“…more important than what things are called is whether they are interesting to listen to.”
— Ernst Karel, Sound Artist

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11th October 2014

Audio post

A metallic sounding “stinger” that I composed for my YouTube channel (my channel ID Video) - Digital Performer 8 is my main tool for composing to video and it is getting more solid each (Windows) iteration.

Along with generous bits from Impact Soundworks’ “Impact Steel” library (solid for this type of stuff), there is some recorded EBow guitar buried deep in there to give it a more “organic” edge.

On an interesting side note, the piece originally had a rather lengthy reverb tail at its end. After some semi-final mixing, I tried turning the reverb bus off in order reduce the length of the fadeout; to my surprise, I liked the “Dead Stop” effect better (the subtle influence of Steven Price’s “Gravity” score shows itself once more :-))

I am loath to admit that music has increasingly become a 2nd banana to the video world, but it has…so I have been focusing a bit more attention to my YouTube presence (then I would prefer to!) 

Tagged: StingeryoutubeDaniel Ottini Musicdigital performerSound Designimpact soundworks

Source: SoundCloud / Daniel Ottini

11th October 2014

Audio post reblogged from A Hidden Sound with 1 note

danielottinisound:

A binaural recording of an industrial air conditioner - the recording is “performed” in the sense that the recordist (me) physically moved the binaural microphone throughout the sound field, thus producing a natural panning effect. This keeps an otherwise monotonous sound non-static and more interesting.

Tagged: field recordingbinauralindustrialSound DesignDaniel Ottini Music

2nd September 2014

Quote

If you love music, sell Hoovers or be a plumber. Do something useful with your life.
— Robert Fripp

2nd September 2014

Link reblogged from A Hidden Sound with 1 note

Sonic Art Boom - The Art of Noise, Between the Ears at 20, Between the Ears - BBC Radio 3 →

danielottinisound:

An interesting radio program from the BBC regarding the “rise” of Sound Art - can’t say that I agree completely with its sentiment that Sound Art is the next “big thing” in the art world - it’s biggest problem is the fact that it’s hard to monetize - but it’s great to know that it is finally being taken seriously as an art form. Dan Jones celebrates sound art.

1st July 2014

Audio post

The Last of the Winter Wine

There seems to come a time each Spring when my (self-imposed) deadlines seem to get longer and longer and I find I am spending more time tweaking things in my studio than actually creating.

I generally take this to mean that it’s time to concentrate on sharpening my tools rather than digging ditches…as a result my output tends to taper off in the Spring/Summer months (the proper word is “taper” as I am seldom not working on something).

This track (and it’s variations) have been on my workbench for awhile - the original having been a demo track I created for a review of the Squelch sample library by Echo Collective…. I took it back to the woodshed and tweaked it a bit (twerked?) but couldn’t quite decide which version I preferred (no worries - variations are welcome).

"Communication in the Presence of Noise" is track which blends sound design and traditional instrumentation - an area I prefer to work in.

Have a great summer!

Source: SoundCloud / Daniel Ottini

17th June 2014

Link

The "C" Word →

I really hate the phrase “Content Curation” - back in pre-internet days it was called “shit that we listen to” (this is the opposite of what it tends to be now, which is “shit which I am being paid to tell you to listen to”… we had a word for that back in the day too - Payola).

The Nazi’s were so good at “Curation” that they were able to wipe the works of great artists (such as Amedeo Modigliani) from the public consciousness in favour of state approved, right-thinking German National Socialist artists (come to think of it, the Soviets were very good at that as well).

This is a round about way of saying that I while I hate what “Curation” has sometimes become, I still like making lists of “shit which I am listening to”, which is especially easy to do in this day of streaming services (let’s step away from the issue of artist compensation for a minute if we may…).

It is in this spirit that I offer up one of my many lists for your enjoyment - this one features artists whom I consider to be pioneers of electronic and experimental music and certainly remain influences on my work to this day. 

If you believe (as I do) that a pioneer is someone with arrows in his back (old joke), than you might consider the sheer “bravery” of some of these folk to do the work that they did (yes, I know that this is not the same “bravery” as a fireman, but none-the-less…) and I love listening to them as much for that, as the fine work they produced.

Makes you wonder if they (or their heirs) make as much money today from streaming as when they were busy pulling arrows from their backs…

Tagged: Rdiordio playlistelectronic musicexperimental musicDaniel Ottinicontent curation

19th March 2014

Post with 2 notes

Too Many Notes…

This quote by Fred Rogers…

“I feel so strongly that deep and simple is far more essential than shallow and complex.”

…really made me think about the role of simplicity in artistic creation.

Without a doubt I recognize that in this world writing a piece of music with a simple theme or melody is somehow looked down upon (as is not hitting a Driver as far as Tiger Woods OR not building a car that can do twice the speed limit…you get the drift), but why the obsession with complexity (OR distance, OR speed…)?

I prefer the music of Erik Satie to that of Mozart because of this simplicity, but does this make Satie an inferior composer  (we all know who had a blockbuster film written about them)? There is somehow a prejudice against simplicity in things…while I recognize that simplicity can sometimes mask lack of knowledge or technique, I think sometimes complexity can equally mask a lack of creativity.  

I know that in my own music, I often strive for complexity and in the end “strip away” layers because I dislike the “busyness” of the end product - I don’t think that this is as a result of lack of technique (although I am always learning), but because I gravitate towards this musical simplicity. I feel that sometimes there can really be “too many notes” in a piece of music.

Which brings me to Fred Rogers: in this Fast Food/Easy Credit/Soundbite world his program still sticks out like a Model T on a NASCAR Track…

At surface level, it’s easy to poke fun at “Mister Rogers” (I have myself) - and his gentle quiet, program with “archaic” concepts such as co-operation, friendship, community (etc). - but I dare you to sit any young person who has never seen “Mister Roger’s Neighbourhood” in front of the TV when it’s on. Once they get past their snickering, you will likely marvel as they become mesmerized in the slow-paced world that Rogers calmly weaves. These simple, “archaic” concepts run deep in the human psyche, no matter how easily we try to blow them off, and the messenger is so adept at delivering his message is his slow, sparse dialogue…

To me, this is the triumph of simplicity - people who have seen Mr Rogers REMEMBER Mr Rogers because he is such an alternative to the fast-paced, superficial TV world. Watching one of his programs (to me) is like listening to Satie instead of Mozart; one absorbs the message much better because it is simple and deep.

Perhaps some people are more prone to enjoying simplicity than others (maybe age makes a difference, or where/how you grew up…), but what we should always recognize and respect is the validity of simplicity as a form of artistic expression.

Ultimately, what is important is that the music moves you…no matter how many notes it has. 

Tagged: fred rogerssimplicitymusicmozarterik satieartmusic compositionpredudice

17th March 2014

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"Soul Delay" is a phrase coined by writer William Gibson - the "Urban Dictionary" describes it’s meaning best :

"Experienced in tandem with jet lag. Your body arrives after a long flight but your soul doesn’t arrive so quickly. The theory is your soul can’t travel as fast as a jet and you can become discombobulated while you wait for your soul to catch up.

"Souls can’t move that quickly, and are left behind, and must be awaited, upon arrival, like lost luggage." - William Gibson.

I think this piece very much sums up that feeling of being “peacefully disoriented” - not quite feeling whole (I feel the same way after a time change without even travelling) and features synthesizer, treated piano and female vocals (courtesy of Shevannai).

Tagged: Daniel Ottini MusicetherealMusicsoundtrackSerenelibrary musicElectronicnew age

Source: SoundCloud / Daniel Ottini

2nd March 2014

Audio post reblogged from A Hidden Sound with 3 notes

danielottinisound:

Beneath A Frozen Lake

I would be the first one to admit that I am not much of a Fisherman (I am more the Hiker type) - less so an ice fisherman. My in-laws, however, are, and it’s great that they like to introduce my kids to the pastime, but that leaves me with the dilemma of having little to do while I sit in a heated hut on a frozen lake - I can think of worse places to be, but I have trouble adjusting to a long stretch of doing nothing.

 Ice Hut Zebra

So I have taken to bringing a recording rig along on these (rare) trips. In the past I have recorded  sounds on the (surface) of the lake, but this time around I thought (for a twist) what it might be like to capture the sound “underneath” the lake. For this I turned to my trusty Aquarian Audio Hydrophone:

Aquarian Audio Hydrophone

Powered by the phantom power on my Zoom H4N recorder (along with a FetHead Phantom pre-amp, a necessity for overcoming the H4N’s very noisy pre-amps), the H2A was perfectly comfortable in the cold lake water.

 

So what does it sound like underneath a frozen lake? As these recordings can attest to, it is anything but quiet - the ice seems to act as a sort of resonator which amplifies any kind of contact that is occurring - footsteps, vehicles moving across the ice, chopping and drilling of the ice can all be heard from a distance away. In quieter moments the “cracking” of the ice can be heard as it is heated by the hot sun (note that this has to be more of expansion/contraction as the ice was plenty thick to be at any risk of actually cracking).

 The busy Ice Village

In the end I was quite happy that I didn’t come home empty handed, as were the “fishermen” - only my “catch” was slightly different from what most people we’re fishing for that day…  

Tagged: field recordingwinterIceLakeice fishingDaniel Ottini Musicsoundscape

12th February 2014

Video with 2 notes

Squelch 

To convince myself that this “video review thang” was not a one-off on my part, I found the time to complete & upload another sample library review to YouTube…

This time around the library in question is “Squelch” by Echo Collective - as interesting and unique a Kontakt library as there may ever be…

I really like their stuff because it seems to straddle the fence between Sound Design and Music - a fence I prefer to sit on and that Hollywood recently seems to be having (what may turn out to be) a brief “fling” with, with the Oscar nominated score to “Gravity”.

Turn on, Tune in, and please leave comments… 

Tagged: Echo CollectiveSample Librariesnative instrumentskontaktReviewSquelchRadio Sounds