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

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8th July 2013

Audio post

Binaural recordings of an Olympic sized swimming pool from various locations in the viewing area - sounds heard include: (unintelligible) conversation, water lapping, the diving board, swimmers splashing, etc. The other set of “Diving Board” recordings feature the sound of the diving board more prominently.

…and forgive the (slight) low frequency bump in the 2nd recording - the CS-10EM microphone that I use is terribly sensitive to wind noise (not something I generally worry about when recording indoors) and, sure enough, the building HVAC system switched on at that moment creating a quick, short burst of air overhead!

Tagged: ReverberantswimmingOlympicspracticepooldivingwaterindoorscalmaquaticsdiving boardSwim Team Practice

Source: SoundCloud / Daniel Ottini Sound

28th June 2013

Post with 8 notes

Talk To The Hans

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Anyone who really knows me, knows that I’m not much for Celebrity -especially when it comes to musical types. If you push me on the matter, I might argue that (for other than a handful of Artists) success has more to do with sheer dumb luck than anything else. This is not to discount hard work, but the reality is that “unknowns” work just as hard as “knowns” and often produce music that is comparable; the secret sauce which makes one different from the other, I honestly don’t know (and I don’t think anyone else knows - not all the time in any case)

I don’t really have a problem with the above - that goes with a lot of things in life; but I have an issue when artists can’t admit to this. I know this is largely the media’s fault  - I mean why let the truth get in the way of a good story…and in any case which would you want to read: “Average Singer/Songwriter becomes famous by fluke” or “Singer/Songwriter is more talented than the Beatles”?

So I didn’t expect much truth when I ran across “Superstar Hollywood Composer” Han Zimmer’s posts on a forum related to Virtual Instruments - what I got truly surprised me: (I will give you the Cliffs notes version by quoting some of the best tidbits below):

  • …luckily, I like writing music that at the moment seems to be quite popular. I will suffer the inevitable fall from grace, become yesterday’s irrelevant composer, which is something I’m not looking forward to. But that’s life, isn’t it? I’ll just carry on writing away. 
  • "…I think Bach worked for the major mogul and film studio of his time: the church. Tough deadlines, those Sundays. That he unquestionably produced art, in my opinion, was never by design but by being an extraordinary practiced craftsman first and foremost and - through a confluence of mysteries far beyond me - produced some great works of timeless art."

  • "But if my ambition is not to create art - I’m not that arrogant or pretentious, I’m in the entertainment industry, and so are strippers - I have to have enough ambition to at least not make McDonalds. Otherwise I will be asking myself "what for?"."
  • "I don’t ever lack inspiration. I sometimes mistake bad inspiration for good…but I write pretty much every day. So it’s like running. You keep on developing muscles. I’m f@#ked when I take a break…coming back to writing is sheer torture….Deadlines are good for getting inspiration. The fear of failure can be quite inspiring."
  • "I try to do the best I can within the time and talent I have. Sometimes the idea is better than the execution. But I try not to get stuck and noodle things to death (he says, knowing he’s taking a break from absolutely perfecting the life out of a piece by over-thinking it and spending hours programming expression curves… ) 

  • "I hire trained musicians to play my scores. They are interpreters of music, I’m the composer, the creator of the music that they then perform. Different skill set…There are only 24 hours in the day for all of us. I spend most of my time practising how to be better at composing, not playing, while players spend most of their time practising their scales and learning how to interpret someone else’ music. Most musicians are not composers." 
  • "… I wish I had gone to music school. I know, it’s not too late, but I’m a bit busy. But it’s a good excuse… 
    As a child, I just had the wrong teacher. I took great personal refuge and comfort in music at a rather difficult time in my life. Music was a place to loose myself in, a very private escape. I loved what ‘making up’ music did to me more than anything else. Total ascocial loner. Total Nerd. 
    When I was asked - as a 6 year old - if I wanted lessons, of course I leapt at the chance. But a six-year old misunderstands that the purpose of the lessons was not to help me get the stuff I was hearing in my head to be better stuff, to compose (not really a concept I had), while the teacher wanted me to learn technique and how to play and interpret - not my, but other people’s noise - that I, at the time, had no interest in. I could never explain to him (German piano teachers are not known for their empathy, just The Rules, The Rules!) that, basically, I had a head full of music that I was incapacle of expressing, and that had nothing to do with keyboard technique. So, after two weeks, my formal training ended.” 

  • "Most of the stuff I use on a daily basis is off the shelf software - and not the really expensive stuff, either. The best DAW is the one you’re used to.…I’ve been (more then once) asked to judge “young composer” competitions. After a while you can’t hear the music for the sameness of the sample libraries. I wonder how directors or producers can tell the difference.” 
  • "And no, you can’t sound like me. You are not me, you are you. Just like I can’t sound like any other composer. Not with any degree of authenticity."  

And so on…

Many thanks to Hans - not just for making some awesome film scores (not all of them!), but for being an honest, unpretentious artist and striving for some manner of truth in a world full of hype. 

…and for having some great and quotable responses.

Tagged: hans zimmerfilm musicfilm scoretruth in advertisingv.i. control forum

Source: vi-control.net

26th June 2013

Quote

Those who are blessed with the most talent don’t necessarily outperform everyone else. It’s the people with follow-through who excel
— Mary Kay Ash

Source: vi-control.net

31st May 2013

Quote

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

Source: earroom.wordpress.com

30th May 2013

Post with 1 note

Hinterland Album

I am happy to announce the release of the “Hinterland” album, now available on iTunes, Spotify and elsewhere (still doesn’t seem to be on Amazon yet, but it should be shortly).

https://itunes.apple.com/ca/album/hinterland/id653294270

This release marks the culmination of my work for the last year (or so) and I am looking forward to a break to pursue some other Sound related avenues…to this end you may well see a lot more posting on my sound design Blog, “A Hidden Sound” (http://danielottinisound.tumblr.com/ ), as I ramp up some long-put off field recording for the Summer.

I have several sketches for my next Album-related project and will be working towards that in the coming year (though I have no definite release date that I am keeping to); in addition I plan to catch up on some technical stuff (I never quite seem to learn to use all the tools I have at hand as well as I would like) particularly exploring the recent release of MOTU’s very excellent Digital Performer 8 for Windows.

You will also likely see a few more releases for the Production Music market as I focus on that sphere of my practice.

Many Thanks and keep watching this space!

Tagged: Daniel OttiniDaniel Ottini MusicHinterland (album)iTunesspotifyelectronic musicambient techno

28th April 2013

Audio post

The Centre Cannot Hold (Sound Iron Mix)

…the “Sound Iron” edit, featuring predominately sampled instrumentation from the excellent Soundiron libraries (including the libraries noted below), is a hybrid of non-traditional, acoustic instrumentation (sampled Washing Machines, incandescent lightbulbs, hemp twine, etc.) played with an electronic, (rhythmic) feel that produces a unique atmosphere for this track. Vocals are provided by Avanna and the Olympus Micro Choir; lyrics are from the Yeats poem “The Second Coming”

Soundiron - Laundronium (2 instances)
Soundiron - Anti-Drum Vol 1
Soundiron - Twine Bass (2 instances)
Soundiron - Olympus Micro Choir
Soundiron - Luminabells
Reaktor - Prism

Tagged: Daniel OttiniDaniel Ottini MusicHinterland (album)Original compositionDramatic MusicSoundironSample Librarydemonstration

Source: SoundCloud / Daniel Ottini

28th April 2013

Audio post

The Centre Cannot Hold (Calm Seas Mix)

…the “Calm Seas” edit retains only the less chaotic elements of the original mix and adds ethereal female vocals (Courtesy Avanna).

Tagged: Daniel OttiniDaniel Ottini MusicHinterland (album)Original compositionelectronic musicThe Centre Cannot Hold

Source: SoundCloud / Daniel Ottini

28th April 2013

Audio post

A chaotic piece with a repeating, modulated, gritty synth sequence/drums, with calm chords/bass underneath. Conveys an atmosphere of stability in the midst of a harsh, changing background…

Tagged: Daniel OttiniDaniel Ottini MusicHinterland (album)electronic musicOriginal compositionThe Centre Cannot Hold

Source: SoundCloud / Daniel Ottini

25th April 2013

Link reblogged from A Hidden Sound with 1 note

A Hidden Sound: A Future in Noise →

danielottinisound:

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The BBC Radio 4 series “Noise: A Human History” has been an insightful journey into the uses and abuses of sound over a lengthy span of human history. Most interesting is how noise has been a political and class “hot button” issue through time (and continues to be). Good on the BBC for…

20th April 2013

Post

Konkrete Taster

For those users of the the very excellent iPad instrument “Orphion” and the very excellent sample library “Konkrete 3” by Soniccouture, I have produced a library control template for Orphion. It’s available as a download from within the Orphion app.

The intent of the template was my frustration with the octave range of the Konkrete 3 library (Soniccouture, shame on you for giving us such a wide selection!) and the difficulty of demoing the sounds from a 37-key controller keyboard. 

The template allows you to “taste” all the sounds in each kit, as well as triggering the “beat repeat” functionality (though all parameters are ultimately customizable). It’s not really intended to be a “performance” controller for the sounds, but it can be used that way if you are comfortable with the pad size. For more info on either product, follow these links: http://www.orphion.de/. and http://www.soniccouture.com/en/products/27-electronica/g40-konkrete-3/  

Tagged: iPadOrphionKonkrete 3Koncrete DrumsSoftware TemplateControl