a playful track that suggests lots of possible directions - the first half of the song sounded a bit more open, and suggested loose polyrhythmic (almost glitchy?) drums, but then the second half felt tighter (due to the synths) and got me imagining kosmische / motorik beats. you could even slowly transition between the different styles of drumming. (that would also be a nice play on the title, "time-lapse"). lots to think about!!

I like the movement here and would perhaps find an additional element to tie both sections together.  Percussion was suggested and I think that is a wonderful idea.  Another idea would be a simple sustained and slowly changing note - guitar or synth - that builds throughout the piece.

was just getting into it and it ended. Through this bit you could probably afford to drop it right down to just the synth as the line is strong and its sounding cool. Nice one!

Rejected production music demo/
Composed and recorded may 2022 in Paris.

I played guitars (using last week's rhythmic delays thing) and keyboards.

Another evrsion:
https://soundcloud.com/daniel-diaz/time-lapse-vers-motorik-disquiet0545


Photo by DD

For this weekly junto joint:
https://llllllll.co/t/disquiet-junto-project-0544-feedback-loop

Time Lapse (disquiet0544)

Another musical daydream based on experiments with modular synthesis, starting with various arpeggiated chords from the E370 internal sequencer and explorations of the Xoac digital frequency shifter, useful for making dramatic bass sounds. The piece finishes quietly with a nighttime field recording of Echo Lake (Maine) set to musical accompaniment  - you can hear some loon calls if you listen carefully. 

Much has happened in the last few months: a move required the studio be put in storage for months, then when it was fully restored in our new home, the music computer died. Now that the new music work station is installed and ready for action, I'm finally back in business again. Some of the clips used here were developed in the computer's absence, hence an experiment in DAW-less sound design, which I must admit, isn't my favorite way to work.

So thanks for listening, it's much appreciated.

Introspection

Improvisation Nr. 8

Prox T-10

My submission for Naviar Haiku #522.

Includes field recording of thunderstorm in Colorado's Wet Mountains.

Flashing In The Mountains

Flashing In The Mountains - Naviarhaiku522

NAVIARHAIKU532 – WORDLESS

Wordless
all day long
the shadow of a butterfly    by Hosai Ozaki

Moravia Reeds
Solo saxophones using phase-aligned samples

https://www.native-instruments.com/en/reaktor-community/reaktor-user-library/entry/show/14437/


Risset rhythm - Shepard tone sampler
looper with barber's pole effect

https://www.native-instruments.com/en/reaktor-community/reaktor-user-library/entry/show/15229/

pS_gLitch
pitch-speed glitching

https://www.native-instruments.com/en/reaktor-community/reaktor-user-library/entry/show/5417/

WordlessButStutterer (naviarhaiku531)

no answer to the question / 2024

Enjoy the accompanying visuals at https://youtu.be/t3AsvEyUhXc

Pre-dawn inertia
Where do I go
From here?

Haiku by Marco Sebastiano Alessi

For more information visit http://www.naviarrecords.com/about/naviar-haiku

visuals (YouTube)

halF intertiA [naviarhaiku534]

if we fully understood how the world worked, it wouldn't

Deuxième Guiter

Just a little experimental drone to test out some oscillator sync ideas, using the DPO and XPO (and other stuff) in my recently reconfigured Make Noise Shared System (see photo), and my new reverb (Chase Bliss CXM 1978). Also a way of exercising my new subwoofer.

The three oscillators (DPO A, DPO B, and XPO) are synced to each other in a circular fashion (see below for more details). They were initially tuned to the same pitch but there is a small amount of slow pitch modulation applied to all three. There is also a bunch of other slow modulation affecting the filter (QPAS) and the delay (Mimeophon) as well as other aspects of the oscillators. All the modulation comes from an Instruo Ochd, which is the only non-Make Noise module in this system. Finally through the CXM 1978. No post-production other than fade-in/fade-out and normalization.

Warning: lots of deep lows. Use headphones or preferably good speakers (best with a subwoofer).

For the modular nerds, here's how the oscillators are connected together:
- XPO Spike output to DPO X-Lock (this syncs the DPO B oscillator to the XPO)
- DPO A oscillator in Sync mode (which syncs it to DPO oscillator B)
- DPO A oscillator triangle output to XPO sync input

In addition:
- DPO A sine output ring-modulated to DPO B sine output (using section 1 of modDemix)
- DPO B sine output ring-modulated to DPO A sine output (using section 2 of modDemix)

Sync Study

multi-instrumentalist & composer.
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.

Time Lapse (disquiet0544)

Daniel Diaz

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Jimmy Lem

how the night came

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