (brushed)
Upright Bass
Acoustic guitar (Martin J15 steel string)
Accordina (Marcel Dreux custom)
Acoustic piano.
+ String orchestra (11 violins, 4 violas, 4 cello) (from EWQL libraries)

Recorded in Lanus, Argentina (2015) and Paris France (2016-2017)

Photo by Eutah Mizushima]]> Drums (brushed)
Upright Bass
Acoustic guitar (Martin J15 steel string)
Accordina (Marcel Dreux custom)
Acoustic piano.
+ String orchestra (11 violins, 4 violas, 4 cello) (from EWQL libraries)

Recorded in Lanus, Argentina (2015) and Paris France (2016-2017)

Photo by Eutah Mizushima]]> 1676801 no no Mon, 09 Oct 2017 16:02:04 +0200 2017-10-09T16:02:04+02:00 3:41 https://hearthis.at/danieldiaz/the-church-of-the-long-sleep-naviar-haiku-fest/
By the shanty church
Tombstones hum their winter lullabies
Of the long sleep

Photo by Yuriy Garnaev
Poem created @ Naviar's Haiku Fest


Created for Naviar Haiku Fest, October 7th 2017.]]>
By the shanty church
Tombstones hum their winter lullabies
Of the long sleep

Photo by Yuriy Garnaev
Poem created @ Naviar's Haiku Fest


Created for Naviar Haiku Fest, October 7th 2017.]]> 1676802 no no Sat, 07 Oct 2017 19:22:32 +0200 2017-10-07T19:22:32+02:00 3:22 https://hearthis.at/danieldiaz/the-waves-return-naviarhaiku196/ Synths and soundscapes added in Paris, October 4th 2017 .

Music for this haiku:

"the waves charge and crash
and they return, again and
again and again"

Haiku by William Oandasan
Photo by Jeremy Bishop


@naviar-records

free download]]> Synths and soundscapes added in Paris, October 4th 2017 .

Music for this haiku:

"the waves charge and crash
and they return, again and
again and again"

Haiku by William Oandasan
Photo by Jeremy Bishop


@naviar-records

free download]]> 1676803 no no Wed, 04 Oct 2017 22:14:04 +0200 2017-10-04T22:14:04+02:00 4:38 https://hearthis.at/danieldiaz/300-suspended-seconds-worth-disquiet0300/ Three 100 second long tracks blended together, So I’m offering to you here 300 seconds worth in just 100 seconds, more value for your time!
I played and hybrid triad, Esus2 (E-B-F#). I wanted to hold the notes for as long as it takes, not easy with most acoustic instruments.
My choice was Electric Guitar (Stratocaster) through a Line6 pedal board to benefit from the infinite decay of that “particle” reverb I’ve been using a lot to produce reverb-drone.
Second instrument a bowed upright bass (00:06 mark, overdubbed thrice to get the three note chord sustaining for 100 sec)
Third performer: another infinite sustain acoustic instrument I own, my Indian harmonium (starts at 00:22 mark), again, overdubbed thrice to use its three different registers: lows, highs, and tremolo (an amazing mechanical, fully acoustic creepy tremolo harmoniums have, very upfront around 00:48). 100 seconds of that edited on the mix.
When the guitar chord almost vanished and all you hear is the remains of the particle reverb (00:58) I overdubbed an arpeggiated take of the 3 note chord as an additional method to get the chord sounding for 100 seconds.
I also play a bonus bowed upright simple melody (at 00:28) to provide some variation to the plain triad. Everything was performed and mixed today at home.
No synths, no samples.
Love
DD
FREE DOWNLOAD CC
More on this 300th weekly Disquiet Junto project (3 chords x 100 seconds) at:
https://disquiet.com/300/

More on the Disquiet Junto at:
https://disquiet.com/junto/

Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:
llllllll.co/t/disquiet-junto-the-300th-consecutive-weekly-project/]]> Three 100 second long tracks blended together, So I’m offering to you here 300 seconds worth in just 100 seconds, more value for your time!
I played and hybrid triad, Esus2 (E-B-F#). I wanted to hold the notes for as long as it takes, not easy with most acoustic instruments.
My choice was Electric Guitar (Stratocaster) through a Line6 pedal board to benefit from the infinite decay of that “particle” reverb I’ve been using a lot to produce reverb-drone.
Second instrument a bowed upright bass (00:06 mark, overdubbed thrice to get the three note chord sustaining for 100 sec)
Third performer: another infinite sustain acoustic instrument I own, my Indian harmonium (starts at 00:22 mark), again, overdubbed thrice to use its three different registers: lows, highs, and tremolo (an amazing mechanical, fully acoustic creepy tremolo harmoniums have, very upfront around 00:48). 100 seconds of that edited on the mix.
When the guitar chord almost vanished and all you hear is the remains of the particle reverb (00:58) I overdubbed an arpeggiated take of the 3 note chord as an additional method to get the chord sounding for 100 seconds.
I also play a bonus bowed upright simple melody (at 00:28) to provide some variation to the plain triad. Everything was performed and mixed today at home.
No synths, no samples.
Love
DD
FREE DOWNLOAD CC
More on this 300th weekly Disquiet Junto project (3 chords x 100 seconds) at:
https://disquiet.com/300/

More on the Disquiet Junto at:
https://disquiet.com/junto/

Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:
llllllll.co/t/disquiet-junto-the-300th-consecutive-weekly-project/]]> 1676804 no no Fri, 29 Sep 2017 16:09:06 +0200 2017-09-29T16:09:06+02:00 1:45 https://hearthis.at/danieldiaz/autumn-mountains-breathing-naviarhaiku195/ I played the same note (La - A) or a basic power chord (A-E-A)on several instruments:
Upright piano
Acoustic guitar (nylon string)
Ukuleles (2)
Charangos (2)
Upright bass
Electric bass guitar (2)

Then I played some harmonic sparks on my bass guitar and some random hi pitch notes on the piano to create some still+-moving harmonic content. (Mostly around Am/Amaj)

The sustained drones are reverbs of many "long-infinite decay" types.
i added some field recordings (mountain forests, etc)

This track was created on September28th 2017 in Paris France for this free-form haiku:

"Leaving the hospital room
autumn mountains
breathing"

Poem by Sumitaku Kenshin (1961-1987)
Image by Blake Richard Verdoorn

http://www.naviarrecords.com/2017/09/27/5469/
@naviar-records

free download]]> I played the same note (La - A) or a basic power chord (A-E-A)on several instruments:
Upright piano
Acoustic guitar (nylon string)
Ukuleles (2)
Charangos (2)
Upright bass
Electric bass guitar (2)

Then I played some harmonic sparks on my bass guitar and some random hi pitch notes on the piano to create some still+-moving harmonic content. (Mostly around Am/Amaj)

The sustained drones are reverbs of many "long-infinite decay" types.
i added some field recordings (mountain forests, etc)

This track was created on September28th 2017 in Paris France for this free-form haiku:

"Leaving the hospital room
autumn mountains
breathing"

Poem by Sumitaku Kenshin (1961-1987)
Image by Blake Richard Verdoorn

http://www.naviarrecords.com/2017/09/27/5469/
@naviar-records

free download]]> 1676805 no no Thu, 28 Sep 2017 22:32:23 +0200 2017-09-28T22:32:23+02:00 4:53 https://hearthis.at/danieldiaz/slow-motion-fantasy-op64-disquiet0299/
Took my favourite ¾ piece, F. Chopin’s Op64 number 2 in C# minor (1847). Played the most fast moving part of it so it won’t be that boring slowed down to the insane 10bpm tempo (starting on measure 32 on my sheet music but ended up keeping the second stanza, measure 42 till 50)
Made a midi track out of it, copied it to all 16 midi channels and sent it to random hardware synths in whichever patch they were set at this particular moment (including one drum and one reverse percussion patch on my Emu Proteus 1 and a full string orchestra sample library)

Kept 8 tracks out of that random midi thing, trashed the rest, edited (creative use of the DELETE button), applied reverbs and volià.
The “synth pad” sounds you hear are actually reversed reverbs (3s, 8s, 10s)

Created for Disquiet Junto Project 0299: 10bpm Walt. Based on Fryderyk Chopin’s Valse en Do# mineur Op64 number 2 (1847) performed, transformed and edited by DD in Paris, Friday 22nd September 2017.
Tempo: strict 10 BPM throughout.

More on this 299th weekly Disquiet Junto project — 10bpm Waltz: Make super slow music in 3/4 time — at:

https://disquiet.com/0299/

@disquiet]]>
Took my favourite ¾ piece, F. Chopin’s Op64 number 2 in C# minor (1847). Played the most fast moving part of it so it won’t be that boring slowed down to the insane 10bpm tempo (starting on measure 32 on my sheet music but ended up keeping the second stanza, measure 42 till 50)
Made a midi track out of it, copied it to all 16 midi channels and sent it to random hardware synths in whichever patch they were set at this particular moment (including one drum and one reverse percussion patch on my Emu Proteus 1 and a full string orchestra sample library)

Kept 8 tracks out of that random midi thing, trashed the rest, edited (creative use of the DELETE button), applied reverbs and volià.
The “synth pad” sounds you hear are actually reversed reverbs (3s, 8s, 10s)

Created for Disquiet Junto Project 0299: 10bpm Walt. Based on Fryderyk Chopin’s Valse en Do# mineur Op64 number 2 (1847) performed, transformed and edited by DD in Paris, Friday 22nd September 2017.
Tempo: strict 10 BPM throughout.

More on this 299th weekly Disquiet Junto project — 10bpm Waltz: Make super slow music in 3/4 time — at:

https://disquiet.com/0299/

@disquiet]]> 1676806 no no Fri, 22 Sep 2017 12:36:30 +0200 2017-09-22T12:36:30+02:00 2:48 https://hearthis.at/danieldiaz/las-cortaderas-cuyana-naviarhaiku194/ "lighting flash
what I though were faces
are plumes of pampas grass"

Loved the haiku, usually I feel ambient/abstract tracks evoke better the mood ans spirit of a haiku, but the mention of pampas grass bring so many memories. "pampas grass" are actually called "cortaderas" I've spent most of my life with cortaderas all over the place, not just in the Pampas but all around Argentina.
This is a remix and re-think of an old track inspired on those Argentinian landscapes.

Composed by DD
Published by Cezame Music Agency
Performed by:
Daniel Diaz (guitar, upright bass, ocarina, percussion)
Pajaro Canzani (bombo, erke)

http://www.naviarrecords.com/2017/09/20/naviarhaiku194-lightning-flash/]]> "lighting flash
what I though were faces
are plumes of pampas grass"

Loved the haiku, usually I feel ambient/abstract tracks evoke better the mood ans spirit of a haiku, but the mention of pampas grass bring so many memories. "pampas grass" are actually called "cortaderas" I've spent most of my life with cortaderas all over the place, not just in the Pampas but all around Argentina.
This is a remix and re-think of an old track inspired on those Argentinian landscapes.

Composed by DD
Published by Cezame Music Agency
Performed by:
Daniel Diaz (guitar, upright bass, ocarina, percussion)
Pajaro Canzani (bombo, erke)

http://www.naviarrecords.com/2017/09/20/naviarhaiku194-lightning-flash/]]> 1676807 no no Thu, 21 Sep 2017 14:36:28 +0200 2017-09-21T14:36:28+02:00 3:09 https://hearthis.at/danieldiaz/sin-aint-what-it-used-to-be/ Simple "recitativo" melody, no solos, no big development other that the repeated coda/cadenza.

Performed by DD, Paris, France, July 2017.
24bit master DR12]]> Simple "recitativo" melody, no solos, no big development other that the repeated coda/cadenza.

Performed by DD, Paris, France, July 2017.
24bit master DR12]]> 1676808 no no Sun, 17 Sep 2017 16:10:22 +0200 2017-09-17T16:10:22+02:00 2:38 https://hearthis.at/danieldiaz/clockwork-ii-digitales-disquiet0297/ Disquiet Junto Project 0297: Domestic Chorus
Make music from all the alarms, buzzer, and other alerts in your home.

I am bringing form my vaults an old track I recorded for a suite called “clockworks” (publisher's call) where I recorded and sampled as many clocks and metronomes as I could find at home, travelling around, at my parents house, at friend’s places, etc
Then I put together 3 tracks with metronomes and analogue “mechanical” alarm clocks, digital alarm clocks and carillons The first track from that triptych was shared with you on junto
This is the digital one, Maelzel metronomes and digital alarms all over the place, on top of it I play a melody on a keyboard using one of the clock’s samples.

More on this 297th weekly Disquiet Junto project — Domestic Chorus: Make music from all the alarms, buzzers, and other alerts in your home — at:

https://disquiet.com/0297/

@disquiet]]> Disquiet Junto Project 0297: Domestic Chorus
Make music from all the alarms, buzzer, and other alerts in your home.

I am bringing form my vaults an old track I recorded for a suite called “clockworks” (publisher's call) where I recorded and sampled as many clocks and metronomes as I could find at home, travelling around, at my parents house, at friend’s places, etc
Then I put together 3 tracks with metronomes and analogue “mechanical” alarm clocks, digital alarm clocks and carillons The first track from that triptych was shared with you on junto
This is the digital one, Maelzel metronomes and digital alarms all over the place, on top of it I play a melody on a keyboard using one of the clock’s samples.

More on this 297th weekly Disquiet Junto project — Domestic Chorus: Make music from all the alarms, buzzers, and other alerts in your home — at:

https://disquiet.com/0297/

@disquiet]]> 1676809 no no Sun, 10 Sep 2017 12:57:12 +0200 2017-09-10T12:57:12+02:00 2:31 https://hearthis.at/danieldiaz/cruz-del-sur-enter-the-window-frame-naviarhaiku192/ "The lamp once out
Cool stars enter
The window frame"

Performed by DD, Paris, 2016-2017
Acoustic Guitars
Piano
Synthesizers

http://www.naviarrecords.com/2017/09/06/naviarhaiku192-the-lamp-once-out/

Haiku by Natsume Sōseki

@naviar-records

Free Download, 24bit master]]> "The lamp once out
Cool stars enter
The window frame"

Performed by DD, Paris, 2016-2017
Acoustic Guitars
Piano
Synthesizers

http://www.naviarrecords.com/2017/09/06/naviarhaiku192-the-lamp-once-out/

Haiku by Natsume Sōseki

@naviar-records

Free Download, 24bit master]]> 1676810 no no Thu, 07 Sep 2017 21:30:41 +0200 2017-09-07T21:30:41+02:00 2:57 https://hearthis.at/danieldiaz/une-ternit-voir-plus/ Composed and performed by DD, recorded in Paris, france, September 4th and 5th 2017.
All the "pad" sound come from several reverb units and plugins: infinite decay reverb, freeze reverb particle reverb, granular reverb, etc.

instruments used, in order of appearance :

Electric guitar (distorted power chord)
bowed upright bass section (8 takes)
3x Startocaster (clean) electric guitar
2x Martin Acoustic guitars (L/R)
3rd Acoustic Guitar (Center)
Spanish guitar
Electric bass guitar (Drake custom)
Acoustic Piano
A brass section sample (towards the end)

Chords used:
Emaj
F#m
G#m
G#m(maj7)
Amaj(7/9/#11)
Amaj(6/7)
E augmented

photo by paul morris


FREE DOWNLOAD]]> Composed and performed by DD, recorded in Paris, france, September 4th and 5th 2017.
All the "pad" sound come from several reverb units and plugins: infinite decay reverb, freeze reverb particle reverb, granular reverb, etc.

instruments used, in order of appearance :

Electric guitar (distorted power chord)
bowed upright bass section (8 takes)
3x Startocaster (clean) electric guitar
2x Martin Acoustic guitars (L/R)
3rd Acoustic Guitar (Center)
Spanish guitar
Electric bass guitar (Drake custom)
Acoustic Piano
A brass section sample (towards the end)

Chords used:
Emaj
F#m
G#m
G#m(maj7)
Amaj(7/9/#11)
Amaj(6/7)
E augmented

photo by paul morris


FREE DOWNLOAD]]> 1676811 no no Wed, 06 Sep 2017 13:03:44 +0200 2017-09-06T13:03:44+02:00 7:54 https://hearthis.at/danieldiaz/379-grooving-by-prime-numbers-disquiet0296/ the source material for this week’s project is a list of prime numbers. The list is the result of a contest that novelist Robin Sloan Ran recently.
I noticed that the prime numbers with more than one digit always end with 1-3-7 or 9. I decided to make some kind of pattern out of that;
So I took a 3 bar groove with three different time signatures; 3/4 + 7/4 + 9/4
Downloaded from freesound.org a human voice counting numbers, by mistake my first download was in Japanese, I couldn’t help keeping it. The JP voice is combined with an English human metronome counting down the irregular signature.
Then gradually transformed the mood of the groove (without altering the 3-7-9 beat pattern) to make it a more sequential-repetitive little track. The drums come back in the end but are superfluous for the most of the tracks IMHO.

Electric piano, samples, drums, synth bass, synths.
Created in Paris, France, 1st September 2017.


@disquiet

https://llllllll.co/t/disquiet-junto-project-0296-clustered-primes/9069

More on this 296th weekly Disquiet Junto project — Clustered Primes: Make music inspired by a prime-number query initiated by novelist Robin Sloan — at:

https://disquiet.com/0296/


FREE DOWNLOAD]]> the source material for this week’s project is a list of prime numbers. The list is the result of a contest that novelist Robin Sloan Ran recently.
I noticed that the prime numbers with more than one digit always end with 1-3-7 or 9. I decided to make some kind of pattern out of that;
So I took a 3 bar groove with three different time signatures; 3/4 + 7/4 + 9/4
Downloaded from freesound.org a human voice counting numbers, by mistake my first download was in Japanese, I couldn’t help keeping it. The JP voice is combined with an English human metronome counting down the irregular signature.
Then gradually transformed the mood of the groove (without altering the 3-7-9 beat pattern) to make it a more sequential-repetitive little track. The drums come back in the end but are superfluous for the most of the tracks IMHO.

Electric piano, samples, drums, synth bass, synths.
Created in Paris, France, 1st September 2017.


@disquiet

https://llllllll.co/t/disquiet-junto-project-0296-clustered-primes/9069

More on this 296th weekly Disquiet Junto project — Clustered Primes: Make music inspired by a prime-number query initiated by novelist Robin Sloan — at:

https://disquiet.com/0296/


FREE DOWNLOAD]]> 1676812 no no Fri, 01 Sep 2017 19:42:15 +0200 2017-09-01T19:42:15+02:00 2:21 https://hearthis.at/danieldiaz/spring-is-coming-somewhere-somehownaviarhaiku191/ Cello, Uprigth basses, samples: strings and brass

Music for this Haiku by Takarai Kikaku:

Springtime in Edo,
Not a day passes without
A temple bell sold.

鐘ひとつ賣れぬ日はなし江戸の春

Photo by Cater Yang
https://unsplash.com/@rugeli

@naviar-records
http://www.naviarrecords.com/2017/08/30/naviarhaiku191-springtime-in-edo/

free download]]> Cello, Uprigth basses, samples: strings and brass

Music for this Haiku by Takarai Kikaku:

Springtime in Edo,
Not a day passes without
A temple bell sold.

鐘ひとつ賣れぬ日はなし江戸の春

Photo by Cater Yang
https://unsplash.com/@rugeli

@naviar-records
http://www.naviarrecords.com/2017/08/30/naviarhaiku191-springtime-in-edo/

free download]]> 1676813 no no Wed, 30 Aug 2017 18:54:30 +0200 2017-08-30T18:54:30+02:00 3:33 https://hearthis.at/danieldiaz/violent-echoes-bamboo-the-painfull-clix-disquiet0295/ Sound sources:
Maelzel metronome
Bamboo drums (performed with mallets)
Treatments:
Delays, echoes, filters, wahwah.

Remixed, edited and first released for this Junto project:
Write a piece of music inspired by this haiku, which was written by Peita Vincent:

Poisoned Waterhole:
Violent disregard echoes.
Keenly felt today.

I was trying to get into the Disregard Echoes concept, I decided to refresh a previously unavailable track I created when I was seriously infatuated with echoes and delays, particularly the casualties of infinite decay on some units. While some pedals/racks just repeat the original signal forever when you set “feedback” to 100%, others just clip, overload, crash or produce a dense distorted thing out of a single note or musical phrase.
Here I used my bamboo drums (from Guatemala and Mexico) called Tun or Tembonastle. And run the simple groove through rhythmic delays to create a nice evolving groove, and some notes went to different delays with 100% feedback that went through filters and pedal WahWah. The other sound used is my Maelzel mechanical metronome (oak wood, gorgeous)

Photo by kazuend

Junto project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0295-disregard-echoes/

@disquiet
@l-rmkunst]]> Sound sources:
Maelzel metronome
Bamboo drums (performed with mallets)
Treatments:
Delays, echoes, filters, wahwah.

Remixed, edited and first released for this Junto project:
Write a piece of music inspired by this haiku, which was written by Peita Vincent:

Poisoned Waterhole:
Violent disregard echoes.
Keenly felt today.

I was trying to get into the Disregard Echoes concept, I decided to refresh a previously unavailable track I created when I was seriously infatuated with echoes and delays, particularly the casualties of infinite decay on some units. While some pedals/racks just repeat the original signal forever when you set “feedback” to 100%, others just clip, overload, crash or produce a dense distorted thing out of a single note or musical phrase.
Here I used my bamboo drums (from Guatemala and Mexico) called Tun or Tembonastle. And run the simple groove through rhythmic delays to create a nice evolving groove, and some notes went to different delays with 100% feedback that went through filters and pedal WahWah. The other sound used is my Maelzel mechanical metronome (oak wood, gorgeous)

Photo by kazuend

Junto project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0295-disregard-echoes/

@disquiet
@l-rmkunst]]> 1676814 no no Fri, 25 Aug 2017 12:38:52 +0200 2017-08-25T12:38:52+02:00 2:15 https://hearthis.at/danieldiaz/in-poisoned-waters-naviarhaiku190/ Courtesy SonicCouture

Music fro this haiku:
"poisoned waterhole:
violent disregard echoes
keenly felt today"

poem written by Peita Vincent.

This track is part of the Naviarhaiku project number 190 and the disquietjunto project number 295

@naviar-records
@soniccouture
@disquiet

http://www.naviarrecords.com/2017/08/23/naviarhaiku190-poisoned-waterhole/

Junto project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0295-disregard-echoes/]]> Courtesy SonicCouture

Music fro this haiku:
"poisoned waterhole:
violent disregard echoes
keenly felt today"

poem written by Peita Vincent.

This track is part of the Naviarhaiku project number 190 and the disquietjunto project number 295

@naviar-records
@soniccouture
@disquiet

http://www.naviarrecords.com/2017/08/23/naviarhaiku190-poisoned-waterhole/

Junto project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0295-disregard-echoes/]]> 1676815 no no Thu, 24 Aug 2017 16:06:13 +0200 2017-08-24T16:06:13+02:00 2:39 https://hearthis.at/danieldiaz/i-cant-see-you-disquiet0294/ Performed by DD in Paris, France, August 18th 2017.

Solo electric guitar performance, using real time FX (only chorus, reverbs and delays) most notably some peculiars reverbs from my Line 6 pedal board (Particles, etc) and a very long Lexicon random hall (38sec)
No Synths, no overdubs.

A bit too long perhaps? But wanted to keep the mantra-like repetitive feel so here the whole performance.
The sentence I Can’t Hear You comes from Bassel’s spoken voice snippet and from some free (online) text-to-voice conversion tools.

Created for:
Disquiet Junto Project 0294: Offline Status

Pay tribute to the late Bassel Khartabil by turning his spoken words into music.
Download an audio file, just seven seconds, of Bassel speaking. In it you’ll hear his voice, as well as the lo-fi glory of mundane Internet communication, and some beeping inherent in everyday digital tools. You’ll use all this audio in your own track...

FREE DOWNLOAD

Photo by Clem Onojeghuo

More on the Disquiet Junto at:
https://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0294-offline-status/

@disquiet]]> Performed by DD in Paris, France, August 18th 2017.

Solo electric guitar performance, using real time FX (only chorus, reverbs and delays) most notably some peculiars reverbs from my Line 6 pedal board (Particles, etc) and a very long Lexicon random hall (38sec)
No Synths, no overdubs.

A bit too long perhaps? But wanted to keep the mantra-like repetitive feel so here the whole performance.
The sentence I Can’t Hear You comes from Bassel’s spoken voice snippet and from some free (online) text-to-voice conversion tools.

Created for:
Disquiet Junto Project 0294: Offline Status

Pay tribute to the late Bassel Khartabil by turning his spoken words into music.
Download an audio file, just seven seconds, of Bassel speaking. In it you’ll hear his voice, as well as the lo-fi glory of mundane Internet communication, and some beeping inherent in everyday digital tools. You’ll use all this audio in your own track...

FREE DOWNLOAD

Photo by Clem Onojeghuo

More on the Disquiet Junto at:
https://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0294-offline-status/

@disquiet]]> 1676816 no no Sat, 19 Aug 2017 12:20:01 +0200 2017-08-19T12:20:01+02:00 4:07 https://hearthis.at/danieldiaz/orion-upon-the-rivers-edge-naviarhaiku189/ Hang / Spacedrum multiple bowed upright basses, sampled noise FX
Performed by DD in Paris, France.

Music for this haiku:
"verdant town of trees
poised upon the river's edge
waiting for one day"

Haiku by Susan Carey Killham
Photo courtesy NASA

@naviar-records]]> Hang / Spacedrum multiple bowed upright basses, sampled noise FX
Performed by DD in Paris, France.

Music for this haiku:
"verdant town of trees
poised upon the river's edge
waiting for one day"

Haiku by Susan Carey Killham
Photo courtesy NASA

@naviar-records]]> 1676817 no no Thu, 17 Aug 2017 00:39:59 +0200 2017-08-17T00:39:59+02:00 2:28 https://hearthis.at/danieldiaz/out-of-the-cave-el-tala-disquiet0293/ I played two charangos, two flutes (bamboo from bali and plastic flutophone from the USA), I sang four part harmonies, I played some percussion: bombo and kuntrun (from Argentina), plastic tubes, derbouka (from Turkey) and a hi pitched filtered percussion loop (that served me as metronome).
The convolution reverb used is from “Buffalo Cave”, wherever it is.

Image by Laura Agusti

Created for:
Disquiet Junto Project 0293: Emerge/Immerse
Think about the sort of sound that might accompany, contribute to, or otherwise be a component part of a VR experience. Now, record a short piece of music, up to two minutes, that is about something emerging — something being brought to life, or coming out of a cave, or otherwise coming into being.

I took an old version of a track I published earlier this year, un-muted some unused tracks, removed most of its length (it was 5 minutes long) and that’s it.
It goes like this: the primitive guy is inside a cave, at the 50 seconds mark he steps out, he sings cause it’s sunny, but ... there are percussion players.
Bottom line is: he was better inside the damn cave.
And 2 minute long is too short for this assignment!


To Bassel Khartabil.

Free Download

More on the Disquiet Junto at:
https://disquiet.com/junto/1
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/disquiet-junto-project-0293-emerge-immerse/
@disquiet]]> I played two charangos, two flutes (bamboo from bali and plastic flutophone from the USA), I sang four part harmonies, I played some percussion: bombo and kuntrun (from Argentina), plastic tubes, derbouka (from Turkey) and a hi pitched filtered percussion loop (that served me as metronome).
The convolution reverb used is from “Buffalo Cave”, wherever it is.

Image by Laura Agusti

Created for:
Disquiet Junto Project 0293: Emerge/Immerse
Think about the sort of sound that might accompany, contribute to, or otherwise be a component part of a VR experience. Now, record a short piece of music, up to two minutes, that is about something emerging — something being brought to life, or coming out of a cave, or otherwise coming into being.

I took an old version of a track I published earlier this year, un-muted some unused tracks, removed most of its length (it was 5 minutes long) and that’s it.
It goes like this: the primitive guy is inside a cave, at the 50 seconds mark he steps out, he sings cause it’s sunny, but ... there are percussion players.
Bottom line is: he was better inside the damn cave.
And 2 minute long is too short for this assignment!


To Bassel Khartabil.

Free Download

More on the Disquiet Junto at:
https://disquiet.com/junto/1
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/disquiet-junto-project-0293-emerge-immerse/
@disquiet]]> 1491976 no no Fri, 11 Aug 2017 12:02:26 +0200 2017-08-11T12:02:26+02:00 2:42 https://hearthis.at/danieldiaz/un-altro-angelo/ Synthesisers (Korg, Emu, z3Ta, Pentagon, Analogue Lab)
String orchestra (samples)

Dedicated to Angelo Badalamenti
@angelo-badalamenti]]> Synthesisers (Korg, Emu, z3Ta, Pentagon, Analogue Lab)
String orchestra (samples)

Dedicated to Angelo Badalamenti
@angelo-badalamenti]]> 1491978 no no Thu, 10 Aug 2017 20:04:53 +0200 2017-08-10T20:04:53+02:00 2:55 https://hearthis.at/danieldiaz/delete-the-sun-disquiet0292/ Disquiet Junto Project 0292: Eclipse Music
In coordination with St. Louis Art Hack Day, make some solar-inspired tunes

Synths and pulses, stratocaster guitars, ebow guitar improv. samples
First eclipse is from 1:00 to 1:15
Second eclipse goes from 1:45 to 2:15

More on the Disquiet Junto at:

https://disquiet.com/junto/

More in this style:
https://soundcloud.com/daniel-diaz/sets/delete-erase-and-other

free download]]> Disquiet Junto Project 0292: Eclipse Music
In coordination with St. Louis Art Hack Day, make some solar-inspired tunes

Synths and pulses, stratocaster guitars, ebow guitar improv. samples
First eclipse is from 1:00 to 1:15
Second eclipse goes from 1:45 to 2:15

More on the Disquiet Junto at:

https://disquiet.com/junto/

More in this style:
https://soundcloud.com/daniel-diaz/sets/delete-erase-and-other

free download]]> 1499000 no no Fri, 04 Aug 2017 13:37:54 +0200 2017-08-04T13:37:54+02:00 2:59 https://hearthis.at/danieldiaz/life-after-the-flood-naviarhaiku187/ spacedrum
hang
ukuleles (2)
upright bass
synthesizer
marimba
xylophone


Music for this Haiku:
"flood waters recede
narrandera eucalypts refelcted
which way is up?"


poem by Julie Briggs
picture by tommi saltiola

more info @naviar-records
http://www.naviarrecords.com/2017/08/02/naviarhaiku187-flood-waters-recede/]]> spacedrum
hang
ukuleles (2)
upright bass
synthesizer
marimba
xylophone


Music for this Haiku:
"flood waters recede
narrandera eucalypts refelcted
which way is up?"


poem by Julie Briggs
picture by tommi saltiola

more info @naviar-records
http://www.naviarrecords.com/2017/08/02/naviarhaiku187-flood-waters-recede/]]> 1492065 no no Thu, 03 Aug 2017 09:31:28 +0200 2017-08-03T09:31:28+02:00 2:51 https://hearthis.at/danieldiaz/it-is-coming-naviarhaiku186/
"looping around town
like an unfurled grey ribbon
trucks on the highway"

Composed and performed by DD summer 2017 in Paris, Fra,ce.
Synthesisers
Ondes Martenot
Crystal Bowls
Bowed Gamelan (sonicouture)


image by Christophe Apatie (c)
poem by Dr Greg Pritchard

More info
@naviar-records
http://www.naviarrecords.com/2017/07/26/naviarhaiku186-looping-around-town/]]>
"looping around town
like an unfurled grey ribbon
trucks on the highway"

Composed and performed by DD summer 2017 in Paris, Fra,ce.
Synthesisers
Ondes Martenot
Crystal Bowls
Bowed Gamelan (sonicouture)


image by Christophe Apatie (c)
poem by Dr Greg Pritchard

More info
@naviar-records
http://www.naviarrecords.com/2017/07/26/naviarhaiku186-looping-around-town/]]> 1492067 no no Tue, 01 Aug 2017 17:35:32 +0200 2017-08-01T17:35:32+02:00 2:34 https://hearthis.at/danieldiaz/sobre-mares-interiores-y-exteriores/
piano
string quartet (doubled)
upright bass (pizz)

Composed by DD (C)2017 published by Sonoton GmbH

to Roberto Bolaño.

image by graphictock
DR11 24bit master.]]>
piano
string quartet (doubled)
upright bass (pizz)

Composed by DD (C)2017 published by Sonoton GmbH

to Roberto Bolaño.

image by graphictock
DR11 24bit master.]]> 1492068 no no Mon, 31 Jul 2017 23:07:12 +0200 2017-07-31T23:07:12+02:00 1:41 https://hearthis.at/danieldiaz/commons/ Performed in Buenos Aires, Villa Gessel (Argentina) and Paris (France) by
DD: upright pianos, requinto (steel string) upright bass, melodica
Miguel YANOVER: recorder (flauta dulce)

@yanomito]]> Performed in Buenos Aires, Villa Gessel (Argentina) and Paris (France) by
DD: upright pianos, requinto (steel string) upright bass, melodica
Miguel YANOVER: recorder (flauta dulce)

@yanomito]]> 1492070 no no Sat, 22 Jul 2017 13:40:08 +0200 2017-07-22T13:40:08+02:00 3:12 https://hearthis.at/danieldiaz/my-good-old-guts-disquiet0289/ The challenge was "Imagine an instrument that has been lost in the sands of time."
I imagine my upright bass. When I bought it in the late 80's the previous owner was a very old retired bassist , he didn't played the instrument for at least 10 years.
When he took it from some dusty storage place it was dirty and had three strings, hairy old gut strings. I asked him about the 4th and he said "oh it broke sometime in the sixties, never replaced it"
The other 3 strings were the originals for the bass builder, around 1900....
So that instrument really came from a different time.
I don't have the gut strings any more but yesterday I bought a Bass Ukulele, and played acoustically it remind me that dumb, low thud the old gut strings had.
This is the first recording with that Uke Bass taken with two microphones, a ribbon and an Neumann condenser,at home today Sunday 16th July 2017.

https://llllllll.co/t/disquiet-junto-project-0289-ancient-artifacts/]]> The challenge was "Imagine an instrument that has been lost in the sands of time."
I imagine my upright bass. When I bought it in the late 80's the previous owner was a very old retired bassist , he didn't played the instrument for at least 10 years.
When he took it from some dusty storage place it was dirty and had three strings, hairy old gut strings. I asked him about the 4th and he said "oh it broke sometime in the sixties, never replaced it"
The other 3 strings were the originals for the bass builder, around 1900....
So that instrument really came from a different time.
I don't have the gut strings any more but yesterday I bought a Bass Ukulele, and played acoustically it remind me that dumb, low thud the old gut strings had.
This is the first recording with that Uke Bass taken with two microphones, a ribbon and an Neumann condenser,at home today Sunday 16th July 2017.

https://llllllll.co/t/disquiet-junto-project-0289-ancient-artifacts/]]> 1492071 no no Mon, 17 Jul 2017 00:03:04 +0200 2017-07-17T00:03:04+02:00 0:47 https://hearthis.at/danieldiaz/errante-sedentario/ Bowed upright bass section recorded by myself also.

Photo by N.A.S.A.

Last experiment in a row of orchestral soundscapes, more:
https://soundcloud.com/daniel-diaz/dry-leaves-in-the-wind-naviarhaiku182

https://soundcloud.com/daniel-diaz/passion-in-the-times-of-olenska

https://soundcloud.com/daniel-diaz/from-the-home-stage-of-the-international-blackout-orchestra-naviarhaiku181

FREE DOWNLOAD]]> Bowed upright bass section recorded by myself also.

Photo by N.A.S.A.

Last experiment in a row of orchestral soundscapes, more:
https://soundcloud.com/daniel-diaz/dry-leaves-in-the-wind-naviarhaiku182

https://soundcloud.com/daniel-diaz/passion-in-the-times-of-olenska

https://soundcloud.com/daniel-diaz/from-the-home-stage-of-the-international-blackout-orchestra-naviarhaiku181

FREE DOWNLOAD]]> 1492073 no no Fri, 14 Jul 2017 10:31:54 +0200 2017-07-14T10:31:54+02:00 5:06 https://hearthis.at/danieldiaz/her-breath-her-crystal-skin-naviarhaiku184/ By daniel diaz

music for this haiku:

"deepening winter night
her breath mingled
with the fireplace ash"

Poem by Ali Znaidi
More info @naviar-records
http://www.naviarrecords.com/2017/07/12/naviarhaiku184-deepening-winter-night/


free download]]> By daniel diaz

music for this haiku:

"deepening winter night
her breath mingled
with the fireplace ash"

Poem by Ali Znaidi
More info @naviar-records
http://www.naviarrecords.com/2017/07/12/naviarhaiku184-deepening-winter-night/


free download]]> 1492074 no no Wed, 12 Jul 2017 23:01:18 +0200 2017-07-12T23:01:18+02:00 1:45 https://hearthis.at/danieldiaz/marseille-connexion-1973/
Electric bass with nylon strings, Mikrokorg synth , Vox Continental Organ (Arturia Vintage Series)and trap drums.

I used one of the excellent and swiss-knife-like-handy drum loops performed by Steve Arguelles @plushrecords
with additional cymbals by myself.

soundcloud.com/plushrecords/sets/drum-a-day-1

Marseille Connexion 1973]]>
Electric bass with nylon strings, Mikrokorg synth , Vox Continental Organ (Arturia Vintage Series)and trap drums.

I used one of the excellent and swiss-knife-like-handy drum loops performed by Steve Arguelles @plushrecords
with additional cymbals by myself.

soundcloud.com/plushrecords/sets/drum-a-day-1

Marseille Connexion 1973]]> 1492076 no no Mon, 10 Jul 2017 13:38:46 +0200 2017-07-10T13:38:46+02:00 1:20 https://hearthis.at/danieldiaz/case95/
Electric bass with nylon strings, Moog synth , Wurlitzer A200 electric piano and trap drums.
I used one of the excellent and swiss-knife-like-handy drum loops performed by Steve Arguelles @plushrecords
with additional cymbals by myself.

https://soundcloud.com/plushrecords/sets/drum-a-day-1]]>
Electric bass with nylon strings, Moog synth , Wurlitzer A200 electric piano and trap drums.
I used one of the excellent and swiss-knife-like-handy drum loops performed by Steve Arguelles @plushrecords
with additional cymbals by myself.

https://soundcloud.com/plushrecords/sets/drum-a-day-1]]> 1492078 no no Sat, 08 Jul 2017 17:47:37 +0200 2017-07-08T17:47:37+02:00 2:29 https://hearthis.at/danieldiaz/one-minute-at-the-farm-naviarhaiku183/ three concert ukuleles
two charangos
one fretless bass
string orchestra (EWQL library)

recorded July 6 and 7 in Paris, France by DD.

Music for this haiku:

"arriving on the afrm
the open arms
of the scarecrow"

composed and performed by daniel diaz
Photo by jez timms
Poem by Kwaku Feni Adow

@naviar-records
http://www.naviarrecords.com/2017/07/05/naviarhaiku183-arriving-on-the-farm/]]> three concert ukuleles
two charangos
one fretless bass
string orchestra (EWQL library)

recorded July 6 and 7 in Paris, France by DD.

Music for this haiku:

"arriving on the afrm
the open arms
of the scarecrow"

composed and performed by daniel diaz
Photo by jez timms
Poem by Kwaku Feni Adow

@naviar-records
http://www.naviarrecords.com/2017/07/05/naviarhaiku183-arriving-on-the-farm/]]> 1492079 no no Fri, 07 Jul 2017 12:33:13 +0200 2017-07-07T12:33:13+02:00 1:25 https://hearthis.at/danieldiaz/in-the-fundamental-mood/ Dedicated to Rick Wright and Simone Veil.
Paris 2017.
Photo by Elena Nicolai]]> Dedicated to Rick Wright and Simone Veil.
Paris 2017.
Photo by Elena Nicolai]]> 1492081 no no Sun, 02 Jul 2017 21:27:29 +0200 2017-07-02T21:27:29+02:00 2:59 https://hearthis.at/danieldiaz/dry-leaves-in-the-wind-naviarhaiku182/ "Harmattan winds
clattering dry leaves
count their days"

Solo Cello
String orchestra
Composed by DD, Paris France 2016/2017

More info about @naviar-records and naviar haiku:
http://www.naviarrecords.com/2017/06/28/naviarhaiku182-harmattan-winds/]]> "Harmattan winds
clattering dry leaves
count their days"

Solo Cello
String orchestra
Composed by DD, Paris France 2016/2017

More info about @naviar-records and naviar haiku:
http://www.naviarrecords.com/2017/06/28/naviarhaiku182-harmattan-winds/]]> 1492083 no no Sat, 01 Jul 2017 18:20:42 +0200 2017-07-01T18:20:42+02:00 2:32 https://hearthis.at/danieldiaz/cut-it-disquiet0287/ I took two wonderful pieces from two of our very talented Juntonians,
@wust’s
Watching the clouds from above --- disquiet0286
https://soundcloud.com/wust/watching-the-clouds-from-above-disquiet0286
And @suss-musik’s
Dingdong [Disquiet0253]
https://soundcloud.com/suss-musik/dingdong-disquiet0253

I used the traditional CUT/PASTE technique to grab and paste fragments I liked from both.
Then I added a melodica jamming just to be part of the party. So the rules are broken again (shoot me!), but I couldn’t help joining this proto-fake-calypso celebration.
Then I accentuated the challenge idea of pause as a stop-sound device and I cut savagely both tracks, sometimes rhythmically, some others randomly.
This is what you get:

0:00 Suss Müsik
0:15 Wüst joins with some stabs, I cut Suss Müsik when Wüst plays to avoid overlapping
0:21 Melodica joins
0:31 Würst cut-pasted-loop takes the lead
1:50 Suss Müsik is back
2:06 Wüst new loop
2:23 Happy Ending

More on this 287th weekly Disquiet Junto project — Digital Pause Tape: Make a track using only cut and paste — at:

https://disquiet.com/0287/1

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/disquiet-junto-project-0287-digital-pause-tape/]]> I took two wonderful pieces from two of our very talented Juntonians,
@wust’s
Watching the clouds from above --- disquiet0286
https://soundcloud.com/wust/watching-the-clouds-from-above-disquiet0286
And @suss-musik’s
Dingdong [Disquiet0253]
https://soundcloud.com/suss-musik/dingdong-disquiet0253

I used the traditional CUT/PASTE technique to grab and paste fragments I liked from both.
Then I added a melodica jamming just to be part of the party. So the rules are broken again (shoot me!), but I couldn’t help joining this proto-fake-calypso celebration.
Then I accentuated the challenge idea of pause as a stop-sound device and I cut savagely both tracks, sometimes rhythmically, some others randomly.
This is what you get:

0:00 Suss Müsik
0:15 Wüst joins with some stabs, I cut Suss Müsik when Wüst plays to avoid overlapping
0:21 Melodica joins
0:31 Würst cut-pasted-loop takes the lead
1:50 Suss Müsik is back
2:06 Wüst new loop
2:23 Happy Ending

More on this 287th weekly Disquiet Junto project — Digital Pause Tape: Make a track using only cut and paste — at:

https://disquiet.com/0287/1

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/disquiet-junto-project-0287-digital-pause-tape/]]> 1492084 no no Fri, 30 Jun 2017 22:48:44 +0200 2017-06-30T22:48:44+02:00 2:46 https://hearthis.at/danieldiaz/a-two-bass-nocturnal-affaire/ Schecter Jazz Bass '62
Drake Diaz Custom 5
+Synthesizer
+Drum beats
+Electric guitar (Stratocaster)

Performed by DD , Paris , June 2017

Part of my 2016-2017 "Film Noir" production music series.

photo by thaddaeus lim]]> Schecter Jazz Bass '62
Drake Diaz Custom 5
+Synthesizer
+Drum beats
+Electric guitar (Stratocaster)

Performed by DD , Paris , June 2017

Part of my 2016-2017 "Film Noir" production music series.

photo by thaddaeus lim]]> 1494254 no no Tue, 27 Jun 2017 11:28:54 +0200 2017-06-27T11:28:54+02:00 3:19 https://hearthis.at/danieldiaz/transliterated-bass-phrasedisquiet0286/
I associated the idea of Transcription - Transliteration & Translation to modulation to a relative and/or parallel tonality in music, and then the transpositions to a certain interval in the same tonality; so I started with a very simple phrase in B minor and used just one instrument for 5 tracks, my glorious DRAKE DIAZ CUSTOM 5 electric bass guitar.
My tame and harmless Bb Aeolian phrase appears in the “tonic” and some “transliteration” in the 3rd and 5th of the same chord/scale , then a” transcriptions” to a Lydian mode in a different root (relative modulation) a ” translation” (transposition) to a B major chord (parallel modulation) with its “transcriptions” to the 3rd and 5th.

Transcription is the conversion of the characters of one language to the characters of another language in accordance with the pronunciation of the target language.
Transliteration means 'translating' a text from one writing system to another while keeping it in its original language.
Translation is interpreting of the meaning of a text and the subsequent production of an equivalent text that communicates the same message in another language.

Created today Friday 23rd June 2017 during a beautiful sunny morning in Paris France. For Disquiet Junto 0286

" ...produce a recording that begins with the original.., and then follows it, in sequence, with versions that serve to transliterate, translate, and interpret it.

Image associated with this project is by Flickr member Hannah, used thanks to a Creative Commons license

More on this 286th weekly Disquiet Junto project — Found in Translation: Make three versions of something from different distances — at:

https://disquiet.com/0286/

More on the Disquiet Junto at:

https://disquiet.com/junto/]]>
I associated the idea of Transcription - Transliteration & Translation to modulation to a relative and/or parallel tonality in music, and then the transpositions to a certain interval in the same tonality; so I started with a very simple phrase in B minor and used just one instrument for 5 tracks, my glorious DRAKE DIAZ CUSTOM 5 electric bass guitar.
My tame and harmless Bb Aeolian phrase appears in the “tonic” and some “transliteration” in the 3rd and 5th of the same chord/scale , then a” transcriptions” to a Lydian mode in a different root (relative modulation) a ” translation” (transposition) to a B major chord (parallel modulation) with its “transcriptions” to the 3rd and 5th.

Transcription is the conversion of the characters of one language to the characters of another language in accordance with the pronunciation of the target language.
Transliteration means 'translating' a text from one writing system to another while keeping it in its original language.
Translation is interpreting of the meaning of a text and the subsequent production of an equivalent text that communicates the same message in another language.

Created today Friday 23rd June 2017 during a beautiful sunny morning in Paris France. For Disquiet Junto 0286

" ...produce a recording that begins with the original.., and then follows it, in sequence, with versions that serve to transliterate, translate, and interpret it.

Image associated with this project is by Flickr member Hannah, used thanks to a Creative Commons license

More on this 286th weekly Disquiet Junto project — Found in Translation: Make three versions of something from different distances — at:

https://disquiet.com/0286/

More on the Disquiet Junto at:

https://disquiet.com/junto/]]> 1494257 no no Fri, 23 Jun 2017 15:51:37 +0200 2017-06-23T15:51:37+02:00 1:45 https://hearthis.at/danieldiaz/from-the-home-stage-of-the-international-blackout-orchestra-naviarhaiku181/ Cello by Damien Jarry, the greatest.
Other minor cello samples from several Bach cello suite in C major recordings.
Bowed basses by DD. Orchestra is sampled and faked by DD.

Music for this haiku by Ghanaian poet Nana Fredua-Agyeman.
"Blackout
our laughter laughs
at us"

Please visit @naviar-records for more info:
http://www.naviarrecords.com/2017/06/21/naviarhaiku181-blackout/

Get some great music here:
https://naviarrecords.bandcamp.com/]]> Cello by Damien Jarry, the greatest.
Other minor cello samples from several Bach cello suite in C major recordings.
Bowed basses by DD. Orchestra is sampled and faked by DD.

Music for this haiku by Ghanaian poet Nana Fredua-Agyeman.
"Blackout
our laughter laughs
at us"

Please visit @naviar-records for more info:
http://www.naviarrecords.com/2017/06/21/naviarhaiku181-blackout/

Get some great music here:
https://naviarrecords.bandcamp.com/]]> 1494259 no no Wed, 21 Jun 2017 17:41:14 +0200 2017-06-21T17:41:14+02:00 4:43 https://hearthis.at/danieldiaz/passion-in-the-times-of-olenska/ music form an aborted feature film soundtrack (2015)
Composed by DD
Image by Ales Krivec]]> music form an aborted feature film soundtrack (2015)
Composed by DD
Image by Ales Krivec]]> 1494260 no no Tue, 20 Jun 2017 17:49:26 +0200 2017-06-20T17:49:26+02:00 2:27 https://hearthis.at/danieldiaz/when-barcoded-bipedal-mammals-are-finally-extinct-disquiet0285/
Disquiet Junto Project 0285: Live Barcoding

I used different constant delays and skidder FX but changing the setting time/pattern from one measure to the next, so every chord has it’s own repetitive tail.
In a way the full track could be read as a barcode interpretation.
Cheers
DD


More on this 285th weekly Disquiet Junto project — Live Barcoding: Make rhythms from your packaged goods. — at:

https://disquiet.com/0285/3

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/disquiet-junto-project-0285-live-barcoding]]>
Disquiet Junto Project 0285: Live Barcoding

I used different constant delays and skidder FX but changing the setting time/pattern from one measure to the next, so every chord has it’s own repetitive tail.
In a way the full track could be read as a barcode interpretation.
Cheers
DD


More on this 285th weekly Disquiet Junto project — Live Barcoding: Make rhythms from your packaged goods. — at:

https://disquiet.com/0285/3

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/disquiet-junto-project-0285-live-barcoding]]> 1494262 no no Sat, 17 Jun 2017 20:15:22 +0200 2017-06-17T20:15:22+02:00 2:54 https://hearthis.at/danieldiaz/silence-and-a-sight-before-you-go-naviarhaiku180/
Music for this Haiku:

"thick mist and the loudest of bird song
steal no silence or sight away
from this place"

Poem by Best Left Wild https://www.bestleftwild.com
Photo by NASA (Caspian sea from the air)

http://www.naviarrecords.com/2017/06/14/naviarhaiku180-thick-mist-and-the-loudest-of-bird-song/

@naviar-records


Free Download]]>
Music for this Haiku:

"thick mist and the loudest of bird song
steal no silence or sight away
from this place"

Poem by Best Left Wild https://www.bestleftwild.com
Photo by NASA (Caspian sea from the air)

http://www.naviarrecords.com/2017/06/14/naviarhaiku180-thick-mist-and-the-loudest-of-bird-song/

@naviar-records


Free Download]]> 1494263 no no Wed, 14 Jun 2017 17:45:16 +0200 2017-06-14T17:45:16+02:00 2:44 https://hearthis.at/danieldiaz/casi-crepuscular-disquiet0284/
Precessing used: pitch shift, convolution reverb, panner/surround, infinite reverb through wah-wah pedal

Photo by Paul Itkin https://unsplash.com/@itkin

Source audio: http://www.chriskallmyer.com/

Project discussion takes place on llllllll.co: llllllll.co/t/disquiet-junto-project-0284-creative-commonfield/

More on the Disquiet Junto at: https://disquiet.com/junto/

FREE DOWNLOAD]]>
Precessing used: pitch shift, convolution reverb, panner/surround, infinite reverb through wah-wah pedal

Photo by Paul Itkin https://unsplash.com/@itkin

Source audio: http://www.chriskallmyer.com/

Project discussion takes place on llllllll.co: llllllll.co/t/disquiet-junto-project-0284-creative-commonfield/

More on the Disquiet Junto at: https://disquiet.com/junto/

FREE DOWNLOAD]]> 1494265 no no Fri, 09 Jun 2017 17:01:09 +0200 2017-06-09T17:01:09+02:00 3:15 https://hearthis.at/danieldiaz/from-distant-lands-naviaraiku179/ Music for this haiku:
"where feet fall softly
distant lands abound
with every step"

poem by Poem by Best Left Wild
Image by alberto restifo
https://unsplash.com/@albertorestifo

Solo cello by Damien Jarry
Composed performed and produced by DD, Paris 2017



http://www.naviarrecords.com/2017/06/07/naviarhaiku179-where-feet-fall-softly/]]> Music for this haiku:
"where feet fall softly
distant lands abound
with every step"

poem by Poem by Best Left Wild
Image by alberto restifo
https://unsplash.com/@albertorestifo

Solo cello by Damien Jarry
Composed performed and produced by DD, Paris 2017



http://www.naviarrecords.com/2017/06/07/naviarhaiku179-where-feet-fall-softly/]]> 1494267 no no Fri, 09 Jun 2017 00:53:47 +0200 2017-06-09T00:53:47+02:00 2:50 https://hearthis.at/danieldiaz/camino-viejo-norte/ Charango and synths by DD

First part here:
https://soundcloud.com/daniel-diaz/camino-viejo-sur


More from the same series:
Daniel-diaz – Western-guard-towers-naviarhaiku177
Daniel-diaz – Aire-de-despedida
Daniel-diaz – Pampero-deconstructed-disquiet0277
Daniel-diaz – When-she-faints-in-the-forest-naviarhaiku170]]> Charango and synths by DD

First part here:
https://soundcloud.com/daniel-diaz/camino-viejo-sur


More from the same series:
Daniel-diaz – Western-guard-towers-naviarhaiku177
Daniel-diaz – Aire-de-despedida
Daniel-diaz – Pampero-deconstructed-disquiet0277
Daniel-diaz – When-she-faints-in-the-forest-naviarhaiku170]]> 1494269 no no Mon, 05 Jun 2017 21:24:22 +0200 2017-06-05T21:24:22+02:00 3:17 https://hearthis.at/danieldiaz/camino-viejo-sur/ Charango and synths by DD

2nd part:
https://soundcloud.com/daniel-diaz/camino-viejo-norte
More from the same series:
https://soundcloud.com/daniel-diaz/western-guard-towers-naviarhaiku177
https://soundcloud.com/daniel-diaz/aire-de-despedida
https://soundcloud.com/daniel-diaz/pampero-deconstructed-disquiet0277
https://soundcloud.com/daniel-diaz/when-she-faints-in-the-forest-naviarhaiku170]]> Charango and synths by DD

2nd part:
https://soundcloud.com/daniel-diaz/camino-viejo-norte
More from the same series:
https://soundcloud.com/daniel-diaz/western-guard-towers-naviarhaiku177
https://soundcloud.com/daniel-diaz/aire-de-despedida
https://soundcloud.com/daniel-diaz/pampero-deconstructed-disquiet0277
https://soundcloud.com/daniel-diaz/when-she-faints-in-the-forest-naviarhaiku170]]> 1494270 no no Mon, 05 Jun 2017 19:22:24 +0200 2017-06-05T19:22:24+02:00 2:45 https://hearthis.at/danieldiaz/cross-the-wall/
Soundscape and upright basses (bowed, several)performed by Daniel Diaz, Paris 2017.

From my collection "delete, erase, and other solutions"]]>
Soundscape and upright basses (bowed, several)performed by Daniel Diaz, Paris 2017.

From my collection "delete, erase, and other solutions"]]> 1494272 no no Fri, 02 Jun 2017 17:59:55 +0200 2017-06-02T17:59:55+02:00 3:21 https://hearthis.at/danieldiaz/autumnal-rivers-mist-naviarhaiku178/
"the river's mist
helps out the haze
moonlit night"

Composed by Daniel Diaz
Upright piano (Halle Ritter 1910) recorded in Lanus, Argentina.
Acoustic guitar (Martin J15)overdubbed in Paris, France.
[C)&[P] daniel diaz & sonoton GmbH


Poem by Kobayashi Issa

Picture by Gatis Vilaks https://unsplash.com/@gatisv

http://www.naviarrecords.com/2017/05/31/naviarhaiku178-the-rivers-mist/]]>
"the river's mist
helps out the haze
moonlit night"

Composed by Daniel Diaz
Upright piano (Halle Ritter 1910) recorded in Lanus, Argentina.
Acoustic guitar (Martin J15)overdubbed in Paris, France.
[C)&[P] daniel diaz & sonoton GmbH


Poem by Kobayashi Issa

Picture by Gatis Vilaks https://unsplash.com/@gatisv

http://www.naviarrecords.com/2017/05/31/naviarhaiku178-the-rivers-mist/]]> 1494273 no no Wed, 31 May 2017 16:31:56 +0200 2017-05-31T16:31:56+02:00 2:55 https://hearthis.at/danieldiaz/loaded-on-bach-disquiet0282/ Then took that midi data , removed the “important” notes (melody) and changed length of the remaining notes by 200%
Pasted that to some ambient/abstract sounding synthesisers (to contrast with the pure piano), and created a soundscape track fully with the “unimportant” notes, transposed an 8ve above and below, and on it’s original “left hand” octave.
Eventually you’ll hear Glenn Gould’s version (1980’s one) that I used “as is” and also after extracted midi and feed an Atmosphere sytnh with those midi notes. The track ends with Mr Gould final Aria ending emerging from chaos.

So
00:00 Aria: dd piano + soundscape (left hand edited background notes)
00:46 variations soundscape (left hand edited background notes): treated/edited/pitch shifted
01:38 enter Mr Gould’s version

Created on Friday 26th May 2017 on a sunny Paris by DD.



Disquiet Junto Project 0282: Berio’s Bach
Make a piece of music based on one composer’s observation regarding another composer.
Step 1: The composer Luciano Berio once said that part of the attraction of some of Bach’s music is in its clear distinction between which notes are “structurally significant” and which are “decorative.” Consider this observation.
Step 2: Compose a short piece of music that opens and closes with there being a clear sense of which parts are “structurally significant” and which are “decorative,” but that in the middle gets ambiguous in this regard.

@disquiet
More on this 282nd weekly Disquiet Junto project — “Berio’s Bach: Make a piece of music based on one composer’s observation regarding another composer” — at:

https://disquiet.com/0282/3

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/disquiet-junto-project-0282-berios-bach/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.


Free Download]]> Then took that midi data , removed the “important” notes (melody) and changed length of the remaining notes by 200%
Pasted that to some ambient/abstract sounding synthesisers (to contrast with the pure piano), and created a soundscape track fully with the “unimportant” notes, transposed an 8ve above and below, and on it’s original “left hand” octave.
Eventually you’ll hear Glenn Gould’s version (1980’s one) that I used “as is” and also after extracted midi and feed an Atmosphere sytnh with those midi notes. The track ends with Mr Gould final Aria ending emerging from chaos.

So
00:00 Aria: dd piano + soundscape (left hand edited background notes)
00:46 variations soundscape (left hand edited background notes): treated/edited/pitch shifted
01:38 enter Mr Gould’s version

Created on Friday 26th May 2017 on a sunny Paris by DD.



Disquiet Junto Project 0282: Berio’s Bach
Make a piece of music based on one composer’s observation regarding another composer.
Step 1: The composer Luciano Berio once said that part of the attraction of some of Bach’s music is in its clear distinction between which notes are “structurally significant” and which are “decorative.” Consider this observation.
Step 2: Compose a short piece of music that opens and closes with there being a clear sense of which parts are “structurally significant” and which are “decorative,” but that in the middle gets ambiguous in this regard.

@disquiet
More on this 282nd weekly Disquiet Junto project — “Berio’s Bach: Make a piece of music based on one composer’s observation regarding another composer” — at:

https://disquiet.com/0282/3

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/disquiet-junto-project-0282-berios-bach/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.


Free Download]]> 1494276 no no Fri, 26 May 2017 18:39:13 +0200 2017-05-26T18:39:13+02:00 2:38 https://hearthis.at/danieldiaz/western-guard-towers-naviarhaiku177/ "Eastern guard tower
glints in sunset
convicts rest
like lizards on rocks"

Composed and performed by DD, Argentina 2016 and Paris 2017: charango, hang (spacedrum) synths, string orchestra samples.


Photo (C) Christophe Apatie

http://www.naviarrecords.com/2017/05/24/naviarhaiku177-eastern-guard-tower/

Haiku from Poems from Prison.
by Etheridge Knight

@naviar-records

Free Download]]> "Eastern guard tower
glints in sunset
convicts rest
like lizards on rocks"

Composed and performed by DD, Argentina 2016 and Paris 2017: charango, hang (spacedrum) synths, string orchestra samples.


Photo (C) Christophe Apatie

http://www.naviarrecords.com/2017/05/24/naviarhaiku177-eastern-guard-tower/

Haiku from Poems from Prison.
by Etheridge Knight

@naviar-records

Free Download]]> 1494278 no no Wed, 24 May 2017 22:59:56 +0200 2017-05-24T22:59:56+02:00 3:05 https://hearthis.at/danieldiaz/trapped-into-dreams/ Piano
Upright Bass
Three Flutes
Woodwind section
Brass section
Special phantom guest Bobby Rangell: lead flute
Composed and performed by Daniel Diaz, Paris, France 2015-2017.]]> Piano
Upright Bass
Three Flutes
Woodwind section
Brass section
Special phantom guest Bobby Rangell: lead flute
Composed and performed by Daniel Diaz, Paris, France 2015-2017.]]> 1494279 no no Wed, 24 May 2017 09:39:24 +0200 2017-05-24T09:39:24+02:00 2:37 https://hearthis.at/danieldiaz/palindromus-pattern-interruptus-aebabea-disquiet0281/ Main piano starts adding notes here and there, keeping the repetitive thing going but breaking the monotone and palindrome aspect of it.
Pattern mutates back and forth from the original A-E-B-A-B-E-A to A-F-C-B-C-F-A, always palindrome.
A Martin J15 guitar plays the same palindrome (double tracked L and R), and a second Martin (also double tracked L and R) plays the palindrome an octave higher.

Finally a third guitar part (always double tracked L and R) slams chords breaking the symmetry again. Then, that guitar plays a muted power chord 1/8th note riff and the palindrome is buried and forgotten, but not entirely gone.

At the end the palindrome implodes and breaks down.
I added an upright bass playing a single low La.

Recorded by DD on Friday 19 may 2017in Paris, France for junto 0281 challenge.

photo by dd (april 2017, fondation luis vuiton, paris)


Free Download.

More on the Disquiet Junto at:

https://disquiet.com/junto/1

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/disquiet-junto-project-0281-pattern-interruption/]]> Main piano starts adding notes here and there, keeping the repetitive thing going but breaking the monotone and palindrome aspect of it.
Pattern mutates back and forth from the original A-E-B-A-B-E-A to A-F-C-B-C-F-A, always palindrome.
A Martin J15 guitar plays the same palindrome (double tracked L and R), and a second Martin (also double tracked L and R) plays the palindrome an octave higher.

Finally a third guitar part (always double tracked L and R) slams chords breaking the symmetry again. Then, that guitar plays a muted power chord 1/8th note riff and the palindrome is buried and forgotten, but not entirely gone.

At the end the palindrome implodes and breaks down.
I added an upright bass playing a single low La.

Recorded by DD on Friday 19 may 2017in Paris, France for junto 0281 challenge.

photo by dd (april 2017, fondation luis vuiton, paris)


Free Download.

More on the Disquiet Junto at:

https://disquiet.com/junto/1

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/disquiet-junto-project-0281-pattern-interruption/]]> 1494280 no no Fri, 19 May 2017 17:44:14 +0200 2017-05-19T17:44:14+02:00 3:02 https://hearthis.at/danieldiaz/still-loneliness-naviarhaiku176/
"Lonely stillness-
a single cicada’s cry
sinking into stone"

String orchestra sensitive soundscape by DD
Guest star Damien Jarry : solo cello.
Multiple bowed upright basses and string samples by DD

Poem by Matsuo Bashō
Photo by Sam X.

More? here:
http://www.naviarrecords.com/2017/05/17/naviarhaiku176-lonely-stillness/


free download]]>
"Lonely stillness-
a single cicada’s cry
sinking into stone"

String orchestra sensitive soundscape by DD
Guest star Damien Jarry : solo cello.
Multiple bowed upright basses and string samples by DD

Poem by Matsuo Bashō
Photo by Sam X.

More? here:
http://www.naviarrecords.com/2017/05/17/naviarhaiku176-lonely-stillness/


free download]]> 1494282 no no Wed, 17 May 2017 21:43:39 +0200 2017-05-17T21:43:39+02:00 2:15 https://hearthis.at/danieldiaz/no-cure-for-it/

Synthesisers and samples performed and transformed by DD, Paris 2016-2017


free download]]>

Synthesisers and samples performed and transformed by DD, Paris 2016-2017


free download]]> 1494284 no no Mon, 15 May 2017 16:13:03 +0200 2017-05-15T16:13:03+02:00 3:01 https://hearthis.at/danieldiaz/laube-disquiet0280/ Two 12 string fender guitars
Three classical guitars

(C)&(P) Sonoton GmbH / Daniel Diaz.
Photo (C) Christophe Apatie.

Uploadad for @disquiet junto project 0280.

I wanted to wish a proper, HAPPY birthday to our fellow junto member @differentieel but can’t think of an idea to recreate something old with a new approach, but that’s something I’ve been doing for decades when I hear something old that inspires me!
I decided to upload this track for you, it form a time that I had several borrowed acoustic guitars (including a Fender 12 strings that I really miss) and spent months creating tracks superimposing very simple parts with just guitars, to build something full and coherent out of insignificant little bits. I was listening to Steve Reich (electric counterpoint), Fripp, Bracca, and many others, but wanted to use that procedure to create something that doesn’t quite follow that repetitive style.
One of the tracks, really simple, tender and naive was this one L’Aube (Dawn).

May this simple and innocent piece warm differentieel’s heart on this special day.
Happy Birthday!
DD

More on this 280th weekly Disquiet Junto project — “20170514: Celebrate the 70th birthday of a Junto member” — at:

https://disquiet.com/0280/1

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/1

Project discussion takes place on llllllll.co:

llllllll.co/t/celebrate-a-junto-members-70th-birthday]]> Two 12 string fender guitars
Three classical guitars

(C)&(P) Sonoton GmbH / Daniel Diaz.
Photo (C) Christophe Apatie.

Uploadad for @disquiet junto project 0280.

I wanted to wish a proper, HAPPY birthday to our fellow junto member @differentieel but can’t think of an idea to recreate something old with a new approach, but that’s something I’ve been doing for decades when I hear something old that inspires me!
I decided to upload this track for you, it form a time that I had several borrowed acoustic guitars (including a Fender 12 strings that I really miss) and spent months creating tracks superimposing very simple parts with just guitars, to build something full and coherent out of insignificant little bits. I was listening to Steve Reich (electric counterpoint), Fripp, Bracca, and many others, but wanted to use that procedure to create something that doesn’t quite follow that repetitive style.
One of the tracks, really simple, tender and naive was this one L’Aube (Dawn).

May this simple and innocent piece warm differentieel’s heart on this special day.
Happy Birthday!
DD

More on this 280th weekly Disquiet Junto project — “20170514: Celebrate the 70th birthday of a Junto member” — at:

https://disquiet.com/0280/1

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/1

Project discussion takes place on llllllll.co:

llllllll.co/t/celebrate-a-junto-members-70th-birthday]]> 1494287 no no Fri, 12 May 2017 01:18:46 +0200 2017-05-12T01:18:46+02:00 2:39 https://hearthis.at/danieldiaz/crystal-rain-naviarhaiku175/
“sound of rain
Falls deeply in
The night pond”

by Sumitaku Kenshin (1961-1987).

This is a companion piece I re worked for last week’s haiku (174 chilled light), I decided that the other one fitted the poem better and left this one aside. I even created an artwork using the same photographer's work (Sam X).
Both tracks are performed on glass instruments and samples (Crystal Bowls, Cristal Baschet, Glass Harmonica), and both are part of a soundtrack I composed for a film two years ago, called The Clear Skin.
This track fits this week’s haiku, even its original title is suitable: “Crystal Rain”

Naviarhaiku175 – sound of rain
The author of the week is Sumitaku Kenshin (1961-1987). He died just before turning 26, and devoted the last 20 months of his life to haiku poetry.

Picture by Sam X samx

More info at http://www.naviarrecords.com/about/naviar-haiku
@naviar-records]]>
“sound of rain
Falls deeply in
The night pond”

by Sumitaku Kenshin (1961-1987).

This is a companion piece I re worked for last week’s haiku (174 chilled light), I decided that the other one fitted the poem better and left this one aside. I even created an artwork using the same photographer's work (Sam X).
Both tracks are performed on glass instruments and samples (Crystal Bowls, Cristal Baschet, Glass Harmonica), and both are part of a soundtrack I composed for a film two years ago, called The Clear Skin.
This track fits this week’s haiku, even its original title is suitable: “Crystal Rain”

Naviarhaiku175 – sound of rain
The author of the week is Sumitaku Kenshin (1961-1987). He died just before turning 26, and devoted the last 20 months of his life to haiku poetry.

Picture by Sam X samx

More info at http://www.naviarrecords.com/about/naviar-haiku
@naviar-records]]> 1494288 no no Thu, 11 May 2017 00:54:11 +0200 2017-05-11T00:54:11+02:00 2:10 https://hearthis.at/danieldiaz/crystal-light-chilled-forest-naviarghaiku174/ Performed by DD in Paris,
Crystal bowls, Cristal Baschet, Glass Harmonica

Music for this haiku:
"Chilled light
penetrating
bamboo forest"

Poem by Ozaki Hōsai https://en.wikipedia.org/wiki/Ozaki_H%C5%8Dsai

Picture by Sam X https://unsplash.com/@samx

http://www.naviarrecords.com/2017/05/03/naviarhaiku174-chilled-light/]]> Performed by DD in Paris,
Crystal bowls, Cristal Baschet, Glass Harmonica

Music for this haiku:
"Chilled light
penetrating
bamboo forest"

Poem by Ozaki Hōsai https://en.wikipedia.org/wiki/Ozaki_H%C5%8Dsai

Picture by Sam X https://unsplash.com/@samx

http://www.naviarrecords.com/2017/05/03/naviarhaiku174-chilled-light/]]> 1494289 no no Wed, 10 May 2017 02:20:26 +0200 2017-05-10T02:20:26+02:00 2:47 https://hearthis.at/danieldiaz/lost-in-cordoba/ Original, un-treated, un-edited track that served for
https://soundcloud.com/daniel-diaz/broadcasting-from-the-desert-naviarhaiku173

Epiphone electric guitar performed by DD in Cordoba, España, December 2015, recorded by @edgar-grau-1
Guitar recorded using it's line output (pickups) and a close mic second track using Edgar's glorious vintage Neumann U47, getting the faint acoustic sound of the guitar, the room and fret/string noises.
.]]> Original, un-treated, un-edited track that served for
https://soundcloud.com/daniel-diaz/broadcasting-from-the-desert-naviarhaiku173

Epiphone electric guitar performed by DD in Cordoba, España, December 2015, recorded by @edgar-grau-1
Guitar recorded using it's line output (pickups) and a close mic second track using Edgar's glorious vintage Neumann U47, getting the faint acoustic sound of the guitar, the room and fret/string noises.
.]]> 1494291 no no Tue, 09 May 2017 15:50:40 +0200 2017-05-09T15:50:40+02:00 1:34 https://hearthis.at/danieldiaz/love-collagedisquiet0279/ Features the word Love as pronounced by

Gram Parsons
Emmylou Harris
Jackie DeShannon
The Police
Frank Sinatra
Chet Baker
The Beatles
Jaime Roos
Elvis Costello
Anne-Sophie Von Otter
Ella Fitzgerald
Jo Stafford
Roy Orbison
Tony Bennett
Stevie Wonder
Queen
Caetano Veloso
Paul McCartney & Wings
Harry Connick Jr.
Henry Mancini choir and orchestra
Frankie Goes To Hollywood

This is an impromptu pastiche from my personal collection; sorry for the mess, hope it is fun...


Created for
Disquiet Junto Project 0279: Word Interiorities
Inspiered by Luciano Berio, Dissect the sonic properties of a single spoken word. Compose a short exploration of sound by taking apart the recording of a single spoken word,.

More on this 279th weekly Disquiet Junto project — “Word Interiorities: Dissect the sonic properties of a single spoken word” — at:
http://disquiet.com/0279/1
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:]]> Features the word Love as pronounced by

Gram Parsons
Emmylou Harris
Jackie DeShannon
The Police
Frank Sinatra
Chet Baker
The Beatles
Jaime Roos
Elvis Costello
Anne-Sophie Von Otter
Ella Fitzgerald
Jo Stafford
Roy Orbison
Tony Bennett
Stevie Wonder
Queen
Caetano Veloso
Paul McCartney & Wings
Harry Connick Jr.
Henry Mancini choir and orchestra
Frankie Goes To Hollywood

This is an impromptu pastiche from my personal collection; sorry for the mess, hope it is fun...


Created for
Disquiet Junto Project 0279: Word Interiorities
Inspiered by Luciano Berio, Dissect the sonic properties of a single spoken word. Compose a short exploration of sound by taking apart the recording of a single spoken word,.

More on this 279th weekly Disquiet Junto project — “Word Interiorities: Dissect the sonic properties of a single spoken word” — at:
http://disquiet.com/0279/1
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:]]> 1494292 no no Sat, 06 May 2017 13:41:28 +0200 2017-05-06T13:41:28+02:00 3:15 https://hearthis.at/danieldiaz/les-noces-de-lme/ Production Music.
From my collection of experimental tracks "DELETE , ERASE, AND OTHER SOLUTIONS"

Free download

www.dedeland.com]]> Production Music.
From my collection of experimental tracks "DELETE , ERASE, AND OTHER SOLUTIONS"

Free download

www.dedeland.com]]> 1494295 no no Thu, 04 May 2017 14:19:49 +0200 2017-05-04T14:19:49+02:00 3:55 https://hearthis.at/danieldiaz/aire-de-despedida/ Treated and dressed with an electronic soundscape and samples in Paris 2017.

From my collection of experimental tracks "DELETE , ERASE, AND OTHER SOLUTIONS"

Image "ice desert winter landscape" courtesy GraphicStock]]> Treated and dressed with an electronic soundscape and samples in Paris 2017.

From my collection of experimental tracks "DELETE , ERASE, AND OTHER SOLUTIONS"

Image "ice desert winter landscape" courtesy GraphicStock]]> 1494300 no no Sun, 30 Apr 2017 03:22:05 +0200 2017-04-30T03:22:05+02:00 3:58 https://hearthis.at/danieldiaz/broadcasting-from-the-desert-naviarhaiku173/
Music for this Haiku:

"Desert sands
I enter the whole
of nothingness"

Poem by Kala Ramesh
Picture by Tim de Groot


more info @naviar-records
http://www.naviarrecords.com/2017/04/26/naviarhaiku173-desert-sands/

Original track, un-treated and un-edited here

https://soundcloud.com/daniel-diaz/lost-in-cordoba]]>
Music for this Haiku:

"Desert sands
I enter the whole
of nothingness"

Poem by Kala Ramesh
Picture by Tim de Groot


more info @naviar-records
http://www.naviarrecords.com/2017/04/26/naviarhaiku173-desert-sands/

Original track, un-treated and un-edited here

https://soundcloud.com/daniel-diaz/lost-in-cordoba]]> 1494301 no no Wed, 26 Apr 2017 17:43:10 +0200 2017-04-26T17:43:10+02:00 3:21 https://hearthis.at/danieldiaz/naomi/ André Charlier: Drums
Daniel Diaz: Bass
Recorded September 2011 somewhere in France (André's studio)

Released by Sonoton GmbH (C) 2015

Part of my Film Noir production music collection.

Inspired by Ms Watts performance on the film 21 Grams.]]> André Charlier: Drums
Daniel Diaz: Bass
Recorded September 2011 somewhere in France (André's studio)

Released by Sonoton GmbH (C) 2015

Part of my Film Noir production music collection.

Inspired by Ms Watts performance on the film 21 Grams.]]> 1494305 no no Wed, 26 Apr 2017 10:55:59 +0200 2017-04-26T10:55:59+02:00 2:27 https://hearthis.at/danieldiaz/wtc-11092011/ André Charlier: Drums
Daniel Diaz: Bass
Recorded September 2011 somewhere in France (André's studio)

Released by Sonoton GmbH (C) 2015

Part of my Film Noir production music collection.]]> André Charlier: Drums
Daniel Diaz: Bass
Recorded September 2011 somewhere in France (André's studio)

Released by Sonoton GmbH (C) 2015

Part of my Film Noir production music collection.]]> 1494310 no no Sun, 23 Apr 2017 14:35:35 +0200 2017-04-23T14:35:35+02:00 2:22 https://hearthis.at/danieldiaz/pampero-deconstructed-disquiet0277/
Treated, chopped, transposed, pitch and time shifted, edited and mixed in Paris, 21st April 2017.

Created for Disquiet Junto Project 0277: Chew Concrète
The Assignment: Make music inspired by C. Reider’s Chew Cinders album procedures.

Interesting approach.
This is part of a bunch of improvisations on Charango I recorded while travelling in Argentina last year. I couldn’t find a good destination/treatment/development for this particular fragment, and I started transposing (5th up, 8ve up, 5th down, etc) to see what happened. Abandoned a month ago, this assignment gave me the idea of un-mute all the tracks and try to structure that mess.
There are the same track (Charango) copied 7 times and transposed, feeding some delays that are also transposed.
The transposed tracks are sometimes plain transposition and others “keep duration” so the rhythmic parts are also playing games with each other. I added a synth soft pad to glue everything together.
Have a nice day,

dd

More on this 277th weekly Disquiet Junto project — “Chew Concrète: Make music inspired by C. Reider’s Chew Cinders album procedures” — at:

http://disquiet.com/0277/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/chew-some-concrete-sounds-disquiet-junto-project-0277/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]>
Treated, chopped, transposed, pitch and time shifted, edited and mixed in Paris, 21st April 2017.

Created for Disquiet Junto Project 0277: Chew Concrète
The Assignment: Make music inspired by C. Reider’s Chew Cinders album procedures.

Interesting approach.
This is part of a bunch of improvisations on Charango I recorded while travelling in Argentina last year. I couldn’t find a good destination/treatment/development for this particular fragment, and I started transposing (5th up, 8ve up, 5th down, etc) to see what happened. Abandoned a month ago, this assignment gave me the idea of un-mute all the tracks and try to structure that mess.
There are the same track (Charango) copied 7 times and transposed, feeding some delays that are also transposed.
The transposed tracks are sometimes plain transposition and others “keep duration” so the rhythmic parts are also playing games with each other. I added a synth soft pad to glue everything together.
Have a nice day,

dd

More on this 277th weekly Disquiet Junto project — “Chew Concrète: Make music inspired by C. Reider’s Chew Cinders album procedures” — at:

http://disquiet.com/0277/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/chew-some-concrete-sounds-disquiet-junto-project-0277/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> 1494325 no no Fri, 21 Apr 2017 17:28:46 +0200 2017-04-21T17:28:46+02:00 3:26 https://hearthis.at/danieldiaz/morning-soundscape-lies-beneath-naviarhaiku172/ "morning calm
the song that hovers
out of sight"

Sounds performed by DD, Paris 2017. Synths, basses and other instruments.


Poem by Peggy Willis Lyles http://www.worldhaiku.net/poetry/eng/us/p.willis.lyles.htm

Picture by Timothy Meinberg https://unsplash.com/@tmbrg

More:
http://www.naviarrecords.com/2017/04/19/naviarhaiku172-morning-calm/

FREE DOWNLOAD]]> "morning calm
the song that hovers
out of sight"

Sounds performed by DD, Paris 2017. Synths, basses and other instruments.


Poem by Peggy Willis Lyles http://www.worldhaiku.net/poetry/eng/us/p.willis.lyles.htm

Picture by Timothy Meinberg https://unsplash.com/@tmbrg

More:
http://www.naviarrecords.com/2017/04/19/naviarhaiku172-morning-calm/

FREE DOWNLOAD]]> 1494330 no no Thu, 20 Apr 2017 21:34:37 +0200 2017-04-20T21:34:37+02:00 3:23 https://hearthis.at/danieldiaz/friday-night-4am/
DD, March 2017 @ The Pleasure Dome.
Part of my "Film Noir" production music collection,

Photo by Ramon Ernesta, Palermo Viejo, Buenos Aires, 1994.]]>
DD, March 2017 @ The Pleasure Dome.
Part of my "Film Noir" production music collection,

Photo by Ramon Ernesta, Palermo Viejo, Buenos Aires, 1994.]]> 1494333 no no Sun, 09 Apr 2017 18:47:51 +0200 2017-04-09T18:47:51+02:00 2:09 https://hearthis.at/danieldiaz/when-she-faints-in-the-forest-naviarhaiku170/
Music to this haiku:

Wind through the pines,
Shadows of the pines;
I'm lying down in the shade.

(Matsukaze matsukage/ nekoronde)

Poem by Taneda Santōka https://terebess.hu/english/haiku/taneda.html
Picture by Veronica Gomez Ibarra https://unsplash.com/@verushka

more info @naviar-records:
http://www.naviarrecords.com/about/naviar-haiku]]>
Music to this haiku:

Wind through the pines,
Shadows of the pines;
I'm lying down in the shade.

(Matsukaze matsukage/ nekoronde)

Poem by Taneda Santōka https://terebess.hu/english/haiku/taneda.html
Picture by Veronica Gomez Ibarra https://unsplash.com/@verushka

more info @naviar-records:
http://www.naviarrecords.com/about/naviar-haiku]]> 1494337 no no Thu, 06 Apr 2017 23:29:26 +0200 2017-04-06T23:29:26+02:00 3:50 https://hearthis.at/danieldiaz/nightwatch-iii-nocturnal-still-life/ Three electric basses by d.d,
Low bass (tuned B-E-A-D) lead bass (Drake Custom with high C string), a third track with volume pedal (soft "synth-pad" like sounds)
No synth , no strange FX, only reverb and delay.

photo:
Nightwatch series / copyright (c) Sabine Pigalle
http://sabinepigalle.com/

music recorded march 2017 at the pleasure dome.

Recorded for DD's ongoing series Film Noir/NightWatch: a collection of nightly, mysterious and dark bass guitar instrumentals. (c)2017

3rd part of a trilogy. ( a four part trilogy....)

free download

More:
https://soundcloud.com/daniel-diaz/nightwatch-i-the-walk-through
https://soundcloud.com/daniel-diaz/nightwatch-ii-the-dark-side
https://soundcloud.com/daniel-diaz/nightwatch-iv-something-is-broken]]> Three electric basses by d.d,
Low bass (tuned B-E-A-D) lead bass (Drake Custom with high C string), a third track with volume pedal (soft "synth-pad" like sounds)
No synth , no strange FX, only reverb and delay.

photo:
Nightwatch series / copyright (c) Sabine Pigalle
http://sabinepigalle.com/

music recorded march 2017 at the pleasure dome.

Recorded for DD's ongoing series Film Noir/NightWatch: a collection of nightly, mysterious and dark bass guitar instrumentals. (c)2017

3rd part of a trilogy. ( a four part trilogy....)

free download

More:
https://soundcloud.com/daniel-diaz/nightwatch-i-the-walk-through
https://soundcloud.com/daniel-diaz/nightwatch-ii-the-dark-side
https://soundcloud.com/daniel-diaz/nightwatch-iv-something-is-broken]]> 1494340 no no Sun, 02 Apr 2017 13:40:40 +0200 2017-04-02T13:40:40+02:00 3:36 https://hearthis.at/danieldiaz/nightwatch-ii-the-dark-side/
3 Tracks recorded last week, one bas splaying the low B note, another "lead bass" playing the melody lines, a third track playing through a delay line with volume pedal and feeding a granulate plugin instance.
Reverb, delay, and some seconds of overdrive. That's it.

photo:
Nightwatch series / copyright (c) Sabine Pigalle
www.sabinepigalle.com

music recorded march 2017 at the pleasure dome.

Recorded for DD's ongoing series Film Noir/NightWatch: a collection of nightly, mysterious and dark bass guitar instrumentals. (c)2017

2nd part of a trilogy.
More here:
https://soundcloud.com/daniel-diaz/nightwatch-i-the-walk-through
https://soundcloud.com/daniel-diaz/nightwatch-iii-nocturnal-still-life
https://soundcloud.com/daniel-diaz/nightwatch-iv-something-is-broken]]>
3 Tracks recorded last week, one bas splaying the low B note, another "lead bass" playing the melody lines, a third track playing through a delay line with volume pedal and feeding a granulate plugin instance.
Reverb, delay, and some seconds of overdrive. That's it.

photo:
Nightwatch series / copyright (c) Sabine Pigalle
www.sabinepigalle.com

music recorded march 2017 at the pleasure dome.

Recorded for DD's ongoing series Film Noir/NightWatch: a collection of nightly, mysterious and dark bass guitar instrumentals. (c)2017

2nd part of a trilogy.
More here:
https://soundcloud.com/daniel-diaz/nightwatch-i-the-walk-through
https://soundcloud.com/daniel-diaz/nightwatch-iii-nocturnal-still-life
https://soundcloud.com/daniel-diaz/nightwatch-iv-something-is-broken]]> 1494342 no no Sat, 01 Apr 2017 19:58:12 +0200 2017-04-01T19:58:12+02:00 3:41 https://hearthis.at/danieldiaz/nightwatch-i-the-walk-through/
Several fretted and fretless electric basses by d.d,
treatments: reverb, tremolos, granulate, volume pedal, phaser.

photo:
Nightwatch series / copyright (c) Sabine Pigalle
www.sabinepigalle.com

music recorded march 2017 at the pleasure dome.

Recorded fro DD's ongoing series Film Noir/NightWatch: a collection of nightly, mysterious and dark bass guitar instrumentals. (c)2017

1st part of a trilogy.
More here:
https://soundcloud.com/daniel-diaz/nightwatch-iv-something-is-broken
https://soundcloud.com/daniel-diaz/nightwatch-ii-the-dark-side]]>
Several fretted and fretless electric basses by d.d,
treatments: reverb, tremolos, granulate, volume pedal, phaser.

photo:
Nightwatch series / copyright (c) Sabine Pigalle
www.sabinepigalle.com

music recorded march 2017 at the pleasure dome.

Recorded fro DD's ongoing series Film Noir/NightWatch: a collection of nightly, mysterious and dark bass guitar instrumentals. (c)2017

1st part of a trilogy.
More here:
https://soundcloud.com/daniel-diaz/nightwatch-iv-something-is-broken
https://soundcloud.com/daniel-diaz/nightwatch-ii-the-dark-side]]> 1494346 no no Sat, 01 Apr 2017 02:19:25 +0200 2017-04-01T02:19:25+02:00 3:42 https://hearthis.at/danieldiaz/nightwatch-iv-something-is-broken-disquiet0274/ Solo electric bass performance by d.d,
treatments: reverb, tremolos, chopper, vibrolo, granulator, wah-wah

photo:
Nightwatch series / copyright (c) Sabine Pigalle
www.sabinepigalle.com

music recorded Friday 31st march 2017 at the pleasure dome.

Recorded fro DD's ongoing series Film Noir/NightWatch and for
Diquiet junto project 0274

Nightwatch is a trilogy performed on mostly electric basses , it's a trilogy but today I recorded a 4th part for this junto, a solo bass performance, and then "broke" the low notes that populate the pauses with extreme tremolos, chopper, skidder and regular tremolos at hard settings (square wave, loads of drive and saturation)
I love the way those tremolos, used in this "chop down" way, break the decay of the notes and make the soft vanish of music sound beautifully wrong.

Added huge reverbs and wah wah on the reverb.
Broken ambient bass.

4th part of a trilogy.
More here:
https://soundcloud.com/daniel-diaz/nightwatch-i-the-walk-through
https://soundcloud.com/daniel-diaz/nightwatch-ii-the-dark-side
https://soundcloud.com/daniel-diaz/nightwatch-iii-nocturnal-still-life

More on this 274th weekly Disquiet Junto project — “Broken Sound: Record a piece of music in the genre called ‘broken sound’” — at:

http://disquiet.com/0274/

More on the Disquiet Junto at:
http://disquiet.com/junto/

Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:
http://llllllll.co/t/the-genre-of-broken-sound-disquiet-junto-project-0274/]]> Solo electric bass performance by d.d,
treatments: reverb, tremolos, chopper, vibrolo, granulator, wah-wah

photo:
Nightwatch series / copyright (c) Sabine Pigalle
www.sabinepigalle.com

music recorded Friday 31st march 2017 at the pleasure dome.

Recorded fro DD's ongoing series Film Noir/NightWatch and for
Diquiet junto project 0274

Nightwatch is a trilogy performed on mostly electric basses , it's a trilogy but today I recorded a 4th part for this junto, a solo bass performance, and then "broke" the low notes that populate the pauses with extreme tremolos, chopper, skidder and regular tremolos at hard settings (square wave, loads of drive and saturation)
I love the way those tremolos, used in this "chop down" way, break the decay of the notes and make the soft vanish of music sound beautifully wrong.

Added huge reverbs and wah wah on the reverb.
Broken ambient bass.

4th part of a trilogy.
More here:
https://soundcloud.com/daniel-diaz/nightwatch-i-the-walk-through
https://soundcloud.com/daniel-diaz/nightwatch-ii-the-dark-side
https://soundcloud.com/daniel-diaz/nightwatch-iii-nocturnal-still-life

More on this 274th weekly Disquiet Junto project — “Broken Sound: Record a piece of music in the genre called ‘broken sound’” — at:

http://disquiet.com/0274/

More on the Disquiet Junto at:
http://disquiet.com/junto/

Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:
http://llllllll.co/t/the-genre-of-broken-sound-disquiet-junto-project-0274/]]> 1494349 no no Fri, 31 Mar 2017 19:14:13 +0200 2017-03-31T19:14:13+02:00 3:00 https://hearthis.at/danieldiaz/el-rengo-mcmilan/ Production music for a "Film Noir" collection.
DD, 2017]]> Production music for a "Film Noir" collection.
DD, 2017]]> 1494353 no no Wed, 29 Mar 2017 10:55:18 +0200 2017-03-29T10:55:18+02:00 1:56 https://hearthis.at/danieldiaz/the-secret/ Production music for a "Film Noir" collection.
DD, 2017]]> Production music for a "Film Noir" collection.
DD, 2017]]> 1494354 no no Wed, 29 Mar 2017 00:51:25 +0200 2017-03-29T00:51:25+02:00 2:47 https://hearthis.at/danieldiaz/fretless-wakeup-call-disquiet0273/
8 tracks of fretless bass guitar recorded on Friday 24th 2017 between 15h and 17h.
Alarm clocks and bells from my vaults.
Love,
DD


Disquiet Junto Project 0273: Alarm Clocked
The Assignment: Make music for a (new! improved!) slow-waking alarm clock.

More on this 273rd weekly Disquiet Junto project — “Alarm Clocked: Make music for a (new! improved!) slow-waking alarm clock” — at:

http://disquiet.com/0273/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/alarm-clocked-disquiet-junto-project-0273/7097]]>
8 tracks of fretless bass guitar recorded on Friday 24th 2017 between 15h and 17h.
Alarm clocks and bells from my vaults.
Love,
DD


Disquiet Junto Project 0273: Alarm Clocked
The Assignment: Make music for a (new! improved!) slow-waking alarm clock.

More on this 273rd weekly Disquiet Junto project — “Alarm Clocked: Make music for a (new! improved!) slow-waking alarm clock” — at:

http://disquiet.com/0273/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/alarm-clocked-disquiet-junto-project-0273/7097]]> 1494357 no no Fri, 24 Mar 2017 17:36:07 +0100 2017-03-24T17:36:07+01:00 3:27 https://hearthis.at/danieldiaz/lost-in-the-labyrinth-of-the-night-naviarhaiku167/ lost in a labyrinth of streets
late at night
a stray dog following me . . .

- Street noises (footsteps and subway revolving doors) recorded in Buenos Aires, at the end of the 20th century.
- TV voices, London, England.
-Electric Bass Guitar (3 parts: solo, bass, staccato/ostinato/subliminal)
-Synth pad
Recorded by DD Friday 17th March 2017.


http://www.naviarrecords.com/2017/03/15/naviarhaiku167-lost-in-a-labyrinth-of-streets/

Poem by Ty Hadman http://www.ahapoetry.com/PPthbio.htm

Picture by Ramon Ernesta

Bass guitar custom by Andrew Drake

@naviar-records]]> lost in a labyrinth of streets
late at night
a stray dog following me . . .

- Street noises (footsteps and subway revolving doors) recorded in Buenos Aires, at the end of the 20th century.
- TV voices, London, England.
-Electric Bass Guitar (3 parts: solo, bass, staccato/ostinato/subliminal)
-Synth pad
Recorded by DD Friday 17th March 2017.


http://www.naviarrecords.com/2017/03/15/naviarhaiku167-lost-in-a-labyrinth-of-streets/

Poem by Ty Hadman http://www.ahapoetry.com/PPthbio.htm

Picture by Ramon Ernesta

Bass guitar custom by Andrew Drake

@naviar-records]]> 1494359 no no Sat, 18 Mar 2017 12:47:36 +0100 2017-03-18T12:47:36+01:00 2:43 https://hearthis.at/danieldiaz/exoplanetary-phases-disquiet0272/ The Assignment: Use music to express the relationships between planets.

Exoplanetary Ingredients:
Backround sound courtesy of NASA.
Electric Bass Guitar (Drake DIAZ CUSTOM5) 6 tracks
Synthesizer
Reverb and filters

Exoplanetary Recipe:
1-Download some background sounds from NASA’s site, to create the right ambience.
2-Record a click track with 2 harmonics (D+G) on El. Bass, playing a 5 beat pattern (five 1/4th notes)
3-Create a simple, not really earthy harmony: E7#9 – EbMaj7 – G/D, performed on a warm synth pad.
4-Play that harmony in 4 partswith short rhythmic notes (1/4th) with four El.Basses.
5-Following Mark Lentczner’s excellent dissection on the TRAPPIST-1 Exoplanets: the ratios of the orbits are 8:5 , 5:3 , 3:2 (twice) and 4:3
So first harmony voice (bass1) performs 8 notes every 5 clicks, second harmony voice (bass2) perform its voice on 5:3 (5 notes every 3 clicks) etc.
6-Add a low bass part performing the tonics in a 3+2 beat pattern .
7-Add one instance of bFilter to each voice, play with its cutoff and drive.

Photo courtesy of www.nasa.gov

http://www.trappist.one/

It’s been a while since I don’t follow this “intellectual” modus-operandi instead of the usual “musical” one, trusting my ears.
Here I followed the exoplanet orbit’s ratios to create a coherent yet out of phase poly-rhythm. Recorded each track just listening to my 5 beat click (harmonics). Then I un-soloed every track to hear how this mess sounded like.
Well, it has that cosmological Steve Reich side that’s charming, but it still sounds as messy as it was supposed to.
Comments are welcome more than ever!
Love DD


http://www.ozonehouse.com/mark/dj/trappist.html6

Recently, scientists announced the discovery of a nearby star system, TRAPPIST-1. Orbiting its ultra-cool dwarf star are seven planets, three in the habitable zone. From the slowest, the planets orbit at: 1x, 4/3x 2x, 3x, 5x, 8x. Create an original musical composition that explores the exoplanets’ relationships.

Project discussion takes place on llllllll.co:
llllllll.co/t/exoplanetary-interv-disquiet-junto-project-0272

More on the Disquiet Junto at:
http://disquiet.com/junto/]]> The Assignment: Use music to express the relationships between planets.

Exoplanetary Ingredients:
Backround sound courtesy of NASA.
Electric Bass Guitar (Drake DIAZ CUSTOM5) 6 tracks
Synthesizer
Reverb and filters

Exoplanetary Recipe:
1-Download some background sounds from NASA’s site, to create the right ambience.
2-Record a click track with 2 harmonics (D+G) on El. Bass, playing a 5 beat pattern (five 1/4th notes)
3-Create a simple, not really earthy harmony: E7#9 – EbMaj7 – G/D, performed on a warm synth pad.
4-Play that harmony in 4 partswith short rhythmic notes (1/4th) with four El.Basses.
5-Following Mark Lentczner’s excellent dissection on the TRAPPIST-1 Exoplanets: the ratios of the orbits are 8:5 , 5:3 , 3:2 (twice) and 4:3
So first harmony voice (bass1) performs 8 notes every 5 clicks, second harmony voice (bass2) perform its voice on 5:3 (5 notes every 3 clicks) etc.
6-Add a low bass part performing the tonics in a 3+2 beat pattern .
7-Add one instance of bFilter to each voice, play with its cutoff and drive.

Photo courtesy of www.nasa.gov

http://www.trappist.one/

It’s been a while since I don’t follow this “intellectual” modus-operandi instead of the usual “musical” one, trusting my ears.
Here I followed the exoplanet orbit’s ratios to create a coherent yet out of phase poly-rhythm. Recorded each track just listening to my 5 beat click (harmonics). Then I un-soloed every track to hear how this mess sounded like.
Well, it has that cosmological Steve Reich side that’s charming, but it still sounds as messy as it was supposed to.
Comments are welcome more than ever!
Love DD


http://www.ozonehouse.com/mark/dj/trappist.html6

Recently, scientists announced the discovery of a nearby star system, TRAPPIST-1. Orbiting its ultra-cool dwarf star are seven planets, three in the habitable zone. From the slowest, the planets orbit at: 1x, 4/3x 2x, 3x, 5x, 8x. Create an original musical composition that explores the exoplanets’ relationships.

Project discussion takes place on llllllll.co:
llllllll.co/t/exoplanetary-interv-disquiet-junto-project-0272

More on the Disquiet Junto at:
http://disquiet.com/junto/]]> 1494360 no no Fri, 17 Mar 2017 16:30:13 +0100 2017-03-17T16:30:13+01:00 2:24 https://hearthis.at/danieldiaz/index-51-rap/ Producer's call for composers,
My take on Jean-Luc Nancy’s "58 incidences On The Body" over the philosopher's recorded voice.

51. Grain de beauté: la langue française nomme ainsi ces particules brunes ou noires, très légèrement saillantes, qui viennent parfois (et chez certain(e)s, souvent) faire point, marque ou grain sur la peau. Au lieu de tacher la peau, elles en font ressortir la blancheur, c’est du moins ce qu’on aimait dire au temps où la neige et le lait servaient de comparants par excellence pour la peau des femmes. Celles-ci se posaient alors, au besoin, des «mouches» de velours sur les joues et sur la gorge. Aujourd’hui, on goûte les peaux plus brunes, hâlées ou bronzées, mais le grain de beauté garde son attrait: il signale la peau, il balise son étendue et la configure, il guide l’oeil et il agit sur lui comme un repère de désir. Pour un peu, on aimerait dire que le grain de beauté est un germe de désir, une minuscule levée d’intensité, un corpuscule dont la teinte foncée concentre une énergie du corps entier, comme le fait aussi la pointe du sein.

From 58 Indices sur le corps et Extension de l’âme. Éditions Nota bene, Québec, 2004.


58indicesonthebody.wordpress.com/
@58_plus1_indicesonthebody]]> Producer's call for composers,
My take on Jean-Luc Nancy’s "58 incidences On The Body" over the philosopher's recorded voice.

51. Grain de beauté: la langue française nomme ainsi ces particules brunes ou noires, très légèrement saillantes, qui viennent parfois (et chez certain(e)s, souvent) faire point, marque ou grain sur la peau. Au lieu de tacher la peau, elles en font ressortir la blancheur, c’est du moins ce qu’on aimait dire au temps où la neige et le lait servaient de comparants par excellence pour la peau des femmes. Celles-ci se posaient alors, au besoin, des «mouches» de velours sur les joues et sur la gorge. Aujourd’hui, on goûte les peaux plus brunes, hâlées ou bronzées, mais le grain de beauté garde son attrait: il signale la peau, il balise son étendue et la configure, il guide l’oeil et il agit sur lui comme un repère de désir. Pour un peu, on aimerait dire que le grain de beauté est un germe de désir, une minuscule levée d’intensité, un corpuscule dont la teinte foncée concentre une énergie du corps entier, comme le fait aussi la pointe du sein.

From 58 Indices sur le corps et Extension de l’âme. Éditions Nota bene, Québec, 2004.


58indicesonthebody.wordpress.com/
@58_plus1_indicesonthebody]]> 1494361 no no Wed, 15 Mar 2017 17:43:23 +0100 2017-03-15T17:43:23+01:00 1:54 https://hearthis.at/danieldiaz/index-47-strings/ Producer's call for composers,
My take on Jean-Luc Nancy’s "58 incidences On The Body" over the philosopher's recorded voice.

47. L’extériorité et l’altérité du corps vont jusqu’à l’insupportable: la déjection, l’ordure, l’ignoble déchet qui fait encore partie de lui, qui est encore de sa substance et surtout de son activité car il faut qu’il l’expulse et ce n’est pas un de ses moindres offices. Depuis l’excrément jusqu’à l’excroissance des ongles, des poils ou de toute espèce de verrues ou de malignités purulentes, il faut qu’il mette au dehors et sépare de lui le résidu ou l’excès de ses processus d’assimilation, l’excès de sa propre vie. Cela, il ne veut ni le dire, ni le voir, ni le sentir. Il en éprouve de la honte, et toutes sortes de gênes et d’embarras quotidiens. L’âme s’impose le silence sur toute une partie du corps dont elle est la propre forme.

From 58 INDICES SUR LE CORPS et EXTENSION DE L’ÂME. Éditions Nota bene, Québec, 2004.


https://58indicesonthebody.wordpress.com/
https://soundcloud.com/58_plus1_indicesonthebody]]> Producer's call for composers,
My take on Jean-Luc Nancy’s "58 incidences On The Body" over the philosopher's recorded voice.

47. L’extériorité et l’altérité du corps vont jusqu’à l’insupportable: la déjection, l’ordure, l’ignoble déchet qui fait encore partie de lui, qui est encore de sa substance et surtout de son activité car il faut qu’il l’expulse et ce n’est pas un de ses moindres offices. Depuis l’excrément jusqu’à l’excroissance des ongles, des poils ou de toute espèce de verrues ou de malignités purulentes, il faut qu’il mette au dehors et sépare de lui le résidu ou l’excès de ses processus d’assimilation, l’excès de sa propre vie. Cela, il ne veut ni le dire, ni le voir, ni le sentir. Il en éprouve de la honte, et toutes sortes de gênes et d’embarras quotidiens. L’âme s’impose le silence sur toute une partie du corps dont elle est la propre forme.

From 58 INDICES SUR LE CORPS et EXTENSION DE L’ÂME. Éditions Nota bene, Québec, 2004.


https://58indicesonthebody.wordpress.com/
https://soundcloud.com/58_plus1_indicesonthebody]]> 1494362 no no Wed, 15 Mar 2017 17:40:36 +0100 2017-03-15T17:40:36+01:00 2:02 https://hearthis.at/danieldiaz/index-38-hang/ Producer's call for composers,
My take on Jean-Luc Nancy’s "58 incidences On The Body" over the philosopher's recorded voice.

38. Rien n’est plus singulier que la décharge sensible, érotique, affective que certains corps produisent sur nous (ou bien, inversement, l’indifférence où nous laissent certains autres). Telle conformation, tel type de minceur, telle couleur de cheveux, une allure, un écartement des yeux, un mouvement ou un dessin de l’épaule, du menton, des doigts, presque rien, mais un accent, un pli, un trait irremplaçable… C’est non pas l’âme, mais l’esprit d’un corps : sa pointe, sa signature, son odeur.

From 58 Indices sur le corps et Extension de l’âme. Éditions Nota bene, Québec, 2004.


https://58indicesonthebody.wordpress.com/
https://soundcloud.com/58_plus1_indicesonthebody]]> Producer's call for composers,
My take on Jean-Luc Nancy’s "58 incidences On The Body" over the philosopher's recorded voice.

38. Rien n’est plus singulier que la décharge sensible, érotique, affective que certains corps produisent sur nous (ou bien, inversement, l’indifférence où nous laissent certains autres). Telle conformation, tel type de minceur, telle couleur de cheveux, une allure, un écartement des yeux, un mouvement ou un dessin de l’épaule, du menton, des doigts, presque rien, mais un accent, un pli, un trait irremplaçable… C’est non pas l’âme, mais l’esprit d’un corps : sa pointe, sa signature, son odeur.

From 58 Indices sur le corps et Extension de l’âme. Éditions Nota bene, Québec, 2004.


https://58indicesonthebody.wordpress.com/
https://soundcloud.com/58_plus1_indicesonthebody]]> 1494364 no no Wed, 15 Mar 2017 17:37:59 +0100 2017-03-15T17:37:59+01:00 1:35 https://hearthis.at/danieldiaz/voodoo-fever/ Producer's call.
Composed and Performed by DD 2016
Electric Guitar (strat)
Electric bass (jazz bass picked)
Drums
Congas-Bongos]]> Producer's call.
Composed and Performed by DD 2016
Electric Guitar (strat)
Electric bass (jazz bass picked)
Drums
Congas-Bongos]]> 1494365 no no Tue, 14 Mar 2017 10:48:17 +0100 2017-03-14T10:48:17+01:00 1:20 https://hearthis.at/danieldiaz/voodoo-urban/ Producer's call.
Composed and Performed by DD 2016
Electric Guitar (strat)
Electric bass (jazz bass picked)
Drums
Percussion
Hammond organ]]> Producer's call.
Composed and Performed by DD 2016
Electric Guitar (strat)
Electric bass (jazz bass picked)
Drums
Percussion
Hammond organ]]> 1494366 no no Mon, 13 Mar 2017 22:04:31 +0100 2017-03-13T22:04:31+01:00 2:20 https://hearthis.at/danieldiaz/voodoo-mantra/ Producer's call.
Composed and Performed by DD 2016
Electric Guitar (strat)
Electric bass (jazz bass picked)
Drums]]> Producer's call.
Composed and Performed by DD 2016
Electric Guitar (strat)
Electric bass (jazz bass picked)
Drums]]> 1494368 no no Mon, 13 Mar 2017 15:03:55 +0100 2017-03-13T15:03:55+01:00 2:16 https://hearthis.at/danieldiaz/the-limit-of-the-rare-bird-naviarhaiku166/ Haiku:
"At the limit of audibility
the rare bird
I've just heard of"

Poem by Jim Kacian
Photo by D.D. (Perigord Noir, france 2016)

Created by DD on March 10th 2017 for Naviar Haiku series, #166
http://www.naviarrecords.com/2017/03/08/naviarhaiku166-at-the-limit-of-audibility/]]> Haiku:
"At the limit of audibility
the rare bird
I've just heard of"

Poem by Jim Kacian
Photo by D.D. (Perigord Noir, france 2016)

Created by DD on March 10th 2017 for Naviar Haiku series, #166
http://www.naviarrecords.com/2017/03/08/naviarhaiku166-at-the-limit-of-audibility/]]> 1494370 no no Fri, 10 Mar 2017 22:24:16 +0100 2017-03-10T22:24:16+01:00 3:18 https://hearthis.at/danieldiaz/bassels-square-sky-disquiet0271/ Vinyl samples (Beethoven's 9th Symphony) synthesisers, electronica, bowed upright bass.

Disquiet Junto Project 0271: Prison Sky
Mark the 5th anniversary of open-source software engineer Bassel Khartabil’s detention.
Create a short piece of music in response to that image, that scenario, that mix of hope amid hopelessness.

I wasn’t familiar with his story so it’s good to be informed.
The bitter-sweet feelings of Bassel contemplating that square blue sky through his jail window is expressed by the contrast between sweet classical music and dissonant electronica and sytnhs. I also performed some noisy bowed upright bass here.
I took Beethoven’s 9th Symphony, the proto-joyful classical piece par excellence (here it’s 3rd moment thought, not the happy, almost maniac 4th with it’s Ode To Joy) ad inserted that in a Bb dissonant chord that goes from cluster abstraction to Beethovens BbMaj7 and back to the dissonance. I followed Beethoven’s harmonies in the middle section with my synthesisers.
Love
DD

More on this 271st weekly Disquiet Junto project — “Prison Sky: Mark the 5th anniversary of open-source software engineer Bassel Khartabil’s detention” — at:
http://disquiet.com/0271/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/prison-sky-disquiet-junto-project-0271/6877
There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> Vinyl samples (Beethoven's 9th Symphony) synthesisers, electronica, bowed upright bass.

Disquiet Junto Project 0271: Prison Sky
Mark the 5th anniversary of open-source software engineer Bassel Khartabil’s detention.
Create a short piece of music in response to that image, that scenario, that mix of hope amid hopelessness.

I wasn’t familiar with his story so it’s good to be informed.
The bitter-sweet feelings of Bassel contemplating that square blue sky through his jail window is expressed by the contrast between sweet classical music and dissonant electronica and sytnhs. I also performed some noisy bowed upright bass here.
I took Beethoven’s 9th Symphony, the proto-joyful classical piece par excellence (here it’s 3rd moment thought, not the happy, almost maniac 4th with it’s Ode To Joy) ad inserted that in a Bb dissonant chord that goes from cluster abstraction to Beethovens BbMaj7 and back to the dissonance. I followed Beethoven’s harmonies in the middle section with my synthesisers.
Love
DD

More on this 271st weekly Disquiet Junto project — “Prison Sky: Mark the 5th anniversary of open-source software engineer Bassel Khartabil’s detention” — at:
http://disquiet.com/0271/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/prison-sky-disquiet-junto-project-0271/6877
There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> 1494372 no no Fri, 10 Mar 2017 14:39:00 +0100 2017-03-10T14:39:00+01:00 2:33 https://hearthis.at/danieldiaz/slow-burning-3/ Filters and reverb
Recorded in Paris by D.D. February 2017.
3rd part of a trilogy.]]> Filters and reverb
Recorded in Paris by D.D. February 2017.
3rd part of a trilogy.]]> 1494373 no no Tue, 07 Mar 2017 18:26:24 +0100 2017-03-07T18:26:24+01:00 3:32 https://hearthis.at/danieldiaz/slow-burning-2/ Filters and reverb
some sparse fender rhodes notes here and there...
recorded in Paris by D.D. February 2017.


free download]]> Filters and reverb
some sparse fender rhodes notes here and there...
recorded in Paris by D.D. February 2017.


free download]]> 1494375 no no Mon, 06 Mar 2017 22:58:04 +0100 2017-03-06T22:58:04+01:00 2:19 https://hearthis.at/danieldiaz/slow-burning-1/ Filters and reverb
recorded in Paris by D.D. February 2017.]]> Filters and reverb
recorded in Paris by D.D. February 2017.]]> 1494376 no no Mon, 06 Mar 2017 12:29:45 +0100 2017-03-06T12:29:45+01:00 2:03 https://hearthis.at/danieldiaz/valse-encore-plus-triste-paul-rose-disquiet0270/ Record the second half of a duet.

I contributed already one track to this week’s playlist but would like to share with you the other duets I’ve been working.
This is the third duet I recorded this week from last week’s excellent junto 0269

This one is a track by @paulchristophrose “valse triste de las rotas”
https://soundcloud.com/paulchristophrose/valse-triste-de-las-rotas-disquiet0269-half-of-duet

he recorded a haunting Spanish guitar rendition of his song and I added a live take with a lovely instrument (perhaps my favourite), the accordina.

It was quite smooth and satisfying collaboration because: 1-The song is beautiful and 2-it is very simple and understated both harmonically and technically so when you don’t have to worry about technique or difficult stuff and you have such a beautiful melody, well, you can just let emotion flow and it was a very nice and sensitive afternoon dueting with Paul.
Considering his wink to both Spain (Las Rotas village) and France (the title in french) Paul would be pleased to learn that his song features now a track performed by a true Spaniard and it was recorded in the heart of Paris. :)
Cheers
DD

More on this 270th weekly Disquiet Junto project, “Just Duet: Record the second half of a duet live” at:

http://disquiet.com/0270/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/completed-a-duet-disquiet-junto-project-0270/6765]]> Record the second half of a duet.

I contributed already one track to this week’s playlist but would like to share with you the other duets I’ve been working.
This is the third duet I recorded this week from last week’s excellent junto 0269

This one is a track by @paulchristophrose “valse triste de las rotas”
https://soundcloud.com/paulchristophrose/valse-triste-de-las-rotas-disquiet0269-half-of-duet

he recorded a haunting Spanish guitar rendition of his song and I added a live take with a lovely instrument (perhaps my favourite), the accordina.

It was quite smooth and satisfying collaboration because: 1-The song is beautiful and 2-it is very simple and understated both harmonically and technically so when you don’t have to worry about technique or difficult stuff and you have such a beautiful melody, well, you can just let emotion flow and it was a very nice and sensitive afternoon dueting with Paul.
Considering his wink to both Spain (Las Rotas village) and France (the title in french) Paul would be pleased to learn that his song features now a track performed by a true Spaniard and it was recorded in the heart of Paris. :)
Cheers
DD

More on this 270th weekly Disquiet Junto project, “Just Duet: Record the second half of a duet live” at:

http://disquiet.com/0270/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/completed-a-duet-disquiet-junto-project-0270/6765]]> 1494379 no no Fri, 03 Mar 2017 20:22:50 +0100 2017-03-03T20:22:50+01:00 2:22 https://hearthis.at/danieldiaz/upper-in-the-air-disquiet0270/ Record the second half of a duet.
@Plusch: piano
DD: melodica

Sorry I didn’t follow the suggested lottery method, when checking out the many wonderful contributions to 0269 I just downloaded the ones that inspired/tempted me and started working on some during my free time this past week, before the actual project was posted.
I already finished 2 and have 2 more recorded, needing editing.
As the first duet (Ya Wha? ‘s Bare Metal duet https://soundcloud.com/daniel-diaz/bare-metal-dressed) has already been posted I go for this one for the actual playlist (it’s just one per capita one each project, right Marc?)

I duet with plusch here, he’s on piano (https://soundcloud.com/plusch/up-in-the-air-disquiet0269) I added a melodica part, then tried a second take to have the choice, and inspired by one of those creative mistakes that often happen, decided to keep both takes (in the A/B process of choosing take1 vs. take2 I un-soloed both and liked the results, the low register take1 coexists with the hi register take2 on the second half)

Delay and reverb and a pitch shift to double take 1 one octave lower is all the processing here.

Thanks @PLUSCH for the inspiring Erik-Satiesque piano.

Disquiet Junto Project 0270: Just Duet
Step 1: This week’s project builds on last week’s. Last week 40 musicians each recorded one half of a duet live. This week you will record (again, live) the other half of the duet for one of those pre-existing tracks. It’s preferable that you come upon the selection by random. You can generate a random number any way you choose, from 1 to 40. This link will give you a random integer within that range
More on this 270th weekly Disquiet Junto project, “Just Duet: Record the second half of a duet live” at:
http://disquiet.com/0270/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:]]> Record the second half of a duet.
@Plusch: piano
DD: melodica

Sorry I didn’t follow the suggested lottery method, when checking out the many wonderful contributions to 0269 I just downloaded the ones that inspired/tempted me and started working on some during my free time this past week, before the actual project was posted.
I already finished 2 and have 2 more recorded, needing editing.
As the first duet (Ya Wha? ‘s Bare Metal duet https://soundcloud.com/daniel-diaz/bare-metal-dressed) has already been posted I go for this one for the actual playlist (it’s just one per capita one each project, right Marc?)

I duet with plusch here, he’s on piano (https://soundcloud.com/plusch/up-in-the-air-disquiet0269) I added a melodica part, then tried a second take to have the choice, and inspired by one of those creative mistakes that often happen, decided to keep both takes (in the A/B process of choosing take1 vs. take2 I un-soloed both and liked the results, the low register take1 coexists with the hi register take2 on the second half)

Delay and reverb and a pitch shift to double take 1 one octave lower is all the processing here.

Thanks @PLUSCH for the inspiring Erik-Satiesque piano.

Disquiet Junto Project 0270: Just Duet
Step 1: This week’s project builds on last week’s. Last week 40 musicians each recorded one half of a duet live. This week you will record (again, live) the other half of the duet for one of those pre-existing tracks. It’s preferable that you come upon the selection by random. You can generate a random number any way you choose, from 1 to 40. This link will give you a random integer within that range
More on this 270th weekly Disquiet Junto project, “Just Duet: Record the second half of a duet live” at:
http://disquiet.com/0270/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:]]> 1494381 no no Fri, 03 Mar 2017 15:48:10 +0100 2017-03-03T15:48:10+01:00 2:21 https://hearthis.at/danieldiaz/bare-metal-dressed/
Took Ya Wha? bass track, separated 3 sections in the order he played it:
1- Abstract heavily treated (comb filter?) bass hi notes
2-More basic bass part (pop Amaj harmony)
3-Repetitive melody

and added the 4th section he played as a background to the 3rd section.

Played a Rhodes part with loads of delay (treated and filtered) on top of it.
Added some reverse delayed notes from the bass track to a new track.
Pitch changed some bass notes from the added 4th section to match the harmony I was willing to play on the rhodes.

So every noise here is electric bass guitar (by Ya Wha) and Electric piano (DD)

Original track:
https://soundcloud.com/yawha/bare-metal-disquiet0269

Another reincarnation of the same material here:
https://soundcloud.com/user-651760074/bare-metal-269

Original junto project:
https://soundcloud.com/disquiet/sets/disquiet-junto-project-0269
disquiet.com/0269/]]>
Took Ya Wha? bass track, separated 3 sections in the order he played it:
1- Abstract heavily treated (comb filter?) bass hi notes
2-More basic bass part (pop Amaj harmony)
3-Repetitive melody

and added the 4th section he played as a background to the 3rd section.

Played a Rhodes part with loads of delay (treated and filtered) on top of it.
Added some reverse delayed notes from the bass track to a new track.
Pitch changed some bass notes from the added 4th section to match the harmony I was willing to play on the rhodes.

So every noise here is electric bass guitar (by Ya Wha) and Electric piano (DD)

Original track:
https://soundcloud.com/yawha/bare-metal-disquiet0269

Another reincarnation of the same material here:
https://soundcloud.com/user-651760074/bare-metal-269

Original junto project:
https://soundcloud.com/disquiet/sets/disquiet-junto-project-0269
disquiet.com/0269/]]> 1494383 no no Thu, 02 Mar 2017 22:39:32 +0100 2017-03-02T22:39:32+01:00 3:44 https://hearthis.at/danieldiaz/open-criollo/ Very simple stuff, dedicated to those who know the secret about simple pleasures.
2 tracks recorded in Paris, France , February 3rd 2017, third track recorded (with different guitar) in Valeria Del Mar, Argentina, February 11th 2017. Mixed on the road.]]> Very simple stuff, dedicated to those who know the secret about simple pleasures.
2 tracks recorded in Paris, France , February 3rd 2017, third track recorded (with different guitar) in Valeria Del Mar, Argentina, February 11th 2017. Mixed on the road.]]> 1494385 no no Mon, 27 Feb 2017 01:15:28 +0100 2017-02-27T01:15:28+01:00 1:48 https://hearthis.at/danieldiaz/lonely-duet-uke-disquiet0269/ I love this idea. I went for an ukulele solo, I was going to record this idea next week, but wanted to add upright basses (pizz) and some kind of abstract soundscapes and perhaps more development, solo etc, but as this is something I had right there on the stove, let’s see if it can serve this week’s challenge .

Recorded by DD in Paris, February 24th 2017 between 14h00 and 15h00

It’s my new Ukulele (the first really good one I’ve got) recorded with two microphones and performed live. Couldn't make a video but took picture of the instrument(attached to the SC post) the binding is beautiful, isn’t it?
Added some huge convolution reverb (a minute long impulse named Taj-Mahal) and that’s about it.
Would love to hear someone else’s take on this, I feel that particularly some abstract sounds and soudnscapes would fit mixed with the more organic feel of the melody.
Anyway, if you want to download, edit, expand, reduce, chop-down, transform, mutilate or destroy this take, be my guest.

Love DD
More on this 269th weekly Disquiet Junto project, “Duet Portion: Record half of a live duet” at:
http://disquiet.com/0269/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/record-half-a-duet-disquiet-junto-project-0269/6652/
There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> I love this idea. I went for an ukulele solo, I was going to record this idea next week, but wanted to add upright basses (pizz) and some kind of abstract soundscapes and perhaps more development, solo etc, but as this is something I had right there on the stove, let’s see if it can serve this week’s challenge .

Recorded by DD in Paris, February 24th 2017 between 14h00 and 15h00

It’s my new Ukulele (the first really good one I’ve got) recorded with two microphones and performed live. Couldn't make a video but took picture of the instrument(attached to the SC post) the binding is beautiful, isn’t it?
Added some huge convolution reverb (a minute long impulse named Taj-Mahal) and that’s about it.
Would love to hear someone else’s take on this, I feel that particularly some abstract sounds and soudnscapes would fit mixed with the more organic feel of the melody.
Anyway, if you want to download, edit, expand, reduce, chop-down, transform, mutilate or destroy this take, be my guest.

Love DD
More on this 269th weekly Disquiet Junto project, “Duet Portion: Record half of a live duet” at:
http://disquiet.com/0269/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/record-half-a-duet-disquiet-junto-project-0269/6652/
There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> 1494386 no no Fri, 24 Feb 2017 18:49:07 +0100 2017-02-24T18:49:07+01:00 1:51 https://hearthis.at/danieldiaz/clockwork-i-metronomikas-disquiet0267/ Uploaded for Disquiet Junto Project 0267: The Metronomic Society.

clockworks 01 analog/metronomikas 2:20
sound sources: maezel metronome, 2 different clocks, alarm clock, bell.
treatments: filters & distorted delays

Step 1: There’s a fascinating book from 1988 titled The Metronomic Society. Written by the Michael Young, it is an academic study of the rhythms of human existence, with an emphasis on organization and societal systems. It’s not necessary to read it. It’s just helpful to know where we’re borrowing the term from.

more on LARMKUNST here: http://dedeland.com/larmkunst.htm

More on this 267th weekly Disquiet Junto project, “The Metronomic Society: Create a theme song for a fictional organization”:
http://disquiet.com/0267/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/the-metronomic-society-disquiet-junto-project-0267/6449
There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> Uploaded for Disquiet Junto Project 0267: The Metronomic Society.

clockworks 01 analog/metronomikas 2:20
sound sources: maezel metronome, 2 different clocks, alarm clock, bell.
treatments: filters & distorted delays

Step 1: There’s a fascinating book from 1988 titled The Metronomic Society. Written by the Michael Young, it is an academic study of the rhythms of human existence, with an emphasis on organization and societal systems. It’s not necessary to read it. It’s just helpful to know where we’re borrowing the term from.

more on LARMKUNST here: http://dedeland.com/larmkunst.htm

More on this 267th weekly Disquiet Junto project, “The Metronomic Society: Create a theme song for a fictional organization”:
http://disquiet.com/0267/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/the-metronomic-society-disquiet-junto-project-0267/6449
There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> 1494388 no no Thu, 09 Feb 2017 23:29:54 +0100 2017-02-09T23:29:54+01:00 2:20 https://hearthis.at/danieldiaz/om-disquiet0266/
I started singing couple tracks of “O” but I realized that, during decay I was closing my O vowel with a nasal sound, like an M, then on following tracks I went straight to the cosmic-mystic Om. So I plead guilty of using a syllable instead of a vowel. Here I am to be convicted by a jury of my peers…
Recorded Saturday morning on the road somewhere in Argentina, with my laptop and a AKG 451 microphone locked in my room while outside an apocalyptic tempest raised. Tall trees fell, along with electric and telephone posts. So a full blackout followed, here I am online again..

8 tracks recorded,, one used octave down pitch shift, the other 7 are “natural” albeit with some melodyne to tale pitch wobbles during sustained notes.
One dense convolution reverb used (10 seconds)
No eq, no compression.

I sang C major notes randomly over a click track, so the harmonies are really hazardous.
Love

DD


More on this 266th weekly Disquiet Junto project, “Vocal Cuts: Use segments of your own held vowel to make music”:

http://disquiet.com/0266/1

More on the Disquiet Junto at:

http://disquiet.com/junto/1

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/vocal-cuts-disquiet-junto-project-0266/6350

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]>
I started singing couple tracks of “O” but I realized that, during decay I was closing my O vowel with a nasal sound, like an M, then on following tracks I went straight to the cosmic-mystic Om. So I plead guilty of using a syllable instead of a vowel. Here I am to be convicted by a jury of my peers…
Recorded Saturday morning on the road somewhere in Argentina, with my laptop and a AKG 451 microphone locked in my room while outside an apocalyptic tempest raised. Tall trees fell, along with electric and telephone posts. So a full blackout followed, here I am online again..

8 tracks recorded,, one used octave down pitch shift, the other 7 are “natural” albeit with some melodyne to tale pitch wobbles during sustained notes.
One dense convolution reverb used (10 seconds)
No eq, no compression.

I sang C major notes randomly over a click track, so the harmonies are really hazardous.
Love

DD


More on this 266th weekly Disquiet Junto project, “Vocal Cuts: Use segments of your own held vowel to make music”:

http://disquiet.com/0266/1

More on the Disquiet Junto at:

http://disquiet.com/junto/1

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/vocal-cuts-disquiet-junto-project-0266/6350

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> 1494391 no no Mon, 06 Feb 2017 16:36:41 +0100 2017-02-06T16:36:41+01:00 1:43 https://hearthis.at/danieldiaz/fragmented-time-lapse-disquiet0264/ Record a piece of music that plays with the perception of time.

I’m not sure if this arpegiator synth meets acoustic string section does deliver in this week’s junto idea: time travel, but I went for a musical time lapse idea, fast hysteric synths and soft expressive strings that seems to come from a different “time” ie a much slower paced tune, so there’s this feeling of being in a place a bit beyond our normal space-time. Harmonic shifts also seem to be a little away from normal/logical tonal flow.
Hope you like it,
cheers
dd/Paris/21st january 2017



More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

disquiet.com/0264/

More on the Disquiet Junto at:

disquiet.com/junto/

Subscribe to project announcements here:

tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/music-for-time-tr…-project-0264/6157/

photo by elena nicolai (c)]]> Record a piece of music that plays with the perception of time.

I’m not sure if this arpegiator synth meets acoustic string section does deliver in this week’s junto idea: time travel, but I went for a musical time lapse idea, fast hysteric synths and soft expressive strings that seems to come from a different “time” ie a much slower paced tune, so there’s this feeling of being in a place a bit beyond our normal space-time. Harmonic shifts also seem to be a little away from normal/logical tonal flow.
Hope you like it,
cheers
dd/Paris/21st january 2017



More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

disquiet.com/0264/

More on the Disquiet Junto at:

disquiet.com/junto/

Subscribe to project announcements here:

tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/music-for-time-tr…-project-0264/6157/

photo by elena nicolai (c)]]> 1494392 no no Sat, 21 Jan 2017 18:54:55 +0100 2017-01-21T18:54:55+01:00 2:33 https://hearthis.at/danieldiaz/that-case/ Bernard Crabb: drums
photo by karaflazz]]> Bernard Crabb: drums
photo by karaflazz]]> 1494393 no no Tue, 17 Jan 2017 01:45:17 +0100 2017-01-17T01:45:17+01:00 3:06 https://hearthis.at/danieldiaz/pursuit/ Bernard Crabb: drums]]> Bernard Crabb: drums]]> 1494395 no no Sun, 15 Jan 2017 18:51:32 +0100 2017-01-15T18:51:32+01:00 1:06 https://hearthis.at/danieldiaz/let-the-clouds-come-naviarhaiku157/ Charango
Synthesizers.
Field recordings (thunder and wind storm)
Created for @https://soundcloud.com/naviar-records Haiku project:
Naviarhaiku157 – Clouds come from time to time
Poem by Matsuo Basho http://oaks.nvg.org/basho.html

Clouds come from time to time
and bring to men a chance to rest
from looking at the moon.]]> Charango
Synthesizers.
Field recordings (thunder and wind storm)
Created for @https://soundcloud.com/naviar-records Haiku project:
Naviarhaiku157 – Clouds come from time to time
Poem by Matsuo Basho http://oaks.nvg.org/basho.html

Clouds come from time to time
and bring to men a chance to rest
from looking at the moon.]]> 1494397 no no Tue, 10 Jan 2017 23:19:54 +0100 2017-01-10T23:19:54+01:00 2:10 https://hearthis.at/danieldiaz/plastic-ice-cubes-disquiet0262/
This is not an inspiring theme/challenge for me, that’s why I decided to go for it.
I recorded some ice cubes on a big wine glass, after playing back that raw recording the challenge was even less inspiring, if possible.
After listening to the early birds AudioObscura Noimspartacus and Bassling I’ve found their efforts much inspiring (thanks guys) so here’s mine (first ice cube audio experience for me)

My wife bought some plastic ice cubes. Yes she did. Guess most of you know they exists, but I was surprised.
She has a point, you know, when you add ice cubes to a not-fairly-cool drink you need some time for the ice to operate it’s magic and by then you have water in your drink. I don’t like that, so these little plastic friends are ice cold with no pollution on your beloved drink.
But they sound awful.
You’ll hear a track of the plastic (in the photo BTW) rattled inside the glass, another track of the same coloured cubes dropping on a glass of water, and then the same procedures with normal ice cubes.
I wanted this to sound like some classy dandy stirring his ice-cube drenched cocktail but it sounds like some space rain drops on a rusty railroad..
Recipe: I pitched down the rattling tracks, pasted the ice-cube-drops to NI FM8 synth and used a plastic-rattling-cubes track as a carrier for an instance of Waves Morphoder plugin, Played back the whole thing through convolution reverbs. And that’s it. You can add a zest of lemon and enjoy. On the rocks.

More on this 262nd weekly Disquiet Junto project — “Ice Code: Record the sound of ice in a glass and make something of it”:

http://disquiet.com/0262/

More on the Disquiet Junto at:

http://disquiet.com/junto/1

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/1

Project discussion takes place on llllllll.co:

llllllll.co/t/ice-music-years-first-project-disquiet-junto-0262/5990

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]>
This is not an inspiring theme/challenge for me, that’s why I decided to go for it.
I recorded some ice cubes on a big wine glass, after playing back that raw recording the challenge was even less inspiring, if possible.
After listening to the early birds AudioObscura Noimspartacus and Bassling I’ve found their efforts much inspiring (thanks guys) so here’s mine (first ice cube audio experience for me)

My wife bought some plastic ice cubes. Yes she did. Guess most of you know they exists, but I was surprised.
She has a point, you know, when you add ice cubes to a not-fairly-cool drink you need some time for the ice to operate it’s magic and by then you have water in your drink. I don’t like that, so these little plastic friends are ice cold with no pollution on your beloved drink.
But they sound awful.
You’ll hear a track of the plastic (in the photo BTW) rattled inside the glass, another track of the same coloured cubes dropping on a glass of water, and then the same procedures with normal ice cubes.
I wanted this to sound like some classy dandy stirring his ice-cube drenched cocktail but it sounds like some space rain drops on a rusty railroad..
Recipe: I pitched down the rattling tracks, pasted the ice-cube-drops to NI FM8 synth and used a plastic-rattling-cubes track as a carrier for an instance of Waves Morphoder plugin, Played back the whole thing through convolution reverbs. And that’s it. You can add a zest of lemon and enjoy. On the rocks.

More on this 262nd weekly Disquiet Junto project — “Ice Code: Record the sound of ice in a glass and make something of it”:

http://disquiet.com/0262/

More on the Disquiet Junto at:

http://disquiet.com/junto/1

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/1

Project discussion takes place on llllllll.co:

llllllll.co/t/ice-music-years-first-project-disquiet-junto-0262/5990

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> 1494398 no no Fri, 06 Jan 2017 17:31:20 +0100 2017-01-06T17:31:20+01:00 1:42 https://hearthis.at/danieldiaz/on-the-radio-disquiet0259/

“....the radio halted its roll at the very far end of the electronic dial. After a brief silence, the weak signal transmitted indistinct sounds, like whispers, intermingled with an odd chanting that faded in and out like a spectral dirge”

Love this week’s challenge.
When I was a kid in down in Buenos Aires, I remember being in my bedroom in the middle of the night with an old radio my parents gave to me. It had FM, AM and...SW. Man, that was magic, those sounds so fragile, coming from so far away, a weak, ghostly signal, faint and vacillating, once you got the dial on that sweet spot where that voice was finally clear and louder than the static (was it Chinese? Some African dialect?) suddenly it faded out as taken by some stratospheric wind.
Boy, did I love that...

Here you’ll hear:
FM radio (recorded in Paris) FM and AM radio (recorded in Greece) AM radio (rec. In Marrakesh) and worldwide Shortwave radio recorded at home by night like in those happy days.
All that radio feast spiced with a couple of synthesiser tracks (Microkorg and AAS Ultra Analog Session); plus orchestral samples including a vinyl rip from Sibelius Symphony N°2 (2nd movement).
Also a public domain recording Churchill's first radio address as Prime Minister, 1940, treated a little bit...

Love,
DD, December 16th 2016.


More on this 259th weekly Disquiet Junto project — “Signals Lost: Summon up a horror story in sound” — at:
http://disquiet.com/0259/
The text that inspired this is from the book Lost Signals, from by Perpetual Publishing out of San Antonio, Texas. More details on the book at:
perpetualpublishing.com/product/lost-signals/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/disquiet-junto-project-0259-lost-signals/5726]]>

“....the radio halted its roll at the very far end of the electronic dial. After a brief silence, the weak signal transmitted indistinct sounds, like whispers, intermingled with an odd chanting that faded in and out like a spectral dirge”

Love this week’s challenge.
When I was a kid in down in Buenos Aires, I remember being in my bedroom in the middle of the night with an old radio my parents gave to me. It had FM, AM and...SW. Man, that was magic, those sounds so fragile, coming from so far away, a weak, ghostly signal, faint and vacillating, once you got the dial on that sweet spot where that voice was finally clear and louder than the static (was it Chinese? Some African dialect?) suddenly it faded out as taken by some stratospheric wind.
Boy, did I love that...

Here you’ll hear:
FM radio (recorded in Paris) FM and AM radio (recorded in Greece) AM radio (rec. In Marrakesh) and worldwide Shortwave radio recorded at home by night like in those happy days.
All that radio feast spiced with a couple of synthesiser tracks (Microkorg and AAS Ultra Analog Session); plus orchestral samples including a vinyl rip from Sibelius Symphony N°2 (2nd movement).
Also a public domain recording Churchill's first radio address as Prime Minister, 1940, treated a little bit...

Love,
DD, December 16th 2016.


More on this 259th weekly Disquiet Junto project — “Signals Lost: Summon up a horror story in sound” — at:
http://disquiet.com/0259/
The text that inspired this is from the book Lost Signals, from by Perpetual Publishing out of San Antonio, Texas. More details on the book at:
perpetualpublishing.com/product/lost-signals/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/disquiet-junto-project-0259-lost-signals/5726]]> 1494399 no no Sat, 17 Dec 2016 02:48:48 +0100 2016-12-17T02:48:48+01:00 2:17 https://hearthis.at/danieldiaz/blame-it-on-the-sunlight-disquiet0258/
The low side here: we have a pollution crisis; cars are restricted, public transport free. You’re supposed to feel the intoxicating affect of the small particles in your nose and eyes and throat. But I can’t help it; I go maniac, ridiculously happy.

So I got a request to make an instrumental track reflecting that contradiction: beautiful weather spoiled by pollution. The track accepted had a nice soft sytnh sound with glitches and noises breaking the beauty.
But I prefer this, my first option. Perhaps due to an overdose of noise with last week’s junto, I couldn’t quite go for noises to spoil this one. All I could do is adding some synth sparkles. But it was refused: there’s not pollution! Too nice! too naive!!

So here’s for you, my innocent take on the sunny side of Paris. I know that “Sonic Climate” calls for a more ambient approach, but I couldn’t’ help it, I’m too maniac for ambient, let’s go naive while we can..

Take a deep breath, feel the cold air needles in your lungs, face the blue sky and go jogging by the river!

Quoting Miles: “It’s sweet...like candy”

Recipe:
Wurlitzer 200
Cello (thank the wonderful Damien Jarry)
Assorted synthesisers, arpeggiators and string samples


More on this 258th weekly Disquiet Junto project — “Sonic Climate: Express your local weather in sound” — at:
http://disquiet.com/0258/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/disquiet-junto-0258-sonic-climate/5632]]>
The low side here: we have a pollution crisis; cars are restricted, public transport free. You’re supposed to feel the intoxicating affect of the small particles in your nose and eyes and throat. But I can’t help it; I go maniac, ridiculously happy.

So I got a request to make an instrumental track reflecting that contradiction: beautiful weather spoiled by pollution. The track accepted had a nice soft sytnh sound with glitches and noises breaking the beauty.
But I prefer this, my first option. Perhaps due to an overdose of noise with last week’s junto, I couldn’t quite go for noises to spoil this one. All I could do is adding some synth sparkles. But it was refused: there’s not pollution! Too nice! too naive!!

So here’s for you, my innocent take on the sunny side of Paris. I know that “Sonic Climate” calls for a more ambient approach, but I couldn’t’ help it, I’m too maniac for ambient, let’s go naive while we can..

Take a deep breath, feel the cold air needles in your lungs, face the blue sky and go jogging by the river!

Quoting Miles: “It’s sweet...like candy”

Recipe:
Wurlitzer 200
Cello (thank the wonderful Damien Jarry)
Assorted synthesisers, arpeggiators and string samples


More on this 258th weekly Disquiet Junto project — “Sonic Climate: Express your local weather in sound” — at:
http://disquiet.com/0258/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/disquiet-junto-0258-sonic-climate/5632]]> 1494401 no no Fri, 09 Dec 2016 18:43:31 +0100 2016-12-09T18:43:31+01:00 2:49 https://hearthis.at/danieldiaz/soudain-opening-sequence-disquiet0257/
Six yeas ago I was commissioned to compose music for a modern theatre play. Director asked me to use noise more than music. After some frustration in the first meeting it was a very inspiring experience. I ended up releasing a CD called “lärmkunst” (art of noise) including many outakes and the more “musical” bits from that score.
That director really wanted noise, but I was obsessed by the more musical use of it, so I created a lot of the noise using musical sources and made some tracks out of pure noise (field recordings, etc).

On this opening sequence you can her mostly the noises I used (vinyl LP noise, insects, treated percussion, radio interference) and some sparse piano and guitar notes (from musical motifs I used throughout the 38 minutes score) and a heavily filtered bowed upright bass section that proved to be the main gimmick throughout the finale.
The last few seconds you hear some bowed bass noises that ended up being an important part of that project and other further music I made since.
This is not a noise track or glitch&noise experiment but one of the tracks from that soundtrack that, IMO, wouldn’t make sense without the noise.

Besides its inclusion on a bonus CD on a boxset back in 2010 I never shared thsi one online before, here for you to listen and comment, I appreciate.
Other tracks I did share from this album here:
https://soundcloud.com/daniel-diaz/sets/l-rmkunst

Love
DD

More on this 257th weekly Disquiet Junto project — “Remember Noisevember: Make some noise” — at:
disquiet.com/0257/
More on the Disquiet Junto at:
disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/1
Project discussion takes place on llllllll.co:
llllllll.co/t/disquiet-junto-project-0257-remember-noisevember/5549]]>
Six yeas ago I was commissioned to compose music for a modern theatre play. Director asked me to use noise more than music. After some frustration in the first meeting it was a very inspiring experience. I ended up releasing a CD called “lärmkunst” (art of noise) including many outakes and the more “musical” bits from that score.
That director really wanted noise, but I was obsessed by the more musical use of it, so I created a lot of the noise using musical sources and made some tracks out of pure noise (field recordings, etc).

On this opening sequence you can her mostly the noises I used (vinyl LP noise, insects, treated percussion, radio interference) and some sparse piano and guitar notes (from musical motifs I used throughout the 38 minutes score) and a heavily filtered bowed upright bass section that proved to be the main gimmick throughout the finale.
The last few seconds you hear some bowed bass noises that ended up being an important part of that project and other further music I made since.
This is not a noise track or glitch&noise experiment but one of the tracks from that soundtrack that, IMO, wouldn’t make sense without the noise.

Besides its inclusion on a bonus CD on a boxset back in 2010 I never shared thsi one online before, here for you to listen and comment, I appreciate.
Other tracks I did share from this album here:
https://soundcloud.com/daniel-diaz/sets/l-rmkunst

Love
DD

More on this 257th weekly Disquiet Junto project — “Remember Noisevember: Make some noise” — at:
disquiet.com/0257/
More on the Disquiet Junto at:
disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/1
Project discussion takes place on llllllll.co:
llllllll.co/t/disquiet-junto-project-0257-remember-noisevember/5549]]> 1494403 no no Fri, 02 Dec 2016 11:21:31 +0100 2016-12-02T11:21:31+01:00 2:43 https://hearthis.at/danieldiaz/notre-dames-dark-moment-disquiet0256/ Disquiet Junto Project 0256: Music in Place
Record a short piece of music using the sounds around you.

I live and work very close to Notre Dame Cathedral in Paris. My studio and area is quite silent and un-interesting sound wise but boy, when the cathedral’s bells start to ring it is something that resonates in the tiny streets. Particularly on special catholic days where there’s a lot of bell-calling. That particular day earlier this year, can’t tell what was going on but it really sounded as Quasimodo went nuts. And it was a warm afternoon, many people and kids playing around the square by the cathedral and the river. Kids provided some light to that day, but when I frist opened the window and hear those bells going crazy I could imagine people living here on the dark years (middle age) and the sound and intensity was really sinister to me.
I took my lap top and made some recordings with a cheap stereo microphone. This is the first use for those tracks.
Field recording comes and goes mixed with some bells from my collection (real bells but pitch-shifted and compressed like hell) and a couple of synth tracks to make it more musical and more sinister.
This is a messy track really; hope it’s not too loaded.
Happy thanksgiving everybody, and Thank you!
dd


More on this 256th weekly Disquiet Junto project — “Music in Place: Record a short piece of music using the sounds around you.” — at:

disquiet.com/0256/

More on the Disquiet Junto at:

disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/disquiet-junto-project-0256-music-in-place/5482

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> Disquiet Junto Project 0256: Music in Place
Record a short piece of music using the sounds around you.

I live and work very close to Notre Dame Cathedral in Paris. My studio and area is quite silent and un-interesting sound wise but boy, when the cathedral’s bells start to ring it is something that resonates in the tiny streets. Particularly on special catholic days where there’s a lot of bell-calling. That particular day earlier this year, can’t tell what was going on but it really sounded as Quasimodo went nuts. And it was a warm afternoon, many people and kids playing around the square by the cathedral and the river. Kids provided some light to that day, but when I frist opened the window and hear those bells going crazy I could imagine people living here on the dark years (middle age) and the sound and intensity was really sinister to me.
I took my lap top and made some recordings with a cheap stereo microphone. This is the first use for those tracks.
Field recording comes and goes mixed with some bells from my collection (real bells but pitch-shifted and compressed like hell) and a couple of synth tracks to make it more musical and more sinister.
This is a messy track really; hope it’s not too loaded.
Happy thanksgiving everybody, and Thank you!
dd


More on this 256th weekly Disquiet Junto project — “Music in Place: Record a short piece of music using the sounds around you.” — at:

disquiet.com/0256/

More on the Disquiet Junto at:

disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/disquiet-junto-project-0256-music-in-place/5482

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> 1494404 no no Sat, 26 Nov 2016 13:20:42 +0100 2016-11-26T13:20:42+01:00 2:38 https://hearthis.at/danieldiaz/mama-2-requiem-himno/ composed by daniel díaz, november 7th 2016.
performed by d.d. november 7th-22nd 2016.
Dedicated to N.B.F. 13 de enero 1937 - 6 de noviembre 2016

acoustic piano
upright bass (pizz)
12 upright basses (à l’arco)

one line is actually a cello sample, the rest of the section (including high notes: bowed harmonics) is performed by me.]]> composed by daniel díaz, november 7th 2016.
performed by d.d. november 7th-22nd 2016.
Dedicated to N.B.F. 13 de enero 1937 - 6 de noviembre 2016

acoustic piano
upright bass (pizz)
12 upright basses (à l’arco)

one line is actually a cello sample, the rest of the section (including high notes: bowed harmonics) is performed by me.]]> 1494410 no no Tue, 22 Nov 2016 22:58:17 +0100 2016-11-22T22:58:17+01:00 4:05 https://hearthis.at/danieldiaz/al-capones-ghost-banjo-disquiet0255/
I don’t play banjo, I don’t have one. But I do have a QinQin, (sort of “Chinese banjo”) I bought in Beijing 15 years ago, so I picked it up and made a little recording this morning.
The actual un-treated un-pitch-shifted instrument sounds like this
https://soundcloud.com/daniel-diaz/snapshot-50-qinqin-china

Now how to link Al Capone to China? Well I let you guys make that connexion, but let’s face it: everything seems to come from China nowadays, or at least have a “budget counterpart” made in China, like guitars that have an expensive US version and a cheap-almost-identical-in-looks-no-so-identical-in-quality Chinese version, let’s say that wherever he is, Al needed a new banjo and all he could get was a Chinese budget replica, a QinQin. This is exactly how Capone’s ghost playing a Chinese Banjo sounds, believe me!
I recorded 2 tracks of the instrument, one melody and another strumming a single chord, and what you hear is just that source material, chopped down, pitch shifted and passed through a couple of convulsion reverbs.

Performed DD in the morning of November 18th, 2016 @ Paris, france.



disquiet.com/0255/

What does the banjo music of the fabled criminal sound like?
Ghost stories are prevalent throughout cultures. When they involve music, they manifest in ways that find parallels between two intangibles: ethereal presences, and a cultural form that you can, generally speaking, neither see nor touch. Now consider the case of Al Capone, who played banjo during his time on the famed prison island of Alcatraz in the San Francisco Bay — a banjo that is said to be heard long after his death.

More on the Disquiet Junto at:
disquiet.com/junto/
Subscribe to project announcements here:
tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/capones-ghost-disquiet-junto-project-0255/


Disquiet Junto Project 0255: Capone’s Ghost]]>
I don’t play banjo, I don’t have one. But I do have a QinQin, (sort of “Chinese banjo”) I bought in Beijing 15 years ago, so I picked it up and made a little recording this morning.
The actual un-treated un-pitch-shifted instrument sounds like this
https://soundcloud.com/daniel-diaz/snapshot-50-qinqin-china

Now how to link Al Capone to China? Well I let you guys make that connexion, but let’s face it: everything seems to come from China nowadays, or at least have a “budget counterpart” made in China, like guitars that have an expensive US version and a cheap-almost-identical-in-looks-no-so-identical-in-quality Chinese version, let’s say that wherever he is, Al needed a new banjo and all he could get was a Chinese budget replica, a QinQin. This is exactly how Capone’s ghost playing a Chinese Banjo sounds, believe me!
I recorded 2 tracks of the instrument, one melody and another strumming a single chord, and what you hear is just that source material, chopped down, pitch shifted and passed through a couple of convulsion reverbs.

Performed DD in the morning of November 18th, 2016 @ Paris, france.



disquiet.com/0255/

What does the banjo music of the fabled criminal sound like?
Ghost stories are prevalent throughout cultures. When they involve music, they manifest in ways that find parallels between two intangibles: ethereal presences, and a cultural form that you can, generally speaking, neither see nor touch. Now consider the case of Al Capone, who played banjo during his time on the famed prison island of Alcatraz in the San Francisco Bay — a banjo that is said to be heard long after his death.

More on the Disquiet Junto at:
disquiet.com/junto/
Subscribe to project announcements here:
tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/capones-ghost-disquiet-junto-project-0255/


Disquiet Junto Project 0255: Capone’s Ghost]]> 1494412 no no Fri, 18 Nov 2016 14:52:16 +0100 2016-11-18T14:52:16+01:00 2:12 https://hearthis.at/danieldiaz/mama-1-in-loving-memory/ 3 electric bass guitars,
accordina
composed and performed by daniel díaz
paris, france, november 7th 2016.

Dedicated to my mother
N.B.F. 13th January 1937 - 6th November 2016]]> 3 electric bass guitars,
accordina
composed and performed by daniel díaz
paris, france, november 7th 2016.

Dedicated to my mother
N.B.F. 13th January 1937 - 6th November 2016]]> 1494413 no no Thu, 10 Nov 2016 14:09:16 +0100 2016-11-10T14:09:16+01:00 2:06 https://hearthis.at/danieldiaz/expanded-time-disquiet0253/
Not really “welcome” music, cause a bit creepy, but listening to other excellent shares to this project inspired me to reload this old piece I never quite finished.
Mostly based on “clock” bells it was a demo for a "Time” themed collection.

I recorded some bells, wind chimes, analogue alarm clocks and on top of that my old German upright piano, open lid, and picked with my finger nails.

This is a full-acoustic recording. No FX, no treatments.
No midi, no processing, just one delay, 2 convolution reverbs and the sound of the rooms.


More on this 253rd weekly Disquiet Junto project — “Doorbell Rehab: Record some welcome music” — at:

http://disquiet.com/0253/1

More on the Disquiet Junto at:

http://disquiet.com/junto/2

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/make-a-doorbell-disquiet-junto-project-0253/5220]]>
Not really “welcome” music, cause a bit creepy, but listening to other excellent shares to this project inspired me to reload this old piece I never quite finished.
Mostly based on “clock” bells it was a demo for a "Time” themed collection.

I recorded some bells, wind chimes, analogue alarm clocks and on top of that my old German upright piano, open lid, and picked with my finger nails.

This is a full-acoustic recording. No FX, no treatments.
No midi, no processing, just one delay, 2 convolution reverbs and the sound of the rooms.


More on this 253rd weekly Disquiet Junto project — “Doorbell Rehab: Record some welcome music” — at:

http://disquiet.com/0253/1

More on the Disquiet Junto at:

http://disquiet.com/junto/2

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/make-a-doorbell-disquiet-junto-project-0253/5220]]> 1494416 no no Mon, 07 Nov 2016 01:15:41 +0100 2016-11-07T01:15:41+01:00 1:56 https://hearthis.at/danieldiaz/snapshot-17-java-fretless-guitar/ A late addition to my 50 Snapshots collection, replacing another snapshot I found less important to represent my catalogue of instrumental and (available) sounds.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).]]> A late addition to my 50 Snapshots collection, replacing another snapshot I found less important to represent my catalogue of instrumental and (available) sounds.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).]]> 1494418 no no Wed, 26 Oct 2016 00:28:30 +0200 2016-10-26T00:28:30+02:00 0:53 https://hearthis.at/danieldiaz/snapshot-50-qinqin-china/ A late addition to my 50 Snapshots collection, replacing another snapshot I found less important to represent my catalogue of instrumental and (available) sounds.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).]]> A late addition to my 50 Snapshots collection, replacing another snapshot I found less important to represent my catalogue of instrumental and (available) sounds.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).]]> 1494419 no no Wed, 26 Oct 2016 00:22:16 +0200 2016-10-26T00:22:16+02:00 2:16 https://hearthis.at/danieldiaz/welcome-little-one-disquiet0250/ Make some peaceful music for an infant child.

This project finds me re-editing and mixing tracks I composed and recorded last year for a film that needed some “clear”, “transparent” and “crystalline” music according to director.
So I went for a sample instrument called Glass Works from Soniccouture that I ended up using quite a lot, samples from “translucent” glass instruments such as Chamber Bowls, Cristal Baschet and Glass Harmonica.
https://soundcloud.com/soniccouture

I kept the same template yesterday night and build this Welcome! sound to Karin and Bruce’s sweetheart, wishing them all a lot of happiness.

Basic tracks are:
-Cristal Baschet (arpeggio)
-Bowls (w/mallets)
-Glass Harmonica
-Bowed bowls pad

So the basic track is full midi.

Then I added my beloved Accordina (start @ 0:34) and (bassist me) a pizzicato upright bass section (6 overdubs of the same basic bass part to make it sound like a bass orchestra).
I thought this was a bad idea, (removing the aerial mood and giving some rhythmic root) but today it seems good.
Still, at 3AM I added some “Vangelis” noises and cutoff falls ‘cause something in the sound reminds me the Love Theme from Blade Runner, so I tried to imitate those unique “ffffsshhhh” sound Vangelis masters.
I also thought this was a bad idea and now, the morning after I can confirm. It’s actually number 37 in my list “50 worst ideas of 2016”
But can’s get to the studio to remove it now, so here it goes, lets support some bad ideas from time to time, shall we?

A magic moment is at 01:05 when the glass harmonica takes the lead playing the melody the Accordina just played (and accordina starts improvising) , both timbre sound so alike that it’s amazing, such disparate instruments.


More on this 250th weekly Disquiet Junto project — “Soothing Sounds for Junto: Make some peaceful music for an infant child” — at:

http://disquiet.com/0250/

More on the Disquiet Junto at:

http://disquiet.com/junto/]]> Make some peaceful music for an infant child.

This project finds me re-editing and mixing tracks I composed and recorded last year for a film that needed some “clear”, “transparent” and “crystalline” music according to director.
So I went for a sample instrument called Glass Works from Soniccouture that I ended up using quite a lot, samples from “translucent” glass instruments such as Chamber Bowls, Cristal Baschet and Glass Harmonica.
https://soundcloud.com/soniccouture

I kept the same template yesterday night and build this Welcome! sound to Karin and Bruce’s sweetheart, wishing them all a lot of happiness.

Basic tracks are:
-Cristal Baschet (arpeggio)
-Bowls (w/mallets)
-Glass Harmonica
-Bowed bowls pad

So the basic track is full midi.

Then I added my beloved Accordina (start @ 0:34) and (bassist me) a pizzicato upright bass section (6 overdubs of the same basic bass part to make it sound like a bass orchestra).
I thought this was a bad idea, (removing the aerial mood and giving some rhythmic root) but today it seems good.
Still, at 3AM I added some “Vangelis” noises and cutoff falls ‘cause something in the sound reminds me the Love Theme from Blade Runner, so I tried to imitate those unique “ffffsshhhh” sound Vangelis masters.
I also thought this was a bad idea and now, the morning after I can confirm. It’s actually number 37 in my list “50 worst ideas of 2016”
But can’s get to the studio to remove it now, so here it goes, lets support some bad ideas from time to time, shall we?

A magic moment is at 01:05 when the glass harmonica takes the lead playing the melody the Accordina just played (and accordina starts improvising) , both timbre sound so alike that it’s amazing, such disparate instruments.


More on this 250th weekly Disquiet Junto project — “Soothing Sounds for Junto: Make some peaceful music for an infant child” — at:

http://disquiet.com/0250/

More on the Disquiet Junto at:

http://disquiet.com/junto/]]> 1494421 no no Fri, 14 Oct 2016 10:27:06 +0200 2016-10-14T10:27:06+02:00 1:53 https://hearthis.at/danieldiaz/vortex-me-please-disquiet0248/ Celebrate the new celestial holiday in music.

Here’s my angry chaotic interstellar trip to this birthday party far out there. A one minute and-a-half journey.

I took some of NASA’s free downloadable files I’ve got( from their Soundcloud account most probably) and that I use a lot.

Here, 16 first seconds of the track is full NASA sounds, including the low stabs in F that set the tonal centre and the amazing 5/8 groove that plays throughout. And astronaut’s (and Houston's) voices and a Saturn noise pad that glues everything, that's all NASA shares..

Then added some synths, played a F minor sequence , translated the 5/8 NASA groove to a distorted to hell midi drum track, and that’s it.

More on this 248th weekly Disquiet Junto project — “Celebrate the new celestial holiday in music” — at:
http://disquiet.com/0248/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/music-for-the-galactic-tick-disquiet-junto-project-0248/4744
There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> Celebrate the new celestial holiday in music.

Here’s my angry chaotic interstellar trip to this birthday party far out there. A one minute and-a-half journey.

I took some of NASA’s free downloadable files I’ve got( from their Soundcloud account most probably) and that I use a lot.

Here, 16 first seconds of the track is full NASA sounds, including the low stabs in F that set the tonal centre and the amazing 5/8 groove that plays throughout. And astronaut’s (and Houston's) voices and a Saturn noise pad that glues everything, that's all NASA shares..

Then added some synths, played a F minor sequence , translated the 5/8 NASA groove to a distorted to hell midi drum track, and that’s it.

More on this 248th weekly Disquiet Junto project — “Celebrate the new celestial holiday in music” — at:
http://disquiet.com/0248/
More on the Disquiet Junto at:
http://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
llllllll.co/t/music-for-the-galactic-tick-disquiet-junto-project-0248/4744
There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> 1494422 no no Sun, 02 Oct 2016 17:11:08 +0200 2016-10-02T17:11:08+02:00 1:32 https://hearthis.at/danieldiaz/waltz-definitely-la-boite-a-musique-disquiet0247/
This one was so obvious to me, the illustration reminds me of a silly game we do with my kids, (game that they still love really) where I paint faces on our fingertips with a Sharpie, weird faces, happy faces, angry, surprised faces, etc) and we play roles and fake stories with our finger-tip-marionettes.
That’s the illustration alright, no doubt for me.

Waltz maybe? The idea was to perform a silly waltz with this mechanical toy piano I bought for my kids (but ended up squatted in my studio and finding its way to some major productions, little bastard!)
The piano is the one on the photo I took for this post. Who can resist a red piano?


So I went for a bunch of tracks I recorded with that piano previously and found that 90% where actually waltzes. I choose this one, so I am cheating (am I?) cause this is an existing recording, but couldn’t resist. Sorry.

The music it’s a proper composer’s composition, with chords, melodies, and all that old school stuff I like.
Structure is A (major)-A (major)-A (major)-B (Major/Minor) - A (major)

But it is performed as if it was a Music Box.

Now: trying to reproduce the issues, pranks and casualties you find in music boxes with an actual performance was a threat! And a whole lot of fun honestly. Those ridiculous tempo shifts and weird phrasing, took me hours lol.
One toy piano, a microphone and a drunken tempo, this is the antidote for any click based techno music overdose.

Hope you dig it. Love DD


More on this 247th weekly Disquiet Junto project — “Interpret as a graphic score an illustration drawn upon waking by Lark Pien” — at:

http://disquiet.com/0247/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/a-cartoon-graphic-score-disquiet-junto-project-0247/4647

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is the (unintended, but used with approval) graphic score by Lark Pien.]]>
This one was so obvious to me, the illustration reminds me of a silly game we do with my kids, (game that they still love really) where I paint faces on our fingertips with a Sharpie, weird faces, happy faces, angry, surprised faces, etc) and we play roles and fake stories with our finger-tip-marionettes.
That’s the illustration alright, no doubt for me.

Waltz maybe? The idea was to perform a silly waltz with this mechanical toy piano I bought for my kids (but ended up squatted in my studio and finding its way to some major productions, little bastard!)
The piano is the one on the photo I took for this post. Who can resist a red piano?


So I went for a bunch of tracks I recorded with that piano previously and found that 90% where actually waltzes. I choose this one, so I am cheating (am I?) cause this is an existing recording, but couldn’t resist. Sorry.

The music it’s a proper composer’s composition, with chords, melodies, and all that old school stuff I like.
Structure is A (major)-A (major)-A (major)-B (Major/Minor) - A (major)

But it is performed as if it was a Music Box.

Now: trying to reproduce the issues, pranks and casualties you find in music boxes with an actual performance was a threat! And a whole lot of fun honestly. Those ridiculous tempo shifts and weird phrasing, took me hours lol.
One toy piano, a microphone and a drunken tempo, this is the antidote for any click based techno music overdose.

Hope you dig it. Love DD


More on this 247th weekly Disquiet Junto project — “Interpret as a graphic score an illustration drawn upon waking by Lark Pien” — at:

http://disquiet.com/0247/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/a-cartoon-graphic-score-disquiet-junto-project-0247/4647

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is the (unintended, but used with approval) graphic score by Lark Pien.]]> 1494425 no no Thu, 22 Sep 2016 23:10:38 +0200 2016-09-22T23:10:38+02:00 1:27 https://hearthis.at/danieldiaz/western-multipliers-disquiet0246/ Compose a piece of music that increases speed in stages as it proceeds.

Steve Reich meet Western Spaghetti !
Mostly repetitive and simple guitar parts, nod to Electric Counterpoint perhaps?
Martin J15 acoustic and Schecter 1985 Stratocaster
I added an organ (Arturia’s Vox Continental) to glue everything, perhaps not a good idea?
Time (and you fellas) will tell.

I didn’t quite follow the increase speed in terms of overall tempo but in terms beat subdivision. Both in performance and delay rhythms:

70BPM throughout, always the same little motif: Ab-C-G-Ab-F
So you have 70 motif notes per minute at the beginning and we reach 420 per minute in the finale.

1st part is plain 1/4th notes melody with a large 4 beats delay.
2nd melody enters with delay in 1/8th notes
3rd 4th and 5th parts switches progressively to 1/16th notes delays over the same basic motif performed in quarter and eight notes simultaneously.
6th is performed in 8th notes but delays become triplets (1/8th notes triplets)
7th part is the melody performed in 1/8th notes with delays in 1/8th note triplets.
8th part is the melody performed in 1/8th note triplets with delays in 1/16th note triplets (thus multiplying tempo by 6, ie 420BPM on those staccato notes)
9th is the “grand finale” with every delay in 1/16th notes triplets and one Martin and 3 Strats playing simultaneously different versions of the 5 note motif + 2 Matin guitars playing simple chords.

Instrumentation:
00:00 Martin 1 + Strat washes.
00:42 Martin 2 & Martin 3 (left-right) + Strat melody
01:13 Martin 1 + Martin 2 & Martin 3 chords (left-right) + Strat 1 melody + Start 2 staccato.
01:40 Martin 1 + Strat 1 staccato + Start 2 staccato.
02:08 Martin 1 + Martin 2 & Martin 3 (left-right) + Strat 1 melody + Start 2 staccato + Strat 3 staccato
02:35 Triplets: Martin 1 + Strat 1 chords + Start 2 staccato
03:03 Martin 2 & Martin 3 (left-right) + Strat 1 staccato
03:27 Finale (tutti)

More on this 246th weekly Disquiet Junto project — “Compose a piece of music that increases speed in stages as it proceeds.” — at:

http://disquiet.com/0246/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/double-quadruple-sextuple-music-disquiet-junto-project-0246/4549]]> Compose a piece of music that increases speed in stages as it proceeds.

Steve Reich meet Western Spaghetti !
Mostly repetitive and simple guitar parts, nod to Electric Counterpoint perhaps?
Martin J15 acoustic and Schecter 1985 Stratocaster
I added an organ (Arturia’s Vox Continental) to glue everything, perhaps not a good idea?
Time (and you fellas) will tell.

I didn’t quite follow the increase speed in terms of overall tempo but in terms beat subdivision. Both in performance and delay rhythms:

70BPM throughout, always the same little motif: Ab-C-G-Ab-F
So you have 70 motif notes per minute at the beginning and we reach 420 per minute in the finale.

1st part is plain 1/4th notes melody with a large 4 beats delay.
2nd melody enters with delay in 1/8th notes
3rd 4th and 5th parts switches progressively to 1/16th notes delays over the same basic motif performed in quarter and eight notes simultaneously.
6th is performed in 8th notes but delays become triplets (1/8th notes triplets)
7th part is the melody performed in 1/8th notes with delays in 1/8th note triplets.
8th part is the melody performed in 1/8th note triplets with delays in 1/16th note triplets (thus multiplying tempo by 6, ie 420BPM on those staccato notes)
9th is the “grand finale” with every delay in 1/16th notes triplets and one Martin and 3 Strats playing simultaneously different versions of the 5 note motif + 2 Matin guitars playing simple chords.

Instrumentation:
00:00 Martin 1 + Strat washes.
00:42 Martin 2 & Martin 3 (left-right) + Strat melody
01:13 Martin 1 + Martin 2 & Martin 3 chords (left-right) + Strat 1 melody + Start 2 staccato.
01:40 Martin 1 + Strat 1 staccato + Start 2 staccato.
02:08 Martin 1 + Martin 2 & Martin 3 (left-right) + Strat 1 melody + Start 2 staccato + Strat 3 staccato
02:35 Triplets: Martin 1 + Strat 1 chords + Start 2 staccato
03:03 Martin 2 & Martin 3 (left-right) + Strat 1 staccato
03:27 Finale (tutti)

More on this 246th weekly Disquiet Junto project — “Compose a piece of music that increases speed in stages as it proceeds.” — at:

http://disquiet.com/0246/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/double-quadruple-sextuple-music-disquiet-junto-project-0246/4549]]> 1494427 no no Sun, 18 Sep 2016 17:59:15 +0200 2016-09-18T17:59:15+02:00 4:04 https://hearthis.at/danieldiaz/clean-it-and-loop-it-disquiet0245/ Disquiet Junto Project 0245: Practical Music
Write a piece of music for getting things done, suitable for playing on repeat.

Clean up, routine, tiding up....that leads me to repetitive stuff.
I played a simple riff on my “diaz custom5” drake bass guitar, very repetitive and yet variations going from A to D to D/E with no real structure.
Added a synth bass drone, and a Wurlitzer A200 electric piano improvising a bit.
Then some repetitive voices (tah-tah-tah-tah...) in four part harmony/
My usual rhythmic delays played a big role, here in 1/8th and 1/4th notes.
You can loop this, there’s no lead in or lead off.
Love
DD
Recorded in Paris, France September 9th 2016.

More on this 245th weekly Disquiet Junto project — “Write a piece of music for getting things done, suitable for playing on repeat” — at:

http://disquiet.com/0245/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/disquiet-junto-project-0243-synth-trial/4288

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by jurek d. and is used thanks to Flicker and a Creative Commons license:

http://flic.kr/p/npLwcU]]> Disquiet Junto Project 0245: Practical Music
Write a piece of music for getting things done, suitable for playing on repeat.

Clean up, routine, tiding up....that leads me to repetitive stuff.
I played a simple riff on my “diaz custom5” drake bass guitar, very repetitive and yet variations going from A to D to D/E with no real structure.
Added a synth bass drone, and a Wurlitzer A200 electric piano improvising a bit.
Then some repetitive voices (tah-tah-tah-tah...) in four part harmony/
My usual rhythmic delays played a big role, here in 1/8th and 1/4th notes.
You can loop this, there’s no lead in or lead off.
Love
DD
Recorded in Paris, France September 9th 2016.

More on this 245th weekly Disquiet Junto project — “Write a piece of music for getting things done, suitable for playing on repeat” — at:

http://disquiet.com/0245/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/disquiet-junto-project-0243-synth-trial/4288

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by jurek d. and is used thanks to Flicker and a Creative Commons license:

http://flic.kr/p/npLwcU]]> 1494429 no no Fri, 09 Sep 2016 17:52:07 +0200 2016-09-09T17:52:07+02:00 1:51 https://hearthis.at/danieldiaz/interlude-1/
www.dedeland.com
]]>
www.dedeland.com
]]> 1494431 no no Mon, 05 Sep 2016 22:19:16 +0200 2016-09-05T22:19:16+02:00 1:05 https://hearthis.at/danieldiaz/hard-disquiet0244/ This is a remix proposed @ Disquiet Junto Project 0244: Euro Mixin
The Assignment: Combine tracks from three different European netlabels (Portugal, Spain, Switzerland) into one sonic union.
Source tracks (20 first seconds each)
“The Station and the Underclass,” performed by the Phonetic Orchestra, released on the Insub. netlabel based in Geneva:
“Cloud Scissors” composed by Lo Wei; performed by Cristián Alvear, Santiago Astaburuaga, Gudinni Cortina, and Rolando Hernández, released on the Impulsive Habitat netlabel based in Portugal:
“Zraerza,” performed by Geeksha Beka and Berio Molina, released on the Alg-a netlabel based in Galicia

hard-disquiet0244 by DD
September 2nd 2016; Paris, France.

00:00 zraerza + ebow Strato solo
00:24 zraerza + ebow Strato solo + vox continental (organ) drone
01:04 cloud scissors, + gradually zraerza + ebow Strato solo
01:47 The Station and the Underclass + vox continental (organ) drone
02:07 zraerza + ebow start solo
02:20 zraerza + ebow start solo + cloud scissors
03:20 I’m done

FX used : delay, reverb, filter, comrpession

More on this 244th weekly Disquiet Junto project — “Combine tracks from three different European netlabels (Portugal, Spain, Switzerland) into one sonic union” — at:

http://disquiet.com/0244/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/disquiet-junto-project-0244-euro-mixin/4361

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by Thomas, used via Flickr and a Creative Commons license:

flic.kr/p/92xKFZ
]]> This is a remix proposed @ Disquiet Junto Project 0244: Euro Mixin
The Assignment: Combine tracks from three different European netlabels (Portugal, Spain, Switzerland) into one sonic union.
Source tracks (20 first seconds each)
“The Station and the Underclass,” performed by the Phonetic Orchestra, released on the Insub. netlabel based in Geneva:
“Cloud Scissors” composed by Lo Wei; performed by Cristián Alvear, Santiago Astaburuaga, Gudinni Cortina, and Rolando Hernández, released on the Impulsive Habitat netlabel based in Portugal:
“Zraerza,” performed by Geeksha Beka and Berio Molina, released on the Alg-a netlabel based in Galicia

hard-disquiet0244 by DD
September 2nd 2016; Paris, France.

00:00 zraerza + ebow Strato solo
00:24 zraerza + ebow Strato solo + vox continental (organ) drone
01:04 cloud scissors, + gradually zraerza + ebow Strato solo
01:47 The Station and the Underclass + vox continental (organ) drone
02:07 zraerza + ebow start solo
02:20 zraerza + ebow start solo + cloud scissors
03:20 I’m done

FX used : delay, reverb, filter, comrpession

More on this 244th weekly Disquiet Junto project — “Combine tracks from three different European netlabels (Portugal, Spain, Switzerland) into one sonic union” — at:

http://disquiet.com/0244/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/disquiet-junto-project-0244-euro-mixin/4361

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by Thomas, used via Flickr and a Creative Commons license:

flic.kr/p/92xKFZ
]]> 1494433 no no Fri, 02 Sep 2016 23:13:24 +0200 2016-09-02T23:13:24+02:00 3:26 https://hearthis.at/danieldiaz/snapshot-51-acousticshandmute/ Recorded in Paris June 2016.
Two sections, more relaxed rubato first half and hysterical repetitive on the second half.
This is the last snapshots recorded in the series started January 2016, finished June 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).

]]> Recorded in Paris June 2016.
Two sections, more relaxed rubato first half and hysterical repetitive on the second half.
This is the last snapshots recorded in the series started January 2016, finished June 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).

]]> 1494435 no no Thu, 30 Jun 2016 13:14:27 +0200 2016-06-30T13:14:27+02:00 1:43 https://hearthis.at/danieldiaz/snapshot-46-vocodersynths/ Paris June 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> Paris June 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> 1494437 no no Tue, 21 Jun 2016 13:05:43 +0200 2016-06-21T13:05:43+02:00 1:38 https://hearthis.at/danieldiaz/snapshot-45-ebow-guitar/ Recorded Tuesday 14th June 2016 in Paris.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> Recorded Tuesday 14th June 2016 in Paris.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> 1494438 no no Tue, 14 Jun 2016 17:55:33 +0200 2016-06-14T17:55:33+02:00 2:12 https://hearthis.at/danieldiaz/snapshot-43-wahwah/ Recorded in Paris , June 5th 2016.



50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> Recorded in Paris , June 5th 2016.



50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> 1494440 no no Tue, 07 Jun 2016 17:28:08 +0200 2016-06-07T17:28:08+02:00 1:12 https://hearthis.at/danieldiaz/snapshot-39-ocarinas/ Performed by DD 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> Performed by DD 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> 1494442 no no Thu, 02 Jun 2016 14:46:06 +0200 2016-06-02T14:46:06+02:00 1:07 https://hearthis.at/danieldiaz/snapshot-41-indo-flutes/ Recorded June 1st 2016 by DD in Paris.
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> Recorded June 1st 2016 by DD in Paris.
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> 1494443 no no Thu, 02 Jun 2016 14:40:41 +0200 2016-06-02T14:40:41+02:00 1:57 https://hearthis.at/danieldiaz/snapshot-40-toy-piano/ Recorded in Paris, may 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> Recorded in Paris, may 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> 1494445 no no Thu, 02 Jun 2016 11:27:23 +0200 2016-06-02T11:27:23+02:00 1:04 https://hearthis.at/danieldiaz/snapshot-24-udu-drums/ Recorded in Paris, winter 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> Recorded in Paris, winter 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> 1494446 no no Tue, 31 May 2016 21:44:13 +0200 2016-05-31T21:44:13+02:00 1:04 https://hearthis.at/danieldiaz/snapshot-37-marimbaxylophone/ Paris, May 30th 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).

]]> Paris, May 30th 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).

]]> 1494447 no no Tue, 31 May 2016 21:34:30 +0200 2016-05-31T21:34:30+02:00 1:04 https://hearthis.at/danieldiaz/snapshot-38-vibesglockenspiel/ Performed by D.D. @ Paris, 27 May 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> Performed by D.D. @ Paris, 27 May 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> 1494449 no no Sat, 28 May 2016 15:50:30 +0200 2016-05-28T15:50:30+02:00 1:10 https://hearthis.at/danieldiaz/snapshot-36-uprigthbassbowfx/
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]>
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> 1494451 no no Tue, 10 May 2016 19:01:43 +0200 2016-05-10T19:01:43+02:00 2:28 https://hearthis.at/danieldiaz/snapshot-35-uprigthbassbowedsection/ Some delays, reverb.
Recorded in Paris May 7th 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).

]]> Some delays, reverb.
Recorded in Paris May 7th 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).

]]> 1494454 no no Sat, 07 May 2016 18:50:18 +0200 2016-05-07T18:50:18+02:00 0:57 https://hearthis.at/danieldiaz/snapshot-34-uprigthbassbowsolo/ Recorded in Paris May 7th 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).

]]> Recorded in Paris May 7th 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).

]]> 1494455 no no Sat, 07 May 2016 18:50:16 +0200 2016-05-07T18:50:16+02:00 0:59 https://hearthis.at/danieldiaz/snapshot-33-uprigthbasspizzsolo/ Recorded in Paris May 6th 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).

]]> Recorded in Paris May 6th 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).

]]> 1494457 no no Sat, 07 May 2016 18:50:15 +0200 2016-05-07T18:50:15+02:00 0:51 https://hearthis.at/danieldiaz/snapshot-26-ambient-percussion/ Recorded with my own instruments at home. 2016

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).


]]> Recorded with my own instruments at home. 2016

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).


]]> 1494458 no no Mon, 11 Apr 2016 17:27:59 +0200 2016-04-11T17:27:59+02:00 1:22 https://hearthis.at/danieldiaz/snapshot-27-bombopieles/ Recorded in Paris, February 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> Recorded in Paris, February 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> 1494460 no no Thu, 07 Apr 2016 14:47:18 +0200 2016-04-07T14:47:18+02:00 0:54 https://hearthis.at/danieldiaz/snapshot-29-folk-guitar/ First half is played with a pick, second section is finger-picked.
Enjoy
DD (recorded april 6th 2016 in Paris)


50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> First half is played with a pick, second section is finger-picked.
Enjoy
DD (recorded april 6th 2016 in Paris)


50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> 1494462 no no Thu, 07 Apr 2016 00:54:51 +0200 2016-04-07T00:54:51+02:00 1:48 https://hearthis.at/danieldiaz/snapshot-23-talkingdrums/ Paris, 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> Paris, 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> 1494464 no no Mon, 21 Mar 2016 21:59:53 +0100 2016-03-21T21:59:53+01:00 0:54 https://hearthis.at/danieldiaz/snapshot-22-jazz-guitar/ Solo guitar (my Epiphone Sheraton with flat wound strings), amp+reverb.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> Solo guitar (my Epiphone Sheraton with flat wound strings), amp+reverb.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> 1494465 no no Mon, 21 Mar 2016 21:56:18 +0100 2016-03-21T21:56:18+01:00 0:49 https://hearthis.at/danieldiaz/snapshot-21-acbasssticks/
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]>
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> 1494468 no no Mon, 21 Mar 2016 16:07:56 +0100 2016-03-21T16:07:56+01:00 1:34 https://hearthis.at/danieldiaz/snapshot-19-harmonium/ Highs, Lows, Tremolo
Paris, France, March 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> Highs, Lows, Tremolo
Paris, France, March 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

These are the instruments I play.
Recorded on my own studio in Paris, France, or on the road (mostly hotel rooms, with my Exile Studio).
]]> 1494469 no no Mon, 21 Mar 2016 15:49:30 +0100 2016-03-21T15:49:30+01:00 1:24 https://hearthis.at/danieldiaz/snapshot-18-accordina/ Recorded in Paris, March 15th 2016.
Beware: the ghosts of Elvis Presley and Cole Porter can materialise right in front of you if you listen to this snapshot under certain conditions.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.
]]> Recorded in Paris, March 15th 2016.
Beware: the ghosts of Elvis Presley and Cole Porter can materialise right in front of you if you listen to this snapshot under certain conditions.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.
]]> 1494470 no no Wed, 16 Mar 2016 11:37:36 +0100 2016-03-16T11:37:36+01:00 1:21 https://hearthis.at/danieldiaz/snapshot-52-elbassnylondrums/ Electric bass (Epiphone semi-hollow body) with nylon strings.
Audio drum loop, Rex beat.
Recorded in Paris, February 2016..

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.
]]> Electric bass (Epiphone semi-hollow body) with nylon strings.
Audio drum loop, Rex beat.
Recorded in Paris, February 2016..

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.
]]> 1494471 no no Wed, 16 Mar 2016 11:26:09 +0100 2016-03-16T11:26:09+01:00 0:59 https://hearthis.at/danieldiaz/snapshot-15-charango/
Recorded in Valeria Del Mar (Buenos Aires, Argentina) with my Argentine Charango, rhythmic delays and a subtle drone.

50 snapshots by Daniel Diaz is just a showcase of the different instruments and sound I use both live and in the studio. It's a catalogue/show-room of my multi-instrumentalist palette.
]]>
Recorded in Valeria Del Mar (Buenos Aires, Argentina) with my Argentine Charango, rhythmic delays and a subtle drone.

50 snapshots by Daniel Diaz is just a showcase of the different instruments and sound I use both live and in the studio. It's a catalogue/show-room of my multi-instrumentalist palette.
]]> 1494473 no no Mon, 14 Mar 2016 13:20:20 +0100 2016-03-14T13:20:20+01:00 1:34 https://hearthis.at/danieldiaz/snapshot-11-elbassnylonsolo/
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]>
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]> 1494474 no no Sat, 13 Feb 2016 13:28:45 +0100 2016-02-13T13:28:45+01:00 0:51 https://hearthis.at/danieldiaz/snapshot-32-stratocaster-distortion/ Recorded with my black Schecter Strat (85) in Paris, France, 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.
]]> Recorded with my black Schecter Strat (85) in Paris, France, 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.
]]> 1494478 no no Tue, 09 Feb 2016 13:17:08 +0100 2016-02-09T13:17:08+01:00 1:46 https://hearthis.at/danieldiaz/snapshot-09-electric-bass-pick-and-mute/
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]>
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]> 1494479 no no Tue, 09 Feb 2016 13:05:29 +0100 2016-02-09T13:05:29+01:00 0:58 https://hearthis.at/danieldiaz/snapshot-49-glass-harmonica/ Recorded in Paris, 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

]]> Recorded in Paris, 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

]]> 1494481 no no Sun, 07 Feb 2016 19:43:23 +0100 2016-02-07T19:43:23+01:00 1:11 https://hearthis.at/danieldiaz/snapshot-48-crystal-bowls/ Recorded in Paris, 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

]]> Recorded in Paris, 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

]]> 1494482 no no Sun, 07 Feb 2016 19:38:22 +0100 2016-02-07T19:38:22+01:00 1:08 https://hearthis.at/danieldiaz/snapshot-28-cymbals/
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

]]>
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

]]> 1494484 no no Sun, 07 Feb 2016 19:34:42 +0100 2016-02-07T19:34:42+01:00 1:16 https://hearthis.at/danieldiaz/snapshot-44-elbsrepetitive/ Performed in Paris, France with my Drake "Diaz Custom5" bass.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

]]> Performed in Paris, France with my Drake "Diaz Custom5" bass.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

]]> 1494485 no no Sun, 07 Feb 2016 19:26:25 +0100 2016-02-07T19:26:25+01:00 0:51 https://hearthis.at/danieldiaz/snapshot-13-ukelele-concert/
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

]]>
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

]]> 1494487 no no Sun, 07 Feb 2016 19:13:23 +0100 2016-02-07T19:13:23+01:00 0:57 https://hearthis.at/danieldiaz/snapshot-47-synth-arpegiator/
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]>
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]> 1494488 no no Thu, 21 Jan 2016 11:29:50 +0100 2016-01-21T11:29:50+01:00 1:00 https://hearthis.at/danieldiaz/snapshot-25-fast-percussion/

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]>

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]> 1494490 no no Thu, 21 Jan 2016 11:23:34 +0100 2016-01-21T11:23:34+01:00 0:44 https://hearthis.at/danieldiaz/snapshot-08-melodicas/
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]>
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]> 1494491 no no Thu, 21 Jan 2016 11:21:46 +0100 2016-01-21T11:21:46+01:00 1:48 https://hearthis.at/danieldiaz/snapshot-42-strings-fake-or-real/ This is a mixture of both, a combination I do a lot. Real upright basses and cellos spiced with sampled ones and additional viola and violin sounds.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]> This is a mixture of both, a combination I do a lot. Real upright basses and cellos spiced with sampled ones and additional viola and violin sounds.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]> 1494493 no no Thu, 21 Jan 2016 10:28:25 +0100 2016-01-21T10:28:25+01:00 1:20 https://hearthis.at/danieldiaz/snapshot-30-stratocaster-clean-solo/
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]>
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]> 1494494 no no Thu, 21 Jan 2016 10:05:02 +0100 2016-01-21T10:05:02+01:00 1:45 https://hearthis.at/danieldiaz/snapshot-31-stratocaster-clean-repetitive/ Performed on my 1985 Schecter Strat.
Paris 2015.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]> Performed on my 1985 Schecter Strat.
Paris 2015.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]> 1494496 no no Thu, 21 Jan 2016 10:02:26 +0100 2016-01-21T10:02:26+01:00 1:06 https://hearthis.at/danieldiaz/snapshot-10-electric-bass-ostinato/
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]>
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]> 1494498 no no Wed, 20 Jan 2016 00:32:49 +0100 2016-01-20T00:32:49+01:00 0:49 https://hearthis.at/danieldiaz/snapshot-14-bells/
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]>
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]> 1494503 no no Wed, 20 Jan 2016 00:32:49 +0100 2016-01-20T00:32:49+01:00 1:13 https://hearthis.at/danieldiaz/snapshot-16-electric-bass-chords/ Tremolo+Delay+Reverb.
http://www.drakecustombass.com/gallery/diaz-custom-5/

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]> Tremolo+Delay+Reverb.
http://www.drakecustombass.com/gallery/diaz-custom-5/

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.]]> 1494506 no no Wed, 20 Jan 2016 00:32:49 +0100 2016-01-20T00:32:49+01:00 1:23 https://hearthis.at/danieldiaz/snapshot-20-tun-and-bamboos/
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.
]]>
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.
]]> 1494510 no no Wed, 20 Jan 2016 00:32:48 +0100 2016-01-20T00:32:48+01:00 0:51 https://hearthis.at/danieldiaz/snapshot-06-spacedrum/ Recorded in Paris 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

http://dedeland.com/snapshots.htm
]]> Recorded in Paris 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. This collection is intended as a catalogue of my multi-instrumentalists palette.

http://dedeland.com/snapshots.htm
]]> 1494512 no no Wed, 20 Jan 2016 00:08:52 +0100 2016-01-20T00:08:52+01:00 1:14 https://hearthis.at/danieldiaz/snapshot-07-fender-rhodes/ Recorded in Paris 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. It's a catalogue/show-room of my multi-instrumentalist palette.]]> Recorded in Paris 2016.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. It's a catalogue/show-room of my multi-instrumentalist palette.]]> 1494518 no no Tue, 19 Jan 2016 21:53:53 +0100 2016-01-19T21:53:53+01:00 1:11 https://hearthis.at/danieldiaz/snapshot-05-acoustic-bass-guitar/
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. It's supposed to work as a catalogue/show-room of my multi-instrumentalist palette.
]]>
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. It's supposed to work as a catalogue/show-room of my multi-instrumentalist palette.
]]> 1494519 no no Tue, 19 Jan 2016 18:30:04 +0100 2016-01-19T18:30:04+01:00 1:14 https://hearthis.at/danieldiaz/snapshot-02-acoustic-upright-piano/
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. It serves as a catalogue/show-room of my multi-instrumentalist palette.
]]>
50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. It serves as a catalogue/show-room of my multi-instrumentalist palette.
]]> 1494525 no no Tue, 19 Jan 2016 14:48:22 +0100 2016-01-19T14:48:22+01:00 1:25 https://hearthis.at/danieldiaz/snapshot-12-spanish-guitar/ Solo live take.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. It's supposed to work as a catalogue/show-room of my multi-instrumentalist palette.
Daniel Diaz, 2016]]> Solo live take.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. It's supposed to work as a catalogue/show-room of my multi-instrumentalist palette.
Daniel Diaz, 2016]]> 1494526 no no Tue, 19 Jan 2016 13:17:21 +0100 2016-01-19T13:17:21+01:00 0:50 https://hearthis.at/danieldiaz/snapshot-04-fretless-bass/
Recorded in Paris with my Sekine Fretless Bass. One basic track, one double-tracked lead bass track.

50 snapshots by Daniel Diaz is just a showcase of the different instruments and sound I use both live and in the studio. It's supposed to work as a catalogue/show-room of my multi-instrumentalist palette.
]]>
Recorded in Paris with my Sekine Fretless Bass. One basic track, one double-tracked lead bass track.

50 snapshots by Daniel Diaz is just a showcase of the different instruments and sound I use both live and in the studio. It's supposed to work as a catalogue/show-room of my multi-instrumentalist palette.
]]> 1494532 no no Tue, 19 Jan 2016 13:06:58 +0100 2016-01-19T13:06:58+01:00 1:29 https://hearthis.at/danieldiaz/snapshot-01-ronroco/ Two microphones and a nice sounding 16th century room. True stereo recording.

50 snapshots by Daniel Diaz is just a showcase of the different instruments and sound I use both live and in the studio. It's a catalogue/show-room of my multi-instrumentalist palette.]]> Two microphones and a nice sounding 16th century room. True stereo recording.

50 snapshots by Daniel Diaz is just a showcase of the different instruments and sound I use both live and in the studio. It's a catalogue/show-room of my multi-instrumentalist palette.]]> 1494534 no no Tue, 12 Jan 2016 10:02:58 +0100 2016-01-12T10:02:58+01:00 1:25 https://hearthis.at/danieldiaz/snapshot-03-ukuleletenor/ Upright Bass.
Voices.
Acoustic Soundscapes.

Paris, France, November 2015.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. It serves as a catalogue/show-room of my multi-instrumentalist palette.
]]> Upright Bass.
Voices.
Acoustic Soundscapes.

Paris, France, November 2015.

50 snapshots by DD is just a showcase of the different instruments and sound I use both live and in the studio. It serves as a catalogue/show-room of my multi-instrumentalist palette.
]]> 1494538 no no Sat, 05 Dec 2015 13:46:56 +0100 2015-12-05T13:46:56+01:00 2:10 https://hearthis.at/danieldiaz/hope/ Two tracks with my Drake Custom 5:
main recitative chord-melody track and a second one with volume pedal (harmonics)
Add reverbs (huge ones) and delay and that's it.

]]> Two tracks with my Drake Custom 5:
main recitative chord-melody track and a second one with volume pedal (harmonics)
Add reverbs (huge ones) and delay and that's it.

]]> 1494540 no no Wed, 25 Nov 2015 09:59:22 +0100 2015-11-25T09:59:22+01:00 3:22 https://hearthis.at/danieldiaz/lethargia-novembre-13/ Drake Diaz Custom5 electric bass: Seven tracks
Sekine fretless bass; 1 track.
No synthesizer used.
Only basses and pedals:
Line6 DL4 delay, Cry Baby Wah Wah, Reverbs, Volume pedal.]]> Drake Diaz Custom5 electric bass: Seven tracks
Sekine fretless bass; 1 track.
No synthesizer used.
Only basses and pedals:
Line6 DL4 delay, Cry Baby Wah Wah, Reverbs, Volume pedal.]]> 1494547 no no Thu, 19 Nov 2015 14:01:51 +0100 2015-11-19T14:01:51+01:00 5:55 https://hearthis.at/danieldiaz/lunas-divertimento/ String Orchestra.
Recorded @ Paris France, October 2015.

License at Music Vine:
https://musicvine.net/music/lunas-divertimento/]]> String Orchestra.
Recorded @ Paris France, October 2015.

License at Music Vine:
https://musicvine.net/music/lunas-divertimento/]]> 1494548 no no Sat, 17 Oct 2015 12:24:41 +0200 2015-10-17T12:24:41+02:00 2:04 https://hearthis.at/danieldiaz/lalle-des-etoiles/
Ambient-experimental, electro-acoustic collection "Delete, Erase, And Other Solutions" 2015..

License at Music Vine:
https://musicvine.net/music/l-allee-des-etoiles/]]>
Ambient-experimental, electro-acoustic collection "Delete, Erase, And Other Solutions" 2015..

License at Music Vine:
https://musicvine.net/music/l-allee-des-etoiles/]]> 1494560 no no Sun, 20 Sep 2015 17:20:47 +0200 2015-09-20T17:20:47+02:00 3:27 https://hearthis.at/danieldiaz/dune/ Synth and electronica soundscapes, radio interference, flute.

From DD's ambient-experimental, electro-acoustic collection "Delete, Erase, And Other Solutions" 2015.
www.dedeland.com
]]> Synth and electronica soundscapes, radio interference, flute.

From DD's ambient-experimental, electro-acoustic collection "Delete, Erase, And Other Solutions" 2015.
www.dedeland.com
]]> 1494563 no no Sat, 29 Aug 2015 16:33:25 +0200 2015-08-29T16:33:25+02:00 2:48 https://hearthis.at/danieldiaz/oratio-septentrionalis/ http://www.drakecustombass.com/gallery/diaz-custom-5/
unaccompanied bass guitar.
Image: self portrait by dd, Centre Hospitalier Annecy Genevois, January 2003.
More:
www.dedeland.com]]> http://www.drakecustombass.com/gallery/diaz-custom-5/
unaccompanied bass guitar.
Image: self portrait by dd, Centre Hospitalier Annecy Genevois, January 2003.
More:
www.dedeland.com]]> 1494569 no no Wed, 15 Jul 2015 16:20:57 +0200 2015-07-15T16:20:57+02:00 3:04 https://hearthis.at/danieldiaz/outside-juarez/ Every note and every noise here are sourced from a live-in-the-studio performance on my Drake DiazCustom5 electric bass:
http://www.drakecustombass.com/gallery/diaz-custom-5/
Fx used: reverb, echo, reverse delay, wah-wah delay, overdrive, distortion.
www.dedeland.com
]]> Every note and every noise here are sourced from a live-in-the-studio performance on my Drake DiazCustom5 electric bass:
http://www.drakecustombass.com/gallery/diaz-custom-5/
Fx used: reverb, echo, reverse delay, wah-wah delay, overdrive, distortion.
www.dedeland.com
]]> 1494570 no no Tue, 14 Jul 2015 11:18:24 +0200 2015-07-14T11:18:24+02:00 4:36 https://hearthis.at/danieldiaz/exeter/ Synth and electronica rythmic soundscape.]]> Synth and electronica rythmic soundscape.]]> 1494573 no no Thu, 09 Jul 2015 23:27:35 +0200 2015-07-09T23:27:35+02:00 3:28 https://hearthis.at/danieldiaz/its-white/ Solo and layered cellos over synth and electronica soundscape.]]> Solo and layered cellos over synth and electronica soundscape.]]> 1494575 no no Thu, 09 Jul 2015 10:47:21 +0200 2015-07-09T10:47:21+02:00 3:02 https://hearthis.at/danieldiaz/if-you-stay/ 4 synthesiser tracks, one Ondes Martenot track and two electric bass tracks. Recorded July 2015, Paris, France.]]> 4 synthesiser tracks, one Ondes Martenot track and two electric bass tracks. Recorded July 2015, Paris, France.]]> 1494577 no no Fri, 03 Jul 2015 12:15:31 +0200 2015-07-03T12:15:31+02:00 3:16 https://hearthis.at/danieldiaz/metal-flow/ From METAL WORKS Instrumental music performed on hand pans (halo, spacedrum, hang) and other electro-acoustic instruments. (Electric guitars and basses, marimba, synths, upright bass, ukelele, etc)
Composed and performed by Daniel Diaz 2014
www.dedeland.com]]> From METAL WORKS Instrumental music performed on hand pans (halo, spacedrum, hang) and other electro-acoustic instruments. (Electric guitars and basses, marimba, synths, upright bass, ukelele, etc)
Composed and performed by Daniel Diaz 2014
www.dedeland.com]]> 1494579 no no Wed, 24 Jun 2015 16:06:13 +0200 2015-06-24T16:06:13+02:00 2:33 https://hearthis.at/danieldiaz/no-i-am-not/ At the end, Ernesto "Che" Guevara and Alfredo Palacios guests.
]]> At the end, Ernesto "Che" Guevara and Alfredo Palacios guests.
]]> 1494581 no no Sat, 20 Jun 2015 09:14:37 +0200 2015-06-20T09:14:37+02:00 4:37 https://hearthis.at/danieldiaz/tres-bocas/

Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments. (Electric guitars and basses, marimba, synths, upright bass, ukelele, etc)
Composed and performed by Daniel Diaz 2014
www.dedeland.com]]>

Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments. (Electric guitars and basses, marimba, synths, upright bass, ukelele, etc)
Composed and performed by Daniel Diaz 2014
www.dedeland.com]]> 1494583 no no Sun, 14 Jun 2015 13:03:53 +0200 2015-06-14T13:03:53+02:00 2:22 https://hearthis.at/danieldiaz/robert-and-philip/ Inspired (and dedicated to) Robert Wilson and Philip Glass.

From "Metal Works"
Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments.
Composed and performed by Daniel Diaz 2014
www.dedeland.com
]]> Inspired (and dedicated to) Robert Wilson and Philip Glass.

From "Metal Works"
Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments.
Composed and performed by Daniel Diaz 2014
www.dedeland.com
]]> 1494589 no no Sat, 13 Jun 2015 16:05:37 +0200 2015-06-13T16:05:37+02:00 2:47 https://hearthis.at/danieldiaz/los-feliz-ca/
From "Metal Works"
Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments.
Composed and performed by Daniel Diaz 2014
www.dedeland.com
]]>
From "Metal Works"
Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments.
Composed and performed by Daniel Diaz 2014
www.dedeland.com
]]> 1494585 no no Thu, 11 Jun 2015 22:22:47 +0200 2015-06-11T22:22:47+02:00 3:10 https://hearthis.at/danieldiaz/los-cayos/
Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments.
Composed and performed by Daniel Diaz 2014]]>
Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments.
Composed and performed by Daniel Diaz 2014]]> 1494587 no no Thu, 11 Jun 2015 22:18:24 +0200 2015-06-11T22:18:24+02:00 1:52 https://hearthis.at/danieldiaz/vitae/ Featuring: Multiple bowed upright basses, two acoustic guitars, acoustic bass guitar, charango, acoustic piano, string orchestra.
recorded in lanus (argentina) and paris (france) 2013-2015

License at Music Vine:
https://musicvine.net/music/vitae/]]> Featuring: Multiple bowed upright basses, two acoustic guitars, acoustic bass guitar, charango, acoustic piano, string orchestra.
recorded in lanus (argentina) and paris (france) 2013-2015

License at Music Vine:
https://musicvine.net/music/vitae/]]> 1494590 no no Wed, 10 Jun 2015 18:34:46 +0200 2015-06-10T18:34:46+02:00 3:07 https://hearthis.at/danieldiaz/argos/
Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments.
Composed and performed by Daniel Diaz 2014
www.dedeland.com]]>
Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments.
Composed and performed by Daniel Diaz 2014
www.dedeland.com]]> 1494592 no no Sun, 07 Jun 2015 18:49:22 +0200 2015-06-07T18:49:22+02:00 1:52 https://hearthis.at/danieldiaz/einstein-in-paris-full-mix/
Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments.
Composed and performed by Daniel Diaz 2014
www.dedeland.com]]>
Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments.
Composed and performed by Daniel Diaz 2014
www.dedeland.com]]> 1494594 no no Sun, 07 Jun 2015 18:49:22 +0200 2015-06-07T18:49:22+02:00 3:12 https://hearthis.at/danieldiaz/einsteinontheroad/
Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments.
Composed and performed by Daniel Diaz 2014
www.dedeland.com]]>
Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments.
Composed and performed by Daniel Diaz 2014
www.dedeland.com]]> 1494596 no no Sun, 07 Jun 2015 18:49:21 +0200 2015-06-07T18:49:21+02:00 2:43 https://hearthis.at/danieldiaz/melt/
Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments.
Composed and performed by Daniel Diaz 2014
www.dedeland.com]]>
Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments.
Composed and performed by Daniel Diaz 2014
www.dedeland.com]]> 1494598 no no Sun, 07 Jun 2015 18:49:21 +0200 2015-06-07T18:49:21+02:00 2:31 https://hearthis.at/danieldiaz/septentrional/
Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments.
Composed and performed by Daniel Diaz 2014
www.dedeland.com]]>
Instrumental music performed on hand pans (halo, sacedrum, hang) and other electro-acoustic instruments.
Composed and performed by Daniel Diaz 2014
www.dedeland.com]]> 1494600 no no Sun, 07 Jun 2015 18:49:20 +0200 2015-06-07T18:49:20+02:00 2:12 https://hearthis.at/danieldiaz/tucson/ Composed and performed by Daniel Diaz 2014
www.dedeland.com]]> Composed and performed by Daniel Diaz 2014
www.dedeland.com]]> 1494601 no no Sun, 07 Jun 2015 18:49:20 +0200 2015-06-07T18:49:20+02:00 2:22 https://hearthis.at/danieldiaz/el-paso/ Startocaster electric guitar, synthetizers, electronica.
From the ongoing series "delete, erase, and other solutions"(commission, production music)
www.dedeland.com]]> Startocaster electric guitar, synthetizers, electronica.
From the ongoing series "delete, erase, and other solutions"(commission, production music)
www.dedeland.com]]> 1494602 no no Thu, 04 Jun 2015 19:39:04 +0200 2015-06-04T19:39:04+02:00 4:32 https://hearthis.at/danieldiaz/la-bailantera/
Nini FLores: acordeon
Pajaro Canzani: percussion
Daniel Diaz: upright bass, organ
]]>
Nini FLores: acordeon
Pajaro Canzani: percussion
Daniel Diaz: upright bass, organ
]]> 1494604 no no Fri, 17 Apr 2015 08:49:34 +0200 2015-04-17T08:49:34+02:00 2:32 https://hearthis.at/danieldiaz/nuevo-abasto/ Composed by Daniel Diaz
Daniel Diaz: Synths, Acoustic Pino, Upright Bass, Programming.
Olivier Manoury: Bandonéon
Line Kruse: Violins.

www.cezame-fle.com/liste_titres_al…php?ref=CEZ4093]]> Composed by Daniel Diaz
Daniel Diaz: Synths, Acoustic Pino, Upright Bass, Programming.
Olivier Manoury: Bandonéon
Line Kruse: Violins.

www.cezame-fle.com/liste_titres_al…php?ref=CEZ4093]]> 1494606 no no Mon, 13 Apr 2015 22:28:28 +0200 2015-04-13T22:28:28+02:00 3:21 https://hearthis.at/danieldiaz/macadam-gaucho/ Composed by Daniel Diaz
Daniel Diaz: Electric Guitar, Upright Bass, Programming.
Olivier Manoury: Bandonéon

www.cezame-fle.com/liste_titres_al…php?ref=CEZ4093

Show more
]]> Composed by Daniel Diaz
Daniel Diaz: Electric Guitar, Upright Bass, Programming.
Olivier Manoury: Bandonéon

www.cezame-fle.com/liste_titres_al…php?ref=CEZ4093

Show more
]]> 1494607 no no Mon, 13 Apr 2015 22:20:58 +0200 2015-04-13T22:20:58+02:00 4:25 https://hearthis.at/danieldiaz/club-recoleta/ Composed by Daniel Diaz
Daniel Diaz: Piano, Upright Bass, Programming.
Nini Flores: Bandonéon


http://www.cezame-fle.com/liste_titres_album.php?ref=CEZ4093]]> Composed by Daniel Diaz
Daniel Diaz: Piano, Upright Bass, Programming.
Nini Flores: Bandonéon


http://www.cezame-fle.com/liste_titres_album.php?ref=CEZ4093]]> 1494611 no no Mon, 13 Apr 2015 22:02:05 +0200 2015-04-13T22:02:05+02:00 2:55 https://hearthis.at/danieldiaz/falso-requiem/ recorded in pinamar (argentina) and paris (france) 2013-2015
www.dedeland.com

License at Music Vine:
https://musicvine.net/music/falso-requiem/]]> recorded in pinamar (argentina) and paris (france) 2013-2015
www.dedeland.com

License at Music Vine:
https://musicvine.net/music/falso-requiem/]]> 1494612 no no Sat, 31 Jan 2015 13:38:43 +0100 2015-01-31T13:38:43+01:00 3:58 https://hearthis.at/danieldiaz/ambiguo-fukushima/ Track created for Cezame Fle Music Library.
DD: ronroco, upright bass, delay, treated reverbs.
recorded in paris (france) 2011

www.dedeland.com]]> Track created for Cezame Fle Music Library.
DD: ronroco, upright bass, delay, treated reverbs.
recorded in paris (france) 2011

www.dedeland.com]]> 1494616 no no Wed, 28 Jan 2015 18:22:07 +0100 2015-01-28T18:22:07+01:00 2:46 https://hearthis.at/danieldiaz/electric-bass-phases-disquiet0249/ Repetitive, hypnotic counterpoint.
Dedicated to Steve Reich.

www.dedeland.com

Included as part of:
Disquiet Junto Project 0249: 80 Phases
Wish the minimalist composer Steve Reich a happy birthday.
More on this 249th weekly Disquiet Junto project — “Wish the minimalist composer Steve Reich a happy birthday” — at:

http://disquiet.com/0249/1

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/happy-birthday-steve-reich-disquiet-junto-project-0249/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> Repetitive, hypnotic counterpoint.
Dedicated to Steve Reich.

www.dedeland.com

Included as part of:
Disquiet Junto Project 0249: 80 Phases
Wish the minimalist composer Steve Reich a happy birthday.
More on this 249th weekly Disquiet Junto project — “Wish the minimalist composer Steve Reich a happy birthday” — at:

http://disquiet.com/0249/1

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

llllllll.co/t/happy-birthday-steve-reich-disquiet-junto-project-0249/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.]]> 1494617 no no Sat, 10 Jan 2015 11:08:40 +0100 2015-01-10T11:08:40+01:00 2:35 https://hearthis.at/danieldiaz/gandolfini-etc-bonus-track/
Featuring Luis Rigou: quena, sikus
D.D.: harmonium; hang (hand pan), fretless bass, percussion.

Album here:
https://danieldiaz.bandcamp.com/album/swan-song]]>
Featuring Luis Rigou: quena, sikus
D.D.: harmonium; hang (hand pan), fretless bass, percussion.

Album here:
https://danieldiaz.bandcamp.com/album/swan-song]]> 1494621 no no Sun, 21 Dec 2014 17:57:35 +0100 2014-12-21T17:57:35+01:00 5:22 https://hearthis.at/danieldiaz/anomaly-484/ strings, solo cello, synths. r
eflective & dark ambient.
performed by DD
cello track originally performed by the great damien jarry]]> strings, solo cello, synths. r
eflective & dark ambient.
performed by DD
cello track originally performed by the great damien jarry]]> 1494622 no no Sat, 20 Dec 2014 22:59:43 +0100 2014-12-20T22:59:43+01:00 3:15 https://hearthis.at/danieldiaz/voided/ From Daniel Diaz's 2014 Electronica Sensible (production music collection)]]> From Daniel Diaz's 2014 Electronica Sensible (production music collection)]]> 1494626 no no Sat, 20 Dec 2014 17:58:17 +0100 2014-12-20T17:58:17+01:00 3:15 https://hearthis.at/danieldiaz/romantica-cromatica-excerpt/ Leandro Guffanti : Soprano Sax
Line Kruse : Violin
Daniel Miguez : Drums
Norberto Pedreira : Guitar
D.D. : upright bass, piano, charango, bombo, accordina, acoustic bass guitar.
Recorded in Buenos Aires and Paris, 2013-2014
Full streaming here: https://danieldiaz.bandcamp.com/album/swan-song

]]> Leandro Guffanti : Soprano Sax
Line Kruse : Violin
Daniel Miguez : Drums
Norberto Pedreira : Guitar
D.D. : upright bass, piano, charango, bombo, accordina, acoustic bass guitar.
Recorded in Buenos Aires and Paris, 2013-2014
Full streaming here: https://danieldiaz.bandcamp.com/album/swan-song

]]> 1494629 no no Thu, 11 Dec 2014 00:41:29 +0100 2014-12-11T00:41:29+01:00 1:29 https://hearthis.at/danieldiaz/neo-zamba-fin-de-sicle-excerpt/ http://www.dedeland.com/swansong.htm
Javier Estrella: drums
Bobby Rangell: flutes
D.D. : electric guitar, organ, upright bass, vibes, accordina.

Full preview: https://danieldiaz.bandcamp.com/album/swan-song

A-A-B-A Instrumental based on a zamba pulse but with "wrong" time signatures all over(3/4, 4/4, 7/8)]]> http://www.dedeland.com/swansong.htm
Javier Estrella: drums
Bobby Rangell: flutes
D.D. : electric guitar, organ, upright bass, vibes, accordina.

Full preview: https://danieldiaz.bandcamp.com/album/swan-song

A-A-B-A Instrumental based on a zamba pulse but with "wrong" time signatures all over(3/4, 4/4, 7/8)]]> 1494631 no no Sat, 06 Dec 2014 11:52:05 +0100 2014-12-06T11:52:05+01:00 1:32 https://hearthis.at/danieldiaz/palermo-excerpt/ Recording: Live take @ angel studios, Paris, France. November 19th 2014 in the morning.
Patrick Bebey: Rhodes electric piano.
Bobby Rangell: Alto Sax
Javier Estrella: Drums
Daniel Diaz: Upright Bass

From Daniel DIaz's "Swan Song"
www.dedeland.com/swansong.htm]]> Recording: Live take @ angel studios, Paris, France. November 19th 2014 in the morning.
Patrick Bebey: Rhodes electric piano.
Bobby Rangell: Alto Sax
Javier Estrella: Drums
Daniel Diaz: Upright Bass

From Daniel DIaz's "Swan Song"
www.dedeland.com/swansong.htm]]> 1494632 no no Fri, 05 Dec 2014 12:26:19 +0100 2014-12-05T12:26:19+01:00 1:12 https://hearthis.at/danieldiaz/erik-saties-farewell-excerpt/ D.D: Requinto (steel string), Vibes, Upright Bass, Drums.
Olivier Manoury: Bandoneon.
Full streaming here: https://danieldiaz.bandcamp.com/album/swan-song

www.dedeland.com/swansong.htm

Composed @ Villa Gesell, 2008.
Recorded between 2008 and 2014 at Exile STudios (Villa Gesell & Buenos Aires), Pleasure Dome Studios (Paris), Angel Studios (Paris)]]> D.D: Requinto (steel string), Vibes, Upright Bass, Drums.
Olivier Manoury: Bandoneon.
Full streaming here: https://danieldiaz.bandcamp.com/album/swan-song

www.dedeland.com/swansong.htm

Composed @ Villa Gesell, 2008.
Recorded between 2008 and 2014 at Exile STudios (Villa Gesell & Buenos Aires), Pleasure Dome Studios (Paris), Angel Studios (Paris)]]> 1494634 no no Tue, 25 Nov 2014 17:26:02 +0100 2014-11-25T17:26:02+01:00 1:55 https://hearthis.at/danieldiaz/os-historicos-excerpt/ Acoustic bass guitar, drums, percussion, rhodes, vibes.
Featuring Bobby Rangell (Flutes)
Composed by D.D. @ Paris 2005

Recorded at The Pleasure Dome, Paris 2005 and 2014

Full streaming here: https://danieldiaz.bandcamp.com/album/swan-song]]> Acoustic bass guitar, drums, percussion, rhodes, vibes.
Featuring Bobby Rangell (Flutes)
Composed by D.D. @ Paris 2005

Recorded at The Pleasure Dome, Paris 2005 and 2014

Full streaming here: https://danieldiaz.bandcamp.com/album/swan-song]]> 1494636 no no Sat, 22 Nov 2014 16:43:16 +0100 2014-11-22T16:43:16+01:00 0:58 https://hearthis.at/danieldiaz/otoo-y-martes-love-theme-number1/ https://danieldiaz.bandcamp.com/album/swan-song
http://www.dedeland.com/swansong.htm
D.D. : Piano, Upright Bass, Acoustic Guitar.
String section:
D.D. : bowed basses.
Line Kruse : violins
Damien Jarry : cellos

Composed in Buenos Aires, 1997, recorded in Paris 2009-2014
www.dedeland.com/swansong.htm]]> https://danieldiaz.bandcamp.com/album/swan-song
http://www.dedeland.com/swansong.htm
D.D. : Piano, Upright Bass, Acoustic Guitar.
String section:
D.D. : bowed basses.
Line Kruse : violins
Damien Jarry : cellos

Composed in Buenos Aires, 1997, recorded in Paris 2009-2014
www.dedeland.com/swansong.htm]]> 1494639 no no Tue, 21 Oct 2014 18:50:34 +0200 2014-10-21T18:50:34+02:00 2:27 https://hearthis.at/danieldiaz/vignette-la-excerpt/ Recorded in Buenos Aires, Paris and Los Angeles, 2012-2014
Piano / Contrebasse / Delays, Reverb, Revox / Samples & Noises / Contrebasses à l’arco.
Guest stars:
Gustavo Bulgach (Clarinette)
Damien Jarry (Violloncelles ).

Full streaming here: https://danieldiaz.bandcamp.com/album/swan-song]]> Recorded in Buenos Aires, Paris and Los Angeles, 2012-2014
Piano / Contrebasse / Delays, Reverb, Revox / Samples & Noises / Contrebasses à l’arco.
Guest stars:
Gustavo Bulgach (Clarinette)
Damien Jarry (Violloncelles ).

Full streaming here: https://danieldiaz.bandcamp.com/album/swan-song]]> 1494641 no no Mon, 20 Oct 2014 15:49:31 +0200 2014-10-20T15:49:31+02:00 1:25 https://hearthis.at/danieldiaz/harolds-lake-excerpt/ Featuring Damien Jarry (violoncellos)
Full streaming here: https://danieldiaz.bandcamp.com/album/swan-song

DD: Acoustic piano, Upright bass, Hang (spacedrum), treatments and radio interferences. (Includes speeches by Neil Amstrong, Juan Domingo Peron and Albert Einstein)
]]> Featuring Damien Jarry (violoncellos)
Full streaming here: https://danieldiaz.bandcamp.com/album/swan-song

DD: Acoustic piano, Upright bass, Hang (spacedrum), treatments and radio interferences. (Includes speeches by Neil Amstrong, Juan Domingo Peron and Albert Einstein)
]]> 1494643 no no Fri, 26 Sep 2014 23:37:07 +0200 2014-09-26T23:37:07+02:00 1:31 https://hearthis.at/danieldiaz/resum-swan-songexcerpt/ Acoustic piano
Upright bass
Flugelhorn (Dave Lewis)
Drums (Steve Arguelles)
Full streaming here: https://danieldiaz.bandcamp.com/album/swan-song]]> Acoustic piano
Upright bass
Flugelhorn (Dave Lewis)
Drums (Steve Arguelles)
Full streaming here: https://danieldiaz.bandcamp.com/album/swan-song]]> 1494644 no no Fri, 12 Sep 2014 19:38:18 +0200 2014-09-12T19:38:18+02:00 1:10 https://hearthis.at/danieldiaz/tristesse-collateral-excerpt/ Exceprt from Daniel Diaz's "Swan Song" 2014.

Full streaming here: https://danieldiaz.bandcamp.com/album/swan-song

www.dedeland.com/swansong;htm]]> Exceprt from Daniel Diaz's "Swan Song" 2014.

Full streaming here: https://danieldiaz.bandcamp.com/album/swan-song

www.dedeland.com/swansong;htm]]> 1494647 no no Mon, 28 Jul 2014 22:57:06 +0200 2014-07-28T22:57:06+02:00 1:37 https://hearthis.at/danieldiaz/nomm-desir-extrait/ https://bordertracks.bandcamp.com/

Instrumental/Panoramic rock , performed live in the studio 2012 by BorderTracks.
Chloë Brasset: Drums
Frank Johannes: Guitar
Daniel Diaz: Bass.]]> https://bordertracks.bandcamp.com/

Instrumental/Panoramic rock , performed live in the studio 2012 by BorderTracks.
Chloë Brasset: Drums
Frank Johannes: Guitar
Daniel Diaz: Bass.]]> 1494649 no no Tue, 13 May 2014 09:25:34 +0200 2014-05-13T09:25:34+02:00 1:14 https://hearthis.at/danieldiaz/cristal-archet/

www.dedeland.com]]>

www.dedeland.com]]> 1494652 no no Fri, 27 Sep 2013 18:18:35 +0200 2013-09-27T18:18:35+02:00 2:36 https://hearthis.at/danieldiaz/lafalaise-insensible-mix/ 1494653 no no Fri, 13 Sep 2013 13:53:32 +0200 2013-09-13T13:53:32+02:00 2:40 https://hearthis.at/danieldiaz/lafalaise-mix/ 1494656 no no Fri, 13 Sep 2013 13:53:30 +0200 2013-09-13T13:53:30+02:00 2:35 https://hearthis.at/danieldiaz/hang4electronic/ Performed and composed by Daniel Diaz, July 2013, Paris , France.]]> Performed and composed by Daniel Diaz, July 2013, Paris , France.]]> 1494657 no no Fri, 12 Jul 2013 01:40:34 +0200 2013-07-12T01:40:34+02:00 3:26 https://hearthis.at/danieldiaz/hang3acoustic/ 6 bowed basses
3 cellos
1 hang
]]> 6 bowed basses
3 cellos
1 hang
]]> 1494665 no no Thu, 11 Jul 2013 23:33:59 +0200 2013-07-11T23:33:59+02:00 3:41 https://hearthis.at/danieldiaz/the-immigrants-tango-jazz-version/ One track released weekly, Free download available , please check it out here:
http://dedeland.com/themes.htm
where you can join my mailing list and be informed when each new track is released.
"Themes" is online here:
http://danieldiaz.bandcamp.com/album/themes]]> One track released weekly, Free download available , please check it out here:
http://dedeland.com/themes.htm
where you can join my mailing list and be informed when each new track is released.
"Themes" is online here:
http://danieldiaz.bandcamp.com/album/themes]]> 1494667 no no Tue, 28 May 2013 09:51:27 +0200 2013-05-28T09:51:27+02:00 3:29 https://hearthis.at/danieldiaz/ukelele-orchestra/ 1494670 no no Sat, 08 Dec 2012 12:55:39 +0100 2012-12-08T12:55:39+01:00 2:49 https://hearthis.at/danieldiaz/karma-3-excerpt/ Manuel Miranda: Flute
Rik Hambra: Tabla

recorded live at the Pleasure Dome, Buenos Aires, Argentina, 1996.


From Daniel Diaz's MAQUINA BLANDA

http://danieldiaz.bandcamp.com/album/maquina-blanda
]]> Manuel Miranda: Flute
Rik Hambra: Tabla

recorded live at the Pleasure Dome, Buenos Aires, Argentina, 1996.


From Daniel Diaz's MAQUINA BLANDA

http://danieldiaz.bandcamp.com/album/maquina-blanda
]]> 1494672 no no Fri, 28 Sep 2012 15:51:50 +0200 2012-09-28T15:51:50+02:00 2:03 https://hearthis.at/danieldiaz/calcarea/ 1492087 no no Tue, 31 Jul 2012 03:07:26 +0200 2012-07-31T03:07:26+02:00 6:28 https://hearthis.at/danieldiaz/pop-lugar-comun/
From “Lugar Comun”
Recorded live at Angel Studios, Paris , France , 2005.
Performed by
Daniel DIAZ : Acoustic Bass Guitar, Upright Bass.
Bobby RANGELL : Flutes, Soprano and Alto Saxophones.
Javier ESTRELLA :Drums, Percussion.
http://www.dedeland.com/lugarcomun.htm
https://danieldiaz.bandcamp.com/album/lugar-comun]]>
From “Lugar Comun”
Recorded live at Angel Studios, Paris , France , 2005.
Performed by
Daniel DIAZ : Acoustic Bass Guitar, Upright Bass.
Bobby RANGELL : Flutes, Soprano and Alto Saxophones.
Javier ESTRELLA :Drums, Percussion.
http://www.dedeland.com/lugarcomun.htm
https://danieldiaz.bandcamp.com/album/lugar-comun]]> 1492088 no no Tue, 31 Jul 2012 03:06:52 +0200 2012-07-31T03:06:52+02:00 8:29 https://hearthis.at/danieldiaz/zamba-del-bajo/ This track is from the album Low Volume 1 and is available for purchase on CD Baby here:
https://danieldiaz.bandcamp.com/album/low-volume-1
http://www.cdbaby.com/cd/danieldiaz3
more:
http://www.dedeland.com/low.htm]]> This track is from the album Low Volume 1 and is available for purchase on CD Baby here:
https://danieldiaz.bandcamp.com/album/low-volume-1
http://www.cdbaby.com/cd/danieldiaz3
more:
http://www.dedeland.com/low.htm]]> 1492091 no no Tue, 31 Jul 2012 03:05:17 +0200 2012-07-31T03:05:17+02:00 5:49 https://hearthis.at/danieldiaz/and-i-love-her/ From “Lugar Comun”
Recorded live at Angel Studios, Paris , France , 2005.
Performed by
Daniel DIAZ : Acoustic Bass Guitar, Upright Bass.
Bobby RANGELL : Flutes, Soprano and Alto Saxophones.
Javier ESTRELLA :Drums, Percussion.
http://www.dedeland.com/lugarcomun.htm
https://danieldiaz.bandcamp.com/album/lugar-comun]]> From “Lugar Comun”
Recorded live at Angel Studios, Paris , France , 2005.
Performed by
Daniel DIAZ : Acoustic Bass Guitar, Upright Bass.
Bobby RANGELL : Flutes, Soprano and Alto Saxophones.
Javier ESTRELLA :Drums, Percussion.
http://www.dedeland.com/lugarcomun.htm
https://danieldiaz.bandcamp.com/album/lugar-comun]]> 1492093 no no Wed, 25 Jul 2012 00:25:13 +0200 2012-07-25T00:25:13+02:00 4:15 https://hearthis.at/danieldiaz/luiza/ From “Lugar Comun”
Recorded live at Angel Studios, Paris , France , 2005.
Performed by
Daniel DIAZ : Acoustic Bass Guitar, Upright Bass.
Bobby RANGELL : Flutes, Soprano and Alto Saxophones.
Javier ESTRELLA :Drums, Percussion.
http://www.dedeland.com/lugarcomun.htm
https://danieldiaz.bandcamp.com/album/lugar-comun]]> From “Lugar Comun”
Recorded live at Angel Studios, Paris , France , 2005.
Performed by
Daniel DIAZ : Acoustic Bass Guitar, Upright Bass.
Bobby RANGELL : Flutes, Soprano and Alto Saxophones.
Javier ESTRELLA :Drums, Percussion.
http://www.dedeland.com/lugarcomun.htm
https://danieldiaz.bandcamp.com/album/lugar-comun]]> 1492095 no no Wed, 25 Jul 2012 00:24:29 +0200 2012-07-25T00:24:29+02:00 5:11 https://hearthis.at/danieldiaz/trois-vibes-n1/ 1492097 no no Tue, 24 Jul 2012 09:36:17 +0200 2012-07-24T09:36:17+02:00 3:09 https://hearthis.at/danieldiaz/final-jersey-side/ 1492098 no no Tue, 24 Jul 2012 09:35:48 +0200 2012-07-24T09:35:48+02:00 6:54 https://hearthis.at/danieldiaz/trance-01-pub/ 1492100 no no Tue, 24 Jul 2012 09:32:54 +0200 2012-07-24T09:32:54+02:00 6:07 https://hearthis.at/danieldiaz/impromptu-n1/ This track is from the album Low Volume 1 and is available for purchase on CD Baby here:
https://danieldiaz.bandcamp.com/album/low-volume-1
http://www.cdbaby.com/cd/danieldiaz3
more:
http://www.dedeland.com/low.htm]]> This track is from the album Low Volume 1 and is available for purchase on CD Baby here:
https://danieldiaz.bandcamp.com/album/low-volume-1
http://www.cdbaby.com/cd/danieldiaz3
more:
http://www.dedeland.com/low.htm]]> 1492103 no no Tue, 24 Jul 2012 09:31:16 +0200 2012-07-24T09:31:16+02:00 3:33 https://hearthis.at/danieldiaz/gilda/ Frank Joannes: Guitar/Guitar.
Chloë Brasset: Batterie/Drums.
Daniel Diaz: Basse/Bass.
Composed, performed and arranged by Bordertracks.
Produced by Daniel Diaz.

Video here:
https://vimeo.com/89190408
]]> Frank Joannes: Guitar/Guitar.
Chloë Brasset: Batterie/Drums.
Daniel Diaz: Basse/Bass.
Composed, performed and arranged by Bordertracks.
Produced by Daniel Diaz.

Video here:
https://vimeo.com/89190408
]]> 1492106 no no Mon, 23 Jul 2012 23:32:19 +0200 2012-07-23T23:32:19+02:00 2:50 https://hearthis.at/danieldiaz/larmkunst-piano/ lärmkunst piano 3:20
sound sources music: upright acoustic piano, double bass.
sound sources noise: radio interference & hum.
treatments: filters & tape delays

http://www.dedeland.com/larmkunst.htm

lärmkunst is part of
http://www.dedeland.com/mmlimitededition.htm]]> lärmkunst piano 3:20
sound sources music: upright acoustic piano, double bass.
sound sources noise: radio interference & hum.
treatments: filters & tape delays

http://www.dedeland.com/larmkunst.htm

lärmkunst is part of
http://www.dedeland.com/mmlimitededition.htm]]> 1492108 no no Fri, 28 Jan 2011 19:50:35 +0100 2011-01-28T19:50:35+01:00 3:20 https://hearthis.at/danieldiaz/zamba-4/ http://www.dedeland.com/diaz.rangell.estrella.htm

Daniel DIAZ: Bass
Bobby RANGELL: Sax&Flute
Javier ESTRELLA: Percussion

(very) TECHNICAL INFO :
Javier Estrella played his « third world » custom drum-kit : Snare, Hi-Hat, Ride and Crash cymbals, Djembé and Bongo (replacing hi-mid toms), Bombo Leguero (replacing low-tom), Bombo Leguero with pedal (replacing kik drum), and cajon. In ‘Get Out of Town’ he played an Udu-Drum.
Bobby Rangell played his saxophones (Soprano in ‘And I Love Her’ ‘Lluvias Costeras’ ‘Luiza’ and ‘Candombe p’al Beto’, Alto in ‘Pop’ ‘Zamba4’ and ‘Calcarea’) , Flute (ebony mouthpiece in ‘Chacabas’ and ‘Bebê’, métal mouthpiece in ‘Donata’ and ‘Get Out of Town’) and Piccolo (in ‘Bebê’ )
D.D. played his five string L’Arrivée acoustic bass guitar ( tuned E/A/D/G/C). Bass guitar’s Fishman tranducer went trought an ADA tube preamp.
Microphones: NeumanTL103 (bass and saxes), AKG EB451(flutes) shureSM57(cajon) et SM58(drums)AT4041 (overheads) ShureBeta52 (Kick Drum)
During recording and mixdown no EQ was used, exempt for some HPF in the snare drum track in ‘Pop’.
Evrery part was played by each musician as if performed live. no ‘overdubs’, excempt for a bongo overdub in the last section of ‘candombe p’al beto’.

From “Lugar Comun”

http://www.dedeland.com/lugarcomun.htm
https://danieldiaz.bandcamp.com/album/lugar-comun]]> http://www.dedeland.com/diaz.rangell.estrella.htm

Daniel DIAZ: Bass
Bobby RANGELL: Sax&Flute
Javier ESTRELLA: Percussion

(very) TECHNICAL INFO :
Javier Estrella played his « third world » custom drum-kit : Snare, Hi-Hat, Ride and Crash cymbals, Djembé and Bongo (replacing hi-mid toms), Bombo Leguero (replacing low-tom), Bombo Leguero with pedal (replacing kik drum), and cajon. In ‘Get Out of Town’ he played an Udu-Drum.
Bobby Rangell played his saxophones (Soprano in ‘And I Love Her’ ‘Lluvias Costeras’ ‘Luiza’ and ‘Candombe p’al Beto’, Alto in ‘Pop’ ‘Zamba4’ and ‘Calcarea’) , Flute (ebony mouthpiece in ‘Chacabas’ and ‘Bebê’, métal mouthpiece in ‘Donata’ and ‘Get Out of Town’) and Piccolo (in ‘Bebê’ )
D.D. played his five string L’Arrivée acoustic bass guitar ( tuned E/A/D/G/C). Bass guitar’s Fishman tranducer went trought an ADA tube preamp.
Microphones: NeumanTL103 (bass and saxes), AKG EB451(flutes) shureSM57(cajon) et SM58(drums)AT4041 (overheads) ShureBeta52 (Kick Drum)
During recording and mixdown no EQ was used, exempt for some HPF in the snare drum track in ‘Pop’.
Evrery part was played by each musician as if performed live. no ‘overdubs’, excempt for a bongo overdub in the last section of ‘candombe p’al beto’.

From “Lugar Comun”

http://www.dedeland.com/lugarcomun.htm
https://danieldiaz.bandcamp.com/album/lugar-comun]]> 1492110 no no Tue, 18 Jan 2011 13:49:07 +0100 2011-01-18T13:49:07+01:00 7:38 https://hearthis.at/danieldiaz/lowzambadesilusion/ from Daniel Diaz's album LOW VOL 1 music for basses
Performed using Larrivée 5 String Bass.
This track is from the album Low Volume 1 and is available for purchase on CD Baby here:
https://danieldiaz.bandcamp.com/album/low-volume-1
http://www.cdbaby.com/cd/danieldiaz3
more:
http://www.dedeland.com/low.htm


]]> from Daniel Diaz's album LOW VOL 1 music for basses
Performed using Larrivée 5 String Bass.
This track is from the album Low Volume 1 and is available for purchase on CD Baby here:
https://danieldiaz.bandcamp.com/album/low-volume-1
http://www.cdbaby.com/cd/danieldiaz3
more:
http://www.dedeland.com/low.htm


]]> 1492113 no no Tue, 18 Jan 2011 13:43:38 +0100 2011-01-18T13:43:38+01:00 4:00 https://hearthis.at/danieldiaz/larmkunst-main-theme/ lärmkunst Main Theme / 3:40
sound sources music: classical guitar, bamboo drums (temponatzl)
sound sources noise: acoustic detritus from real time processing.
treatments: real time processing (tape delays, filters),

http://www.dedeland.com/larmkunst.htm

lärmkunst is part of
http://www.dedeland.com/mmlimitededition.htm


]]> lärmkunst Main Theme / 3:40
sound sources music: classical guitar, bamboo drums (temponatzl)
sound sources noise: acoustic detritus from real time processing.
treatments: real time processing (tape delays, filters),

http://www.dedeland.com/larmkunst.htm

lärmkunst is part of
http://www.dedeland.com/mmlimitededition.htm


]]> 1492114 no no Thu, 09 Dec 2010 15:05:54 +0100 2010-12-09T15:05:54+01:00 3:40 https://hearthis.at/danieldiaz/dactilograficas/
From "lärmkunst" track 5. daktilograficas/3:13
sound sources music: Olivetti typewriter, double bass.
sound sources noise: radio interference & hum.
treatments: filters & tape delays.

http://www.dedeland.com/larmkunst.htm

]]>
From "lärmkunst" track 5. daktilograficas/3:13
sound sources music: Olivetti typewriter, double bass.
sound sources noise: radio interference & hum.
treatments: filters & tape delays.

http://www.dedeland.com/larmkunst.htm

]]> 1492117 no no Thu, 09 Dec 2010 14:47:59 +0100 2010-12-09T14:47:59+01:00 3:26 https://hearthis.at/danieldiaz/low-vals-polaco/ https://danieldiaz.bandcamp.com/album/low-volume-1
An album of original compositions recorded by Argentinian bassist/composer Daniel Diaz in Paris, France between 2005 and 2007, performed exclusively on seven different acoustic and electric Basses.
The CD features both Solo bass pieces and orchestrated multitrack tunes, with basses performing bass parts AND guitar, keyboards, percussion parts et all.

This bass extravaganza is the result of Daniel Diaz’s 25 years performing and composing as a bassist all around the world, and it’s interesting listening for any bass player.

All noises produced and recorded by D.D. at The Pleasure Dome
Paris, during 2005-2007.

http://www.dedeland.com/low.htm

]]> https://danieldiaz.bandcamp.com/album/low-volume-1
An album of original compositions recorded by Argentinian bassist/composer Daniel Diaz in Paris, France between 2005 and 2007, performed exclusively on seven different acoustic and electric Basses.
The CD features both Solo bass pieces and orchestrated multitrack tunes, with basses performing bass parts AND guitar, keyboards, percussion parts et all.

This bass extravaganza is the result of Daniel Diaz’s 25 years performing and composing as a bassist all around the world, and it’s interesting listening for any bass player.

All noises produced and recorded by D.D. at The Pleasure Dome
Paris, during 2005-2007.

http://www.dedeland.com/low.htm

]]> 1492118 no no Wed, 08 Dec 2010 14:53:22 +0100 2010-12-08T14:53:22+01:00 3:47 https://hearthis.at/danieldiaz/ewj-08-rh-kalyan-mix2/
From Electro World Jam
EWJ is experimental. It is not dance or electronica, Even if most of its sounds and beats could be inspired by ambient music or downtempo-chillout-lounge, it would be misleading (and disappointing to lounge fans) to consider this album a regular CD in those styles. Instruments, samples and performances are also inspired in fusion, jazz and classical styles, which give Electro World Jam its unique combination of complexity and easy going moods. Check out “Trance 01” with its easy lounge groove, spicy jungle breaks and melodic vocoder. Or “Premier” and “Guachyguayno” with their weird, acid and outré codas. And the funky use of South American charango, you’ll agree that this is everything but tame and standard. Not for everybody, hopefully for restless music lovers…]]>
From Electro World Jam
EWJ is experimental. It is not dance or electronica, Even if most of its sounds and beats could be inspired by ambient music or downtempo-chillout-lounge, it would be misleading (and disappointing to lounge fans) to consider this album a regular CD in those styles. Instruments, samples and performances are also inspired in fusion, jazz and classical styles, which give Electro World Jam its unique combination of complexity and easy going moods. Check out “Trance 01” with its easy lounge groove, spicy jungle breaks and melodic vocoder. Or “Premier” and “Guachyguayno” with their weird, acid and outré codas. And the funky use of South American charango, you’ll agree that this is everything but tame and standard. Not for everybody, hopefully for restless music lovers…]]> 1492120 no no Wed, 08 Dec 2010 12:11:14 +0100 2010-12-08T12:11:14+01:00 4:50 https://hearthis.at/danieldiaz/milongadonata/ http://www.dedeland.com/lugarcomun.htm
https://danieldiaz.bandcamp.com/album/lugar-comun
Daniel DIAZ: Bass
Bobby RANGELL: Sax&Flute
Javier ESTRELLA: Percussion

This album is Daniel Diaz's third CD, performed in trio with USA woodwind player Bobby Rangell and Argentinian percussionist Javier Estrella.


]]> http://www.dedeland.com/lugarcomun.htm
https://danieldiaz.bandcamp.com/album/lugar-comun
Daniel DIAZ: Bass
Bobby RANGELL: Sax&Flute
Javier ESTRELLA: Percussion

This album is Daniel Diaz's third CD, performed in trio with USA woodwind player Bobby Rangell and Argentinian percussionist Javier Estrella.


]]> 1492122 no no Wed, 08 Dec 2010 10:56:23 +0100 2010-12-08T10:56:23+01:00 5:29 https://hearthis.at/danieldiaz/tension/
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]>
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]> 1492123 no no Thu, 21 Oct 2010 23:31:12 +0200 2010-10-21T23:31:12+02:00 1:13 https://hearthis.at/danieldiaz/tappin-guitarras/
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]>
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]> 1492126 no no Thu, 21 Oct 2010 23:31:12 +0200 2010-10-21T23:31:12+02:00 1:20 https://hearthis.at/danieldiaz/solstice/
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]>
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]> 1492128 no no Thu, 21 Oct 2010 23:31:11 +0200 2010-10-21T23:31:11+02:00 1:30 https://hearthis.at/danieldiaz/solo-piano-uno/
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]>
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]> 1492129 no no Thu, 21 Oct 2010 23:31:11 +0200 2010-10-21T23:31:11+02:00 1:41 https://hearthis.at/danieldiaz/solo-piano-dos/
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]>
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]> 1492131 no no Thu, 21 Oct 2010 23:31:11 +0200 2010-10-21T23:31:11+02:00 1:45 https://hearthis.at/danieldiaz/jesse-al-arco/
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]>
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]> 1492132 no no Thu, 21 Oct 2010 23:31:10 +0200 2010-10-21T23:31:10+02:00 1:34 https://hearthis.at/danieldiaz/frantic-techno/
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]>
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]> 1492134 no no Thu, 21 Oct 2010 23:31:10 +0200 2010-10-21T23:31:10+02:00 1:30 https://hearthis.at/danieldiaz/frantic-prelude/
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]>
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]> 1492135 no no Thu, 21 Oct 2010 23:31:10 +0200 2010-10-21T23:31:10+02:00 1:13 https://hearthis.at/danieldiaz/fierros/
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]>
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]> 1492137 no no Thu, 21 Oct 2010 23:31:09 +0200 2010-10-21T23:31:09+02:00 1:39 https://hearthis.at/danieldiaz/duo-2/
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]>
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]> 1492140 no no Thu, 21 Oct 2010 23:31:09 +0200 2010-10-21T23:31:09+02:00 1:39 https://hearthis.at/danieldiaz/duo-1/
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]>
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]> 1492142 no no Thu, 21 Oct 2010 23:31:09 +0200 2010-10-21T23:31:09+02:00 1:23 https://hearthis.at/danieldiaz/metallic-drone/
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]>
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]> 1492143 no no Thu, 21 Oct 2010 23:31:08 +0200 2010-10-21T23:31:08+02:00 1:46 https://hearthis.at/danieldiaz/drone-mecanique/
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]>
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
]]> 1492145 no no Thu, 21 Oct 2010 23:31:08 +0200 2010-10-21T23:31:08+02:00 1:45 https://hearthis.at/danieldiaz/bamboo/
Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
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Musique mécanique is the result of two different researches I been pursuing during the last few years.
First , while working on some “drone” based tracks for another project, I got tired of the usual synth sustained low note as a drone, and all the tweaking, processing and morphing required to give some life to those dull plastic twangs. Being a bassist, it was a natural alternative to pick up my upright bass and try some bowed sustained notes. How easier was to add life to that! Not just by means of dynamics and playing techniques, but also manipulating and processing that acoustic “live” sound. So I started building some basic tracks that I called “organic drones”, it was just drones performed in acoustic instruments and even objects, noises and sounds, then processing and morphing those mixed tracks to achieve an original, unreal yet warm and lively sound. Those organic drones started to get more and more complex and weird as I kept pushing the limits of my postulate: “Just noises produced by mechanical means”.
In the bonus CD of the Special Edition of Musique Mécanique you’ll find the very first track I recorded for this project using these concept: “Recitativo”, its one of my complex organic drones going on for more than 8 minutes, mutating and evolving as I just solo on top of it my with my electric guitar. Some other tracks using these drone technique made it to the final cut of Musique Mécanique, most notably “Metallic Drone” and “Drones Mécanique” and “Solstice”, but glimpses of this proceedings impregnated the whole project in the backgrounds.
Then I started a second research, exploring the possibilities (and fun) of playing around with delays and echoes. The random counterpoints, brilliant accidents and unexpected harmonies provided by these delayed signals (usually with particularly high decay/feedback times) proved to be quite addictive, and it took the best part of the album, its bonus tracks and extended to many other projects like “lärmkunst”. The bonus CD includes some compositions I recorded for other projects using the very same “Delays Mécaniques” concept.
The culmination of these echo-drenched research and the idea of using delays as a composition technique, ended up in a collection called “Auto-Counterpoints”, but that’ll be a different project, as those tracks are more focused, rigorously planned, standard compositions. Musique Mécanique shows the research process, its unexpected results and delightful accidents. In a way this is the ultimate ”experimental” album for me: a recording of my experimentations with sound and composition, a pure “research” project, were I found the charm of starting a track without knowing exactly were it would lead me, without any plot or plan. Then, in post production the composition process continued, giving these recordings a more coherent, achieved structure and sound.
Hopefully some of you will appreciate the results of this process that took 2 years of passionate work. Thanks for making it happen, thanks for listening.
Love:

dd, Paris October 2010
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