ABOUT
Danny Holmes
(1) 604.716.7710
Born 1945 in Vancouver BC Canada
Facebook (also email)
(copy/paste link)
https://m.facebook.com/profile.php?id=100008935961301
Forming Alternative Intentional Community in Fraser Valley BC Canada - with a focus on Emotional Hygienics for Natural Health energies (levity). No religion please ...
... used to have Art Commune in Winnipeg Canada - many are now in Canada Hall of Fame - people from Crowbar, Max Webster, Guess Who, Harlequin, Orfans, Lenny Breau, etc.
- Screen name:
- Danny Holmes
- Member since:
- Jul 23 2015
- Active within 24 hours
- Level of commitment:
- Committed
- Years playing music:
- 60
- Gigs played:
- Over 100
Influences
Influences include all sound, color, shape, attitudes, culture, etc.
Some of the selections on this post are check-boxes with limited options. Versatility/Diversity will not be properly represented.
I've been in a couple hundred bands since about 6 yrs old (father used to run several bands), rented out trucks/gear to bands and concerts, studied engineering, owned/worked studios, radio DJ, booking agent, writer/editor for various Canadian media, requests to teach at various schools/universities, many years educating, booking and arranging fem bands and shows.
I’ve always been a little shy of mainstream’s harsh culture (religion based), preferring to keep to the shadows as much as possible – turning down many schools, major studios, media projects, etc. - Always a sucker for a good band and studio ...
The songs listed here were not intended to be a finished product. They were studies in evolving soft synthesis for the times (2000-ish) - hence some over-saturation and redundancy. I didn't want to spend time on designing music because synth tech/evolution in those days was a huge exploration. I would simply add a few bars when I needed to stretch out from a short test. (A big part of art/music design is about understanding the highlights and limitations of your tools).
Processors couldn't keep up with a stack of live synths and multiple tracks in a DAW (Digital Audio Workstation). Generators were also coming on the scene and could only be controlled with track automation - so they were still processor active regardless of volume dynamics. Processor overloads would not only result in poly clipping - but would destabilize transport speeds, synced FX, generator sequences and master sync clocks.
Earlier studies (trks w vocal/guitar) were 3 days each (blank page to what you hear) to study midi clock striping and early 'limited poly' machines (typically 4-5 patterns per song). It was some version of a Roland Canvas and an 8 trk 1in. Teac recorder.
I played/produced everything you hear on all tracks.
EQUIPMENT
DAW's, Synths, 3D computer modeling, Animation, Video editors, USB/dynamic racks, 7.1 Surround (studio/live), Keys, Electric drums/perc, Guitar/Bass (assorted/custom), Horns, Solar/Gen (field), Class A inputs, Resource libraries.
