Drew Neuman scored all my favorite TV shows. The weirder the better. Normality is for people with no imagination.

Scalar

Thanks For Asking (Don't Ask Mix)

What Is Real? (prod. chillingcat)

Tough, inventive, no-nonsense genre-bending hook-laden guitar-based multi-ethnic dance-music, that flouts convention.

BestLife

Power'ouse Mix

Freer

An autumn afternoon at the Champs de Mars by the Eiffel Tower in Paris. A red balloon makes its way through the September skies towards the infinite, across the oceans of water and time, through the distances of geography, dancing its dance over the clouds and painting a rainbow in the gray skies of autumn.



Produced by Grecco Buratto, Marconi de Morais and Sandro Feliciano. 

Recorded by Benny Faccone and Mixed by Moogie Canázio.
Painting by S.U.S.H., Photograph by Caesar Lima, Art Design by Jeri Heiden at Smog Design

Grecco Buratto - Vocals and Acoustic Guitar 
Zé Luís Nascimento -  Percussion 
Francis Varis - Accordion
Antonio Carmona - Background Vocals and Additional Percussion


O Amor a Voar (G. Buratto)


Vai pelo céu 
Passeando no azul 
Vai voando rumo ao infinito 
Vai de encontro ao sol 
Num ballet pelo ar 
Meu amor a voar pelo mundo

Vai pelo mar 
Navegando ao léu 
Sobre as ondas do tempo, invisível 
Uma gota de dor 
Uma nau de papel 
Uma lágrima encheu o oceano

De beleza, de cor 
De tristeza, de amor 
Das lembranças que trago comigo
Das canções ao luar 
Teu olhar, Praia Mar 
De te ver num espelho sorrindo

Corações a pulsar 
Um balão a bordar 
O teu nome nas nuvens de outono
Corações a brincar 
Um balão a pintar 
Um arco-íris no céu de setembro

Foi meu amor 
Ganhou asas, voou 
Foi buscar o seu próprio destino 
Navegando no azul 
Sobre as ondas do mar 
Uma lágrima cai , infinita

É a beleza, é a dor 
A tristeza e a cor 
Das lembranças que levo comigo 
Caminhar ao luar 
Na cidade , o lugar 
Onde tudo teve seu início

Corações a pulsar 
Uma nau a bordar 
O teu nome no mar de Santiago
Corações a brincar 
Um balão a pintar 
Um arco-íris no céu de setembro 
Corações a amar 
E o amor a voar 
Pelos céus de Paris nesse inverno

12-09-06

℗ and © Zen Mohawk Records 2017

Published by Agora Eu Sei Songs/SESAC

Essas Coisas Todas

Buy on iTunes

O Amor A Voar

Factory songs recorded from the SE-02.  There are two songs total.

SE-02 Factory Songs

Learned from a youtube video. Just had to learn it because it's such a great tune. It revolutionized my understanding of chords on the Irish BC accordion.

Metsakukkia - Finnish Waltz in Amin

Feel good vibes, the kind that'll walk you through a windows 95 installation without loosing your shit.  Where was thing track when it was most needed? 
- This is the backing track to one of the first in-house videos I did for Modal. (Covering Modal VST).

Tutorial

A not at all brief description is in order: Our no longer little Boomstar S.E.M. continues its variations on the drumming, "synthing," "percussioning," and processing external sources theme (well that bit is new); in this case a Roland / Rhodes Mk-80 playing a rather straight forward free .mid file, whose handlers promised a Frank Sinatra rendition of Cole Porter's all-knowing, all-seeing, thoroughly hypnotic and  rapturously lovely "Pop" Eye (no pun...) of "Begin the Beguine," just one of those two hits from Porter's Jubilee (1935) which have long since become standards (he continued on pretentiously).

Interestingly (a worse inclusion than "the reason is because") the song here is the Eye of Horus!--but all of you caught that already.

The triplet feel was created by just the right amount of Boomstar VCA release that I fell upon and sagely did not adjust.  It has its way with four rhythm tracks: hard left: a soft overdrive, hard right: an FM synth sound care of OSC crossmod (I think), mainly center: a muted bit of magic, and 2:00 high: a ZZ Top/Gorgio Moroder agro crunch plays at Alpha Male--the dominant chordal thrust, if you please.

This track was mainly constructed and the bright idea of adding latin percussion--Drew Neumann's synth-genius-latin-percussionn-touch.  Of course I was oblivious to the rigorousness of the triplet feel and what that demanded of the bongos, clave, quica (used as a call for the male lion in Africa, I read somewhere), güiro, big drum, guar drum--just checking if you're paying attention--and the 16th century triangle (our own Cajun "tit fer"), but Drew was nobody's fool, and simply marvelous at using subtractive synthesis and his deep rhythmic knowledge-base to parrot classic percussion fixtures––completely imperturbable when I modified, mangled and morphed… I did get into the triplet swing of things eventually, and threw in some straight time kicks just to prove a point.  The real challenge was cooking up a funky, earthy soup where individual flavors prone to "notice me" bravado wrapped their often curmudgeonly coiling waves around a collective of conscious consanguinity.  Ha!   I was just trying to "Bolero" my way through it.  Perhaps I was successful at tackling this 108 bar "maverick... unprecedented experiment"* (32 was the hallowed length at the time) bar form and masterstroke.

A bit about the 'Star leads: There are five in total.  (#1) 11 o'clock, "Accordiana" Lead, pumping the band pass and notch; (#2) 10 o'clock, "In Search of Glide" Lead, bringing the classic '70s Nimoy TV color; (#3) 4 o'clock, "Wormcloud" lead, for that upper octave cream; (#4) 8 o'clock, "Good Warming" Lead, adding essential electone harmonics and thickening agents; (#5) 5 o'clock, "Wildcard Line" Lead, for the Badfinger/Bangladesh effect. 

What else?  Oh yes, no compression, limiting, or gain maximizing used apart from the alchemy of DP7 under cover of darkness in its mix console.  A few native DP plugins were employed to provide a bit of depth to the MK-80 among other culprits - screenshots available upon request.

Near lastly, this piece is tuned to the concert pitch of the crickets, winged singers and chirpers (the wind in the leaves in all likelihood) of Stevenson Ranch, CA: 432 Hz, which is why they sneak into the back door at end, perfectly attuned and welcome, solitons be praised ;)

Brilliant 432 read: http://omega432.com/432-music/the-importance-of-432hz-music

See it: http://www.cymatics.org/

Hey, if "DNA is a cosmic musical score operating triplets of rhythm at over 3000 beats per minute," I'm in good company with my serendipitously generated Boomstar S.E.M. triplets!

Performed by a now lost .mid source, Marc St. Regis, Drew Neumann and the inspiration of CP 1.

Produced, mixed and edited by Marc St. Regis.

SE .wav file: http://studioelectronics.com/assets/Audio/boomstar/Boomstar-the-Beguine.wav

*American Popular Song: The Great Innovators, 1900-1950. Alec Wilder.

Boomstar the Beguine - S.E.M. by Marc St. Regis and Drew Neumann

Having fun layering an assortment of patches I dialled into my 2004 Studio Electronics Omega 8..  

I have always liked the array of multi-mode filters this synth has to offer - it adds a great deal more sonic potential to an often overlooked and very capable analog beast.

NB:  Although it might sound like it, no phasers were used in this recording.. what you are hearing is copious use of the superb band-pass and high-pass filters in the Omega 8 being modulated by the LFOs.

Composition & Recording Copyright D.A.Wilson, Hideaway Studio, 2021.

Boomstar the Beguine - S.E.M. by Marc St. Regis and Drew Neumann

STUDIO ELECTRONICS

Recent comments

What's That Noise?

gridsleep

Related tracks