Jucarii pentru astia mari …

Poate ziceti ca am dat in mintea copiilor la maturitate; dar uite ca nu sint singur 🙂

si aici la partea tehnica in Live:


Tracking is for nerds? … No way!

As a matter of fact, classical musicians are usually of course, better … classically trained so they know hex! Here is the proof:

And to stay somehow in the same realm, here is probably the nicest keygen I’ve ever seen:

Chestii muzicale ‘locale’ …

Avind in vedere ca in capul meu nu prea este cine stie ce rock ;-), ca de’ nu sint Motoc, uite ceva mai Aztec:

Alborada del Inka – Meditacion

01. Five Spirith (Ivan Rafo)
02. Beatifull Spirith Song (D.R.)
03. Valle del Alto (Mauricio Vicencio)
04. Chinooks Pride (D.R.)
05. Nativos (Carlos Z. Quispe)
06. Chuky kirau (Sixto Ayvar)
07. Pampa Marka (Sixto Ayvar)
08. Apu Rasu Wilka (Sixto Ayvar)
09. Toro Ara (Victor Valle)
10. Llanto de la Paloma (Jose Lazaro)
11. Sumaq Puncha (Sixto Ayvar)
12. Kuykocha (Victor Valle)
13. Koyabambamanta kapitan Nan (Sixto Ayvar)

si un pic vizual:

Sixto Ayvar, founder and leader of the group says “I feel proud as Peruvian Quechua spread our music for a moment had the threat of extinction but has resurfaced and now like it in Europe.” As to whether they have felt marginalized in the Old says no because “we realize the immense cultural wealth of our country, I am happy to have been born on this earth, in my Peru, and a descendant of the Incas “.

He states that the only weapon to defend against this terrible plague that discriminates about the color of your skin, you know who you are “our message to the younger generation is that first traveling on our territory and know its history and culture inka and feel proud of that past. ”

Alborada is a band who can speak with authority on that subject because they have never unworthy value to them or different people from different cultures to ours, on the contrary, have fed and grown thanks to the contribution of musicians Lennin other nationalities (of Ecuador) and very varied instruments that come from all over the world, from the far east to other natives of North America, in addition to those considered indigenous to our indigenous, such as drums America, flutes, flutes, panpipes, etc.

Alborada has more than one artistic merit, perhaps the most important is not to have left crushed by the musical and social stereotypes and have understood that in Peru and elsewhere in the world now prevails multiculturalism, therefore, is also possible the existence of music is the result of a collage of rhythms and instruments.

Therefore, after 26 years of experience, Alborada is currently considered as a social phenomenon or, as experts say, a true “ethno-cultural crossover”.

The group’s history begins in 1984 when Sixto Ayvar founded ‘Alborada’ in his hometown, 6SU music, inspired mainly in the folklore of the Peruvian Andes, is carried by Sixtucha (Quechua diminutive of Sixto) to Germanic lands, finally settling in the city Cologne. And hence the musician’s ear is enlarged by all genres and styles that coexist in a cosmopolitan city, providing a different sensitivity to the instruments regardless of their origin. Traditional Andean music, hands and voices of Alborada, is modernized, it is renewed.

In the beginning, support and push recognized Manuelcha Prado and Julio Humala was fundamental. But many other names moved by Dawn, different experiences and nationalities. With all Alborada was experimenting and dabbling in different musical forms, but always with his particular and distinctive style. From traditional strictly through the merger and music for meditation. Production “Tropical” approach to dance and contemporary rhythms. In the series “Melodies of the Heart” and “Unforgettable Melodies” explore the popular rhythms of the West.

They employ spectacular costumes.

But it is with the arrival of Victor Valley and Lenin de la Torre to the new sound of Alborada is brewing. A new styles and rhythms that they bring from their respective communities, the experiences gained by visiting indigenous cultures of Canada and the United States joins. These new experiences are evident from its production “Meditation” where Alborada implies that their new sound goes much further than just a stylistic issue. Behind the new proposal the arduous task of creating cultural bridges between capriciously separated human groups by history hides. Keep in mind that for many years the indigenous traditions of North and South America learned to feed each other, so Alborada with his adventurous and innovative spirit wanted to go the opposite way of the conquerors, bringing the traditions of these peoples.

(asta in caz ca nu va merge ‘Translatorul‘)


Dubsteping … with some history …

this is from: Interactive Composition: Strategies Using Ableton Live and Max for Live

Dubstep is a U.K. electronic dance style started in 2005, often cited as beginning with the Skream track “Midnight Request Line” then later Americanized into a very different style with the same name. We will explore the differences between U.K. and U.S. Dubstep in a bit. The name “dubstep” is a portmanteau of two other electronic music subgenres: “dub” music and “2-step” or “2-step garage.” There are also significant influences in the genre from the United Kingdom’s Grime subgenre of hip-hop, and some significant contributions from drum and bass. Here is a short recipe for dubstep music, using ingredients from each of these subgenres.

Rasfoind prin carte si analizind proiectele in Ableton Live am vrut sa vad ce mai fac doi vechi ‘prieteni’ virtuali …

Tom Cosm, ‘tiganul’ meu din Australia … sau poate Noua Zeelanda … nu conteaza oricum, este si mai rau decit il stiam!

In ‘tinerete’ avea ‘braids’ si acum sa tuns si are barba dar tot tastatura foloseste in compozitii …

cum era:

si acum:

Mai intersant este ca sa apucat de jucarii serioase:

Un alt muzicant, foarte prolific pe Youtube, de urmarit este Jonathan “Scooter” Clark; ca este doar compatriot si verile se ocupa de impaduriri … ‘nebun’ ca orice canadian … doar nu avem destui copaci pe aici!

‘Sound’ Check up …

Inginerul de sunet din mine (fara nici o diploma) a incercat azi noapte sa verifice acuratetea noii versiuni, Studio One v3.1, la import de fisiere MIDI si atasare automata de instrumente adecvate din biblioteca.

(let’s call it ‘drag & drop music production’, in the style of the 21st century 😉 )

Cobaiul a fost ‘Alborada del Gracioso’:

si in particular interpretarea solo la pian:

si uite rezultatul:

Sint citeva secunde desincronizare intre ele – Vitaly incepe dupa credit!

Nimic post-productie; doar ‘drag-and-drop’ fisierul (de aici), aranjat ferestrele pentru vizualizare … ‘and just hit the Space/Play button’ 🙂

Astept cu interes notele juriului! (eu dau un 9.2 din 10; motivele vin poate mai tirziu, dupa feedback)

Antonia  trebuie sa fie in juriu asa ca am sa o anunt 🙂

Studio One in One Key and … everything else in Ctrl-Tab

After 2 years, I am back here with a vengeance … !

Si a acum un sumar pentru cei de pe linga Carpati:

Sint patru DAWs rulind in paralel (in doar 8 GB de RAM) si doua utilitare VSTi Host plus un favorit MonoPoly.


Studio One
, Cubase, Ableton Live, FL Studio + vsthost, minihost

Am incercat sa folosesc doar tastatura in extremis pentru ‘muzicute’; singurul moment in care am folosit ‘soricelul’, de exemplu in ‘Studio One’, a fost pentru a schimba ‘focusul’ de la o parte a aplicatiei la alta – de la sintetizatoare la biblioteca pentru a cauta un clip in tonus!

Totul a pornit de la un pic de ‘BitWig‘-ing si urmarind pe Robin tot ‘batind apa in piua’ cu muzica compusa pe tableta: