Daniel Buckley

The following is a letter being sent to Tucson’s mayor and city council members in opposition to the proposed 75 percent budget cut for the Tucson Pima Arts Council.

Dear Mayor and Council Members,

My name is Daniel Buckley. I have lived in Tucson since 1971. Since the early 1980s I have been an artist in various genres, the president of a downtown cooperative arts gallery for five years in the 1980s, and for 22 years, an arts writer for the former Tucson Citizen. I write to you today in support of the Tucson Pima Arts Council.

On March 25 of this year I received the Artist of the Year recognition at the Governor’s Arts Awards in Mesa. That would never have happened without the invaluable help of the current incarnation of TPAC.

I was not allowed to actively engage in my pursuits as an artist in the community during my time at the paper as it was deemed a conflict of interest. When the Citizen’s print operation shut down in 2009, I became an active artist again. The arts world had changed greatly in my two decades of forced dormancy, and honestly I was ill equipped to get off the ground. Through several extended workshops sponsored by TPAC I learned how to create and update my own website, how to effectively use social media, and how to engage the community in my projects in a way that benefits everyone.

In 2009, with help from the late Ralph Gonzalez and Julie Gallego, I began the Cine Plaza at the Fox documentary series to explore the history and culture of Tucson’s Mexican American community. So far five films have been created in that series, documenting the historic El Casino ballroom, Tucson’s Urban Renewal period, the Cine Plaza theatre and various barrios in the community. Currently I am in production on a sixth, called “the Mariachi Miracle.” It documents youth mariachi and folklorico programs in our community and their impact on the social, political, educational and economic vitality of Tucson. Both the current film and the El Casino film were partially funded by TPAC. But all of them were aided by what TPAC taught me about succeeding in the business of art.

When I was at the Governor’s Arts Awards one of the speakers said that research shows that every dollar in arts funding returns $1.50 to the community. What other programs do we have with that kind of return on the investment?

Let’s talk about the arts in Tucson. Artists are the original downtown developers. In the 1980s when I was part of a cooperative artist gallery there, well over 90 percent of Congress Street was shuttered. We brought people downtown and made it a hip destination, first with the Club Congress and then up and down the street. Artists remain the main draw that brings Tucsonans downtown from other parts of the city. Tucson owes downtown’s success to its arts community.

Part of what draws outsiders to Tucson, be they tourists, new residents or potential industry, is its strength as an arts destination. Public art, a vibrant music scene that includes rock, folk, jazz, mariachis, and waila musicians, a strong and deeply rooted symphony, opera, theatre and chamber music scene, our poetry center, the Center for Creative Photography, visual arts galleries of every stripe, open artist studio tours and many more. These are the very calling cards Tucson lays out when trying to attract industry and good paying jobs to our community. Those things do not happen without TPAC’s help.

The arts also have a huge impact in education. Music and dance programs stimulate the type of brain development that leads to better understanding of mathematical and scientific concepts. All of the arts aid in reading and self expression. They help us reimagine our world.

The leadership skills, and the 21^st century workplace skills we hear so much about directly relate to arts education. And while TPAC doesn’t directly support our schools, it does give arts educators outside opportunities that help them develop their skills, renew their passions and bring that excitement back to the classroom.

TPAC community programs have indirectly resulted in gang abatement and reduction in graffiti because when young people are engaged in the making of their own art, as they have been in many TPAC sponsored projects, they see themselves and their possibilities in an entirely different way.

The benefits to our city of what TPAC does are everywhere you look – in our multicultural communities, and our schools. In real downtown development, in tourism and industrial growth.

For artists, TPAC is critical for making us successful in the marketplace. TPAC’s newsletter makes us aware of grant and job opportunities around town and around the nation. Its LUMIES recognize artists and arts people who make a true difference in Tucson. Its small gallery gives visual artists a place to show and validation of their work. And its grants help artists transform our community in positive ways.

I have been in contact with TPAC since it started, and often wrote about the organization in my time with the Citizen. There were good times and bad. Never in its history has such a team been put together as now. As a result our community is better equipped to move forward, and our arts efforts turn up on the national stage far more often as a result of this organization than ever has happened in the past. The spotlight is on Tucson today in large part because of what TPAC does.

The proposed 75 percent cut in funding would be devastating, not just to TPAC but to all of Tucson. It would significantly reduce TPAC’s ability to leverage funds with corporate sponsors as it has so successfully in recent years. It would hurt downtown development and the attraction of industry. It would blunt the development of a skilled workforce in the community. And it would hurt artists who contribute so much to our city, often on poverty level budgets.

It takes years to assemble a team that creates the opportunities that TPAC has for our city. It would take the stroke of a pen from mayor and council to throw it all away. And it would take a decade or more to reassemble, if it ever could be done again.

The proposed cuts are an insult to Tucson’s creative community – a vital group that cuts across every ethnic, cultural and economic divide. We built, and continue to build, the modern multicultural city now so often listed as a choice destination to vacation or live. I encourage you to reject the proposed cuts and invest in Tucson’s future at a funding level of $1 per capita for TPAC.

Thank you very much.

Daniel Buckley

Posted in Daniel Buckley Arts, Daniel Buckley Documentaries, Daniel Buckley Music, El Casino Ballroom documentary, Mariachi documentary, New Music Now, Uncategorized

Daniel Buckley gives his acceptance speech at the 2014 Governor’s Arts Awards.

On March 25, 2014 Daniel Buckley received the Governor’s Arts Award in the Artist of the Year category at a ceremony in the Mesa Arts Center in Mesa, Arizona.

This from the Governor’s Arts Award website:

“Tucson artist and performance art pioneer Daniel Buckley, who spent 22 years with the Tucson Citizen before creating a documentary film series about the political and social evolution of Tucson’s Mexican-American population, was named Artist of the Year.”

And

“ARTIST: Daniel Buckley (Tucson) spent 22 years with the Tucson Citizen as a music and culture writer, on the editorial board and created its web-based multimedia division while building a reputation as an authority on classical and world music, mariachi, Native American music and southwestern cultural expressions.  After the paper closed, he started a documentary film series, Cine Plaza, at the Fox Theatre, an oral history series focusing on the political and social evolution of Tucson’s Mexican-American population.  A pioneer of performance art in Tucson, he currently is developing documentary works for the Arizona Historical Society and he is working on a new project of large-scale desert landscape photography.”

In his acceptance speech Buckley noted, “Artists reflect the world around them – both the things they love and those they don’t. But art is always about trying to make the world a better place. And so I use my art to celebrate our land, our multicultural heritage and our history to focus on the things that bring all Arizonans together. There is far more we have in common than that which divides us.”

A copy of Buckley’s acceptance speech can be seen by clicking this link.

Buckley with artist Monica Aissa Martinez and her lithograph, Al Chemical Action, which came was part of the award.

A beautiful lithograph by Monica Aissa Martinez was part of the prize.

Read more from the press:

Arizona Daily Star: Three of six Governor’s Arts Awards go to Tucson

The Tucson Weekly: Daniel Buckley and UA Poetry Center Recognized at Governor’s Arts Awards

For more on Daniel Buckley go to Daniel Buckley Arts.

Posted in Cine Plaza progress, Daniel Buckley Arts, Daniel Buckley Documentaries, Daniel Buckley Images, Daniel Buckley Music, El Casino Ballroom documentary, Jonestown progress, Mariachi documentary, New Music Now, Slice of Life, Uncategorized

Daniel Buckley gives his acceptance speech at the 2014 Governor’s Arts Awards.

On March 25, 2014, Daniel Buckley of Tucson received the artist prize at the 33rd annual Arizona Governor’s Arts Awards at the Mesa Arts Center Ikeda Theatre in Mesa, Arizona. Click here for Tucson Weekly article.

Here is a transcript of Buckley’s acceptance speech: (Click photos to see larger)

“Thank you very much. I’m honored and humbled to receive this award, particularly given the stature of my fellow nominees, every one of whom deserves to be standing where I am.

Ruben Hernandez

I’d also like to acknowledge a great friend and advocate of the arts in the Latino community who left us a few months back, Ruben Hernandez. His impact on all of our state is immeasurable. And I’d like to acknowledge my co-producer in the Cine Plaza at the Fox documentary series, Ralph Gonzalez, who died two weeks ago. He was a great man and this award is for him.

Daniel Buckley at Meteor Crater, Arizona, ca. 1973

I came to Tucson in 1971 to study the geology of the moon. But what I discovered in Arizona was a world so different from my boyhood home in the Hudson Valley of New York State. We stopped going to the moon my sophomore year of college and I had to figure out what I wanted to do with my life.

I am still a recovering geologist at heart and never tire of seeing, photographing and filming the fantastic landscapes and people of this place I have called home for 43 years. The people of Arizona, particularly Native American and Mexican populations, have patiently and generously shared with me the stories of their culture and history in my 23 years with the Tucson Citizen, in my documentary making since the paper closed in 2009, and in the work in documenting the recent Arizona Centennial that I was able to do for the ArizonaExperience.org virtual museum.

Daniel Buckley “It’s a Dry Heat” from West

I started my arts career in the early 1980s as a composer. Haven’t heard my music? No worries. When I die they’ll probably play some. Death is a career move for composers. And when they do play it you can say, “It’s so sad he’s gone,” which is Arts Speak for, “What the hell was that?”

I became a composer a little differently than most. I was long out of college when I realized that I wanted to write music. But I still remembered how notation worked from my choir and band experiences in public school. More importantly I realized that what stood between me and becoming a composer was me. I continue to work on music every day in the unlikely hope of eventually writing something people might want to hear while I was still alive. And in the meantime, I do it for my own amazement.

Photo by Ron Medvescek/Arizona Daily Star.

With similar lack of qualification and considerable audacity I moved on from composing to become a performance artist, arts and culture writer, photographer and film maker. Presently I’m producing and directing a film called The Mariachi Miracle which explores how mariachi and folklórico programs for youth are changing Tucson socially, politically, economically and with respect to education.

Gates Pass at Sundown

On a much different front, I’m involved in shooting large scale panoramic photographs of places where houses and roads remain at least out of frame. You can still find places like this in Arizona, and when I see them from horizon to horizon I can’t help but think how lucky I am that I ended up here rather than on the moon. Oddly they connect me to the wonder I felt when I first saw panoramic images from the lunar surface during the Apollo program. Unlike the moon, which has some shelf life, Arizona’s deserts and wilderness areas may not be like this forever, so I am trying to capture in photographs their pristine beauty wherever possible, to show future generations what used to exist just down the street.

A future mariachi is born at El Casino Ballroom.

The arts are the heart and soul of our state. Their importance in our education system is key to the brain development that fosters the creativity, mathematical skills and the scientific curiosity that will lead to tomorrow’s great discoveries and high paying jobs in our state. Education is the single most important investment our state can make, and arts education is vital to the success of education as a whole.

I am the product of public schools with good arts and science programs, and of an affordable and eminently capable Arizona college and university system. All of us need to make sure that Arizona gives future generations the advantages that have helped all of us in this room to find meaning in our lives and prosper in our communities.

Ralph Gonzalez

Artists reflect the world around them – both the things they love and those they don’t. But art is always about trying to make the world a better place. And so I use my art to celebrate our land, our multicultural heritage and our history to focus on the things that bring all Arizonans together. There is far more we have in common than that which divides us.

Being an artist is generally a good gig. Every day brings new on-the-job training. You get to work with the insane. The pay is sporadic and frequently negligible. It’s a dream gig.

But artists get to do things other folks rarely have the opportunity to. We change our communities. Sometimes we even make them better. And we get to approximate our dreams often enough to make us want to keep a hand in it.

Daniel Buckley

I am proud to call myself an Arizona artist, and even prouder to be recognized as such. I look forward to exploring more of Arizona and its people and letting those inspirational experiences guide my work.

“Signals,” from the series “Este Es Mi Ciudad.”

Thank you very much. “

Posted in Daniel Buckley Arts, Daniel Buckley Documentaries, Daniel Buckley Images, Daniel Buckley Music, El Casino Ballroom documentary, Jonestown progress, Mariachi documentary, New Music Now, Slice of Life, Uncategorized

Apollo 18: Finding My Inner Moon Man (click image to enlarge)

Photos from Apollo 17, courtesy of NASA.

I am a child of the age of moon landings.

From the time I was a small boy I watched manned space launch after launch,  each building on knowledge gained in the previous flight to realize President John F. Kennedy’s goal of landing a man on the moon by the end of the 1960s and returning him safely to the earth.

It’s what I saw for myself, not as one who would put the first footprints on the moon, but as part of the  second tier of lunar explorers who would build bases, map geology, build lunar telescopes and conduct a variety of scientific experiments.

Near the middle of my sophomore year in college, in 1972, Apollo 17 became the last manned spacecraft to land on the moon and explore.

The final three lunar missions in particular had been rich sources of scientific treasure. Each used a moon buggy to expand the range astronauts could explore. Each landed adjacent to significantly interesting geological features. And each featured multiple, long duration moon walks conducted over several days.

While all of the landings of the Apollo program had been of great interest to me, these last three seemed especially interesting, especially for  the images brought back. As they had since Apollo 11 landed in the Sea of Tranquility in 1969, each of the astronauts wore a Hasselblad camera strapped to his chest with large controls that could be manipulated with the gloved fingers of a space suit. The astronauts documented their activities, photographing everything from the rock samples they picked up to the terrain around them. Often they would shoot frame-by-frame panoramas to give an expanded view of their surroundings.

All of these images, from boot prints in the lunar soil to instrument arrays, astronauts working and assorted gear became a source of fascination as I studied geology at the University of Arizona. And since astronaut Harrison “Jack” Schmidt of Apollo 17 had himself been a geologist, I figured it would just be a matter of a few years before we would be ready to do more ambitious work on the moon.

As it was, Apollo 17 would be the final mission to the moon, even though three more Apollo spacecraft had been purchased and built.

I was 19 when that final moon landing took place, and at just over 60 I find myself envisioning a new photographic series to explore the the areas where Apollo astronauts trained in the southwest U.S., along with the desert around Tucson, Arizona, as though I was an Apollo astronaut. I am calling the project Apollo 18.

Over the next few years I will carefully study the photos from Apollos 15 through 17 and formulate the kind of shots I should take, as well as how many locations I should set out to visit. I will try to mimic the light angles as well as the subject matter of the Apollo era.

By June, as the sky contains the fewest clouds of the Tucson desert year, I should be ready to start shooting.

Posted in Daniel Buckley Arts, Daniel Buckley Images, Slice of Life, Uncategorized

The Apollo 17 lunar landing site

Click image to enlarge

Daniel Buckley 1971

Growing up, my eyes were always fixed on the moon.

That was where the space program was headed through my entire childhood, and that was where I’d planned to be.  I knew I wouldn’t be among the first to put boot prints in the lunar soil, but I figured I would be part of the next generation that would build bases and telescopes and form a permanent lunar outpost for humanity. I dreamed of loping along on the lunar surface with a Hasselblad camera strapped to my chest, gazing at the view no man had seen before through my gold plated space suit visor.

Buckley in Meteor Crater, Arizona, 1972

I came to the University of Arizona specifically to study the geology of the moon. Near the end of my sophomore year, Apollo 17 closed out the manned lunar landing program. The bulk of the money for space exploration after that went to the International Space Station and some planetary robot probes, and I had to figure out what else to do with my life. I ended up becaomeing a composer, performance artist, writer, journalist and documentary maker, which is what logically follows from studying the geology of the moon.

But those haunting images from the lunar surface have remained a big part of my consciousness, particularly the panoramic photos. In them one could take in what had surrounded the astronauts from horizon to horizon, how they went about their work, and so much more.

Gates Pass at Sundown

I live in the Sonoran Desert in Tucson, Arizona – a place that itself has an other-worldly quality to it. The desert plants, the soil and the mountains make it look like the bottom of the ocean or some world beyond.

Meteor Crater, Az.

When I returned to photography seriously, following the close of the newspaper where I worked for 22 years, the desert spoke to me in a huge way. But I was frustrated by the box that the camera imposes. I wanted to see that horizon to horizon vista that I had seen in the late Apollo moon landing photos.

Apollo 15 panorama

At first I started sequentially shooting, left to right, with no idea how I would eventually assemble them. Soon after I discovered that Adobe Photoshop made stitching them together a fairly easy proposition.

McCain Loop Road west of Tucson

It’s been close to five years since I started photographing in this way and I discover more and more about the world around me as I expand the concept from the desert to urban environments, the human form, and the various geographic locales I find myself in as life progresses.

Downtown Tucson, day to night.

Still, it’s likely that none of this would have happened, or at least become such a driving force in my work, were it not for the wonder that seeing these photographic assemblages from the moon created.

Apollo 17 panorama

There wasn’t the kind of seamless connection of images in those first lunar panoramas that one can achieve with modern digital  imagery software. But from those craggy, blocky assemblage of photo prints came a big picture of an alien world, sometimes with astronauts and their equipment for scale, sometimes just vistas of the local geology. Some were in color, some black and white, though the predominantly gray lunar surface often appeared to have been shot in black and white either way.

West of Datil, NM

Sometimes when I’m out setting up my camera to take a panorama I have the sensation that I am seeing something no one has seen in quite that way before. Certainly it’s a different way than we’re used to seeing a photograph of a lanscape. And occasionally, when photoshop has assembled the various slices into a single image I experience the kind of wonder about what that images represnts that I felt when I first saw those panoramas from the moon  in Life Magazine and other publications so many years back.

Posted in Daniel Buckley Arts, Daniel Buckley Images, Slice of Life, Uncategorized

A photographer friend recently had her laptop stolen, and with it her photos.

But you don’t have to have your computer stolen to lose all your images. There’s something very few people understand about computers that could cost you your digital everything – photos, documents, audio, video and more.

Understand this: EVERY HARD DRIVE IS A TIME BOMB. They all eventually stop working. If you don’t have at least a second hard drive backing up your computer you are just engaged in a game of Russian roulette.

It is neither hard nor expensive to set up a computer backup solution. Apple computers have a piece of software built into them called Time Machine. You can either buy one of their dedicated hard drives for that purpose, or buy a cheaper drive and take two minutes to set it up.

If you’re doing space-intensive work, such as photography, video and audio, you probably are already using a drive other than your computer’s internal drive to store your work. But if that work isn’t backed up on a second drive, it’s as good as gone. There is a wonderful utility called Folders Synchronizer that will help you update your key files, and can even be set to back things up automatically.

Being caught with a faulty backup strategy has happened to me, and I’m very good at playing the backup game. In 2012, just a couple of days prior to what was to have been the premiere of my film “Tucson’s Heart and Soul: El Casino Ballroom,” I heard the horrifying sound of a hard drive dying. I wasn’t sweating it. After all, all of the clips and photos for the film had been backed up. But what HADN’T been was the small file that sequences all of those clips and photos. With 28 hours to show time I found myself trying to reassemble the film as best I could. But I learned my lesson.

Hard drives are cheap these days. A 3 terabyte, 7200 RPM drive capable of running any multimedia project can be purchased for as little as $100 through places such as Newegg and Tiger Direct. I recently saw a 1 TB drive advertised for $55. Just make sure that whatever drive you purchase is large enough to store all of the data you need to. If not, buy another for the overflow. And remember, if you have large libaries that don’t fit on your main hard drive you need two drives to store them – a main and a backup. In my case my photo libraries are stored on A and B drives, synced frequently.

A backup drive is your best insurance. Don’t carry it around with you, both because it may break from being jostled around, and because it could be stolen if left in your purse or hard drive bag. If you can afford another drive to copy your stuff to and leave at a friend’s house, that’s the best way to make sure your data will be around for a long time.

Posted in Daniel Buckley Arts, Daniel Buckley Documentaries, Daniel Buckley Images, Daniel Buckley Music, El Casino Ballroom documentary, New Music Now

The 2014 Arizona Governor’s Arts Awards nominees have been announced and for the second year, Daniel Buckley has been nominated in the Artist category.

The Tucson documentary maker, composer, photographer and writer was among 80 nominees in 6 categories to be recognized at the annual Governor’s Arts Award ceremony to take place March 25, 2014 at the Mesa Arts Center’s Ikeda Theatre. Buckley is currently working on “The Mariachi Miracle” – a documentary on how mariachi and folklorico programs have changed Tucson, Arizona socially, politically, economically and with respect to education. In addition Buckley is working on several photographic series including “Este Es Mi Ciudad” (This Is My City) and “Bewilderness.” He is also involved in a number of musical projects. For examples visit Daniel Buckley’s Soundcloud page.

“I am honored and proud to be among the nominees,” Buckley said.

The Governor’s Arts Awards have been given out since 1981, recognizing artists, educators, arts support groups and more.

Click list to enlarge.

Posted in Daniel Buckley Arts, Daniel Buckley Documentaries, Daniel Buckley Music, Mariachi documentary, Uncategorized
Tags: Arizona, Daniel Buckley, Governor's Arts Award

“Signals,” from the series “Este Es Mi Ciudad.”

For the first time since the 1980s art fans will see a new work by Daniel Buckley as part of a showcase of Tucson artists at La Fashionista, 45 S. Sixth Ave, Saturday Jan. 11 from 6-10 p.m.

“I rarely print work these days,” Buckley says. “It’s hard to get colors and tones to truly match what one sees on a screen. It’s frustrating. Framing costs are outrageous as well.”

But with the recent series “Este Es Mi Ciudad” (this is my city) growing considerably, Buckley felt it was time to print a few choice pieces. When the invitation came from La Fashionista clothier/store owner/artist Eleanor Leon to be part of a show of Tucson artists, Buckley went through recent prints and chose a work titled “Signals” to represent the series in the show.

Other artists in the show include Laura Milkins, CE Elliot, Eleanor Leon, Nico Ratoff, Christina Cardenas, Randy Harris, Lisa Jo Roden, Pia Mogollon, Joe Marshall and others.

In the 1980s, Buckley occasionally showed hand elaborated photo collages of odd things from Tucson and his boyhood town of Catskill, N.Y. During much of his time working with the Tucson Citizen from 1987-2009 Buckley rarely ventured into art photography. But  the past several years have seen an exponential burst in his photographic work, stimulated first by desert landscapes and later by the old and new of the city around him.

A resident of Tucson since 1971, Daniel Buckley is an award winning documentary maker, composer, photographer and journalist.

Posted in Daniel Buckley Arts, Daniel Buckley Images
Tags: Daniel Buckley, Eleanor Leon, Este Es Mi Ciudad, La Fashionista, photography

Lola Alvarez Bravo, self portrait, Center For Creative Photography

Click to enlarge

In 2013, Tucson’s Center for Creative Photography featured a massive show of work by Mexican photographer Lola Alvarez Bravo.

Spanning three large rooms, the exhibit featured portraits of her artist friends, scenes from everyday life, political work, photos of a journalistic nature and a more abstract body of work. In her black and white work one saw a love and appreciation of geometry, an artistic eye for light and shade, an appreciation of form and texture and an eye for design. One also saw her appreciation of artists and everyday people, her love of her country and her keen eye for her place and time in the world.

Poet/performance artist/dj Logan Dirtverbs Phillips in Dios de la Adrenalina.

It took me several days to take it all in, furiously writing notes as I progressed from image to image. There was so much to see and so many stories told in these splendid images.

In a new photographic series of my own, titled “Esta Es Mi Ciudad” (This Is My City), I am trying to look at Tucson not in imitation of Lola Alvarez Bravo but rather using her body of work as a lens through which to seek out my own vision of my home of the last 42 years.

Girl With Scarves from “Este Es Mi Ciudad.”

I tend to think that if Lola had lived in the age of reliable color and digital ease, we likely would see the vivid color along with the gray scale drama of her world. As such, while I have done both gray scale and color versions of the photos in this series, it is the color images that I choose to present.

My ongoing series currently features portraits of artist friends, scenes of everyday and extraordinary life in Tucson, and the interplay of color, light, form and texture on both the actual and concrete landscapes of the city.

I am primarily shooting the city in daylight for this series, though there will later be more night images as well.

Maynard’s at Sunset

Tucson and Arizona have provided a lifetime of artistic inspiration to me. In the years ahead I hope to share a corner of my experience of this part of the world through this photographic series.

Here are some early works from this series.

Congress Street at night

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Old and new

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Artist Danny Martin

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– Daniel Buckley, December 2013

Posted in Daniel Buckley Arts, Daniel Buckley Images, Uncategorized

I’ve been continuing to move along on the pentatonic orchestral piece.

For the past few nights I’ve been freezing MIDI tracks. That’s the process of converting MIDI tracks to audio. As I’m doing it, the process reminds me of my mom canning fruits and vegetable for the winter when I was a kid. In a sense, I’m packing away the sonic elements I’ll be using in the months ahead to shape the final piece.

Using just the MIDI sequences and MOTU Digital Performer’s Song Mode I’m able to layer tracks and hear roughly how they’ll sound together. But by converting the to audio allows me vastly greater flexibility in layering and moving the sound beds around, adjusting relative volume and pan to make the mix more clear, as well as adding filters and effects.

I’m still not done adding tracks yet. The strings and woodwinds are done but brass and percussion still need to be recorded and frozen. But already the process of creating this piece is giving me ideas for how I might develop other works in the future.

Posted in Daniel Buckley Arts, Daniel Buckley Music, Uncategorized