Article 638 - 1.  Tweaked

only modified natural cowbells from allgäu (r.s.stropharia + a.schwarzer) 09.02.2024

Photo: Alhambra, Granada, Spain, 2024.

Like most of my tracks this started as a sketch of ideas that were gradually melded together starting with the guitar progression at the start. I was going for a textural kind of sound in this and in the intro there’s an effect approach to ‘grab’ a note from the guitar in a couple of places, sustain it and effect it – seemed to work okay and something I had wanted to try for a while now.

As ever, if you get a chance listen to this the whole way through 😉 🙏

Drums: NI Kontakt sample pack, through Baby Audio IHNY-2 compressor and Arturia Efx Motions for the intro/outro. Some sample editing for fills.
Bass: Sandberg Elektra 4-string newly strung with flats through NI Guitar Rig.
Guitars: a little PRS CE24 but mainly Godin Montreal thin-line jazz strung with flats including the solo. All through NI Guitar Rig and Archetype Tim Henson and warmed up with UAD Verve Analogue Machines.
Keys: various NI, Arturia keys and Crow Hill R+D Strings. Used Crow Hill Piano Rack for the first time on this as well for processing.
Voice: Dot Allison’s Crow Hill Dulcet Voice 
Mastering: Ozone 11 Standard.
DAW: Ableton 12.

Bandcamp

Touch

tropical depression

This is part of Disquiet Junto Project 0683: Space Shot. See more at https://llllllll.co/t/disquiet-junto-project-0683-space-shot/70693/.

Escapism 1

Disquiet Junto prompt 0683 instructed us to make a piece of music that is half in space and half not in space.

Radio waves travel at the speed of light, and when the first radio transmission crossed the Atlantic it was said that distance had been abolished. Without distance, there's no space. So half of the song is a story that takes place on a radio, and is about a radio, and was performed in part on a radio, removed from place and space.

There are no synthesizers or synthetic samples in this piece. Instrumentation was a heavily processed guitar played with ebow, a Schechter Damien 7-string guitar, shortwave radio, shoebox cassette recorder, and field recordings. The radio noises and vocal parts are removed from space through a custom convolution reverb I created using a spike of low-frequency AM noise as an impulse response, essentially placing the sounds in the ionosphere.

The story I tell in the song is true.

More on the 683rd weekly Disquiet Junto project, Space Shot — The Assignment: Combine reverberant and non-reverberant — at https://disquiet.com/0683/

Soft, Driven, Slow, and Mad (disquiet0683)

Hello, this is a variation of a track I've been working on for a "all percussion" project. I decided to boost the reverb time and amount on all kick and bass drum hits and keep the manual little percussions fully dry, just leaving the ambient sound of my room that's a tad more  alive  than a small studio room, but still very dry. And no reverb added.

I think this assignment's idea was interesting and worked alright here, all the bamboo drums and little hi pitched manual toys sound in your face and the "Booms!"  are extremely wet and it works. I guess.


for
https://llllllll.co/t/disquiet-junto-project-0683-space-shot/70693

Rain Forrest Wet and Dry - disquiet0683

More on the 683rd weekly Disquiet Junto project, Space Shot — The Assignment: Combine reverberant and non-reverberant — at https://disquiet.com/0683/

Glitch Wash (disquiet0683)

This is my submission to this week's Disquiet Junto assignment.

More on the 683rd weekly Disquiet Junto project, Space Shot — The Assignment: Combine reverberant and non-reverberant — at https://disquiet.com/0683/

250202 [disquiet0683]

Original Music from:
https://soundcloud.com/wilhelm-matthies/kokeka-2-4-11-time-stretched
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https://soundcloud.com/wilhelm-matthies/crumbling-walls-opening
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https://soundcloud.com/wilhelm-matthies/crumbling-walls-inch-by-inch

Photo by Ivons

Wilhelm Matthies & Senglar  - Crumbles Part I

Part of the Naviar Haiku Music Challenge: https://www.naviarrecords.com/haiku-music-challenge

SONG 73 - Naviarhaiku580

multi-instrumentalist & composer.
Genre fluid music for images / instrumental / contemporary post-fusion / experimental jazz / electro acoustic ambient / melodic noise / neoclassical / naive hard core / cosmopolitan world music.

bio here:
http://dedeland.com/daniel-diaz-bio/


In some words:
Composer, arranger, producer, multi-instrumentalist. Born in Argentina,
I studied music in Buenos Aires, New York, Boston, Los Angeles and Paris.

For 20 years, I developed an important career as a session and backing musician in Argentina and Europe, playing, among other instruments, the bass, touring and recording with many jazz, rock, fusion, world, Latin and tango bands.

At the same time, I worked as an arranger, producer and musical director with many projects and artists in the USA, Argentina and Europe.

From 1992 to 1997, I performed my compositions live with my own band in Buenos Aires and began a solo recording career with the worldwide release of my first album "The Years Alone" on the North American label Green Linnet/Xenophile. On this album I arranged and performed 11 of my songs written between 1986 and 1993. I played most of the instruments, but included guest appearances by some great South American players.

My recording career continued with "Segundo Ciclo" (1997), released worldwide by Timeless Records, and 12 more albums released between 2000 and 2016.

Currently, I work as an on-demand film/TV composer while continuing to play live and produce.

Rain Forrest Wet and Dry - disquiet0683

Daniel Diaz