Dhyāna

A last recording will be released before the beginning of January 2022, it is based and inspired by traditional Australian music.

I use four different types of airwaves corresponding to the electroencephalographic zones by the amplitude. I've linked to this, some work on the octaves obtained with the didgeridoo used by the aboriginal tribes in Australia, through this it will be the wavetable module that will be used; just because each instrument is unique, and there are three kinds of keys, High ( A A# &B), Middle (C C# D D# E) and Lower (F F# G G#).

Regarding the state of mind, the content approaches Taoist philosophy; I had started with seven songs but I reduced to four, since I didn't want to work on frequencies again, but more on airwaves. (Alpha 8-12hz, Beta 12-45hz and Theta 4-8hz).

This allows to focus on a more natural rhythm, and to move away a little from the redundancy of a sequencer included the short decay and so, for the BPM. In the content itself, I've decided naturally to extend a certain path with Dhyana Taoism philosphy, I kept four steps and it corresponds to the 4 songs.

Since the modular rack is complete, I am working to optimize the actual content, taking care of not making so much modifications around or even get something i don't even need.

Regarding the guitar, a work with a dual delay type pedal, in a mode using adaptive delta modulation which uses a method used in the telecommunications industry for vocal signals with increased performance. Maintaining high quality repeats with lower input level signals and reduced fidelity with higher level high frequency inputs. Ideal for rhythmic delay sounds and provides a percussive feel. I didn't want too many notes for the scales, my choice naturally went to the Kumoi one.

This range belongs to the group of Japanese ranges because of the geographical location where it was born and its typical sound.

The Han-kumoi scale contains neither major third nor minor third, which makes it an “ambiguous” scale.

This scale is very useful when playing a suspended chord or any chord that does not have a third. Thus, this can be ideal for improvising ethnic or modal music...