ABOUT

Danny Holmes
(1) 604.716.7710
email on Google+
(copy/paste link)
https://plus.google.com/u/0/104389978183205270671/posts

Forming Art/Music/Video 'Intentional Community' - Fraser Valley BC Canada.

Screen name:
Danny Holmes
Member since:
Jul 23 2015
Active within 1 month
Level of commitment:
Committed
Years playing music:
60
Gigs played:
Over 100

Influences

... sound, color, shape

Some of the selections on this post are check-boxes with limited options. Versatility/Diversity may 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 (standing offers - owned 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. - except for playing in good bands (that would ultimately get attention). I’ve been studying the characteristics of a drug free natural life for many decades and have evolved a critical focus for emotional social health – the power-point of any spiritual intention that ultimately shapes the physical world (for better or for worse). I’ve also participated in several art based ‘Alternative Community’ projects - many of the people now in the Canadian Hall of Fame (music).

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

MUSIC