MUSIC is a language. Internatonal language.

Few months ago i was interested in beatmaking videos at youtube. I was absolutly obsessed with it so i tried to do something by self in music. I downloaded FL studio and everything changed for me with that moment. I found my best hobby after so many years and i am happy for it. God, thank you! 

My start was so funny, u know i was producing music on my PC keyboard... It was so crazy but i was enjoing it. But after few months it wasnt enough so i bought my Axiom pro 64 MIDI controller. Yeah, thats my toy now and i am trying to buy some new toys to my home studio for more fun and better sound.

Still i am starting musician, self teacher, experimenting with sounds and trying to do my best, because i love it. I hope u enjoy my tracks here, but these days there is just few unfinished and just many backups. Yes i dont have so many time as i need. If something interest  u dont be afraid to ask me for a collab. We will see. 

Peace.

Denny Breau’s rhythmically flawless and dazzlingly clear style allows him to do amazing and stunning things with a six-string guitar. He first draws in an audience with a finely arranged melody and then slides effortlessly into scorching fingerwork that sets ears aflame. The lighting fast guitar lines that seem almost humanly impossible to accomplish are balanced with those that have a quiet intimacy and wrap tenderly around his carefully crafted songs. He mixes genres with ease — folk, Delta blues, country and jazz — “creating a totally accessible musical mélange that captivates as it entertains,” according to Lucky Clark writing for the Kennebec (Maine) Journal.
 
Guitarists in the audience often suspect that they have been left in the dust and regularly tell Denny that they might as well hang up their guitars! As Denny greets concert-goers and shakes hands following his performances, guitar players invariably ask how he performs certain techniques and Denny, who has a passion for teaching, is happy to show them. This is especially true when demonstrating the guitar style of Chet Atkins, who was a family friend and major influence. Shows usually include a “smartly executed Chet Atkins medley by Breau who truly does the late Atkins proud,” according to a review in Dirty Linen magazine.
 
It is not an exaggeration to say that Denny was born to the instrument on May 26, 1952. His parents, Hal Lone Pine and Betty Cody, were popular country performers and RCA recording artists beginning in the 1940s. His older brother, the late Lenny Breau, is considered a jazz guitar giant. A recent Dirty Linen review of Denny’s solo CD of “neighborly song portraits of weathered souls” said that “listening to Denny nimbly bend his acoustic steel strings…one can hear a jazz player’s elegant fluidity.”
 
Denny started playing guitar when he was 9 years old and was performing professionally by his early teens. During more than 30 years as a full-time musician, he has performed with many well-known artists and picked alongside outstanding guitarists including Bryan Sutton, Harvey Reid, J.P. Cormier, Pat Donohue, Dan Crary and Steve Kaufman. He has long been in demand as a studio musician and has done jingles and sound tracks for radio and television as well as recorded and produced albums for other artists. Denny was a member of roots music trio Turkey Hollow with Tom Rowe and Tom’s son Dave starting in 1998. Since Tom’s death in early 2004, Denny and Dave have continued to perform as Turkey Hollow on a limited bases. Denny was inducted into the Maine Country Music Hall of Fame in 2004, the youngest inductee in the history of the organization.
 
In addition to an active solo career, Denny gives private guitar lessons and teaches music clinics. He also fronts the Denny Breau Trio. Both in solo and trio performances, musical boundaries disappear as Denny takes his music to wherever the joy and spirit of the moment leads him.
 
Denny is a triple threat: a consummate picker, evocative songwriter, and a singer with a ” voice that is warm and inviting but completely unpretentious— much like the singer himself,” according to Lucky Clark. Mainers have long considered Denny a “must –see,” but they are happy to share a favorite son with those “from away.”


Spielzeuge ('toys' in German) is a two-piece indietronica act from Moscow, Russia. Songwriting credibilities are shared between Darya (vocals) and Dmitry (synths, DAW programming, occasional background vocals). Musically, the duo's stylistics may vary from synthpop and electroclash to trip-hop and dub, incorporating elements of new wave/NDW, electro-pop and post-punk. Lyrics (written mostly in German) often explore the darker sides of human existence - such as mental disorders and sexual deviations. All tracks, except for vocals (laid down in a studio) are mixed, mastered and produced DIY style by Spielzeuge.
For the moment, the duo has two singles out; both are available here for streaming. Thank you for giving a moment of your time to listen!

Hi I'm Rob! I'm a songwriter/producer in Hatfield 20 miles north of London. Here is a collection of some of my work. Am looking to collaborate with artists/singers on future projects. Hit me up if you're interested. 

Contact me by email: thorpe6ts@gmail.com



  In the popular music scene over the last century, there has been a notable pattern that goes:  the birth of a genre, the popularization of it, the eventual neutering of the music for business profits,  and finally, a purification, followed by a new generation’s discovery of the roots of the particular musical genr.  Sometimes, the result may be end up labeling it as a completely different genre. But, the cycle continues. A line can be drawn in jazz from Louis Armstrong to the peak of the summit meetings with Miles Davis, John Coltrane and Charlie Parker in the 50s. In rock music, the punk rock movement of the 70s was a reaction to the stagnation of the corporate rock of the day, which stood in contrast to the rebellious rock of the late 50's and 60s. The Sex Pistols and The Clash woke up the world to the roots of rock. In country music the same line can be seen from Jimmie Rodgers to Hank Williams.  It then goes from Hank Williams to the break out success of Roger Miller, Merle Haggard and George Jones in the 60's.  Then, as country became sappy and syrupy in the early 70's, the Outlaw Movement of the mid-70's, which included Waylon Jennings and Willie Nelson, came along. Today, in country music there is a connection between the New Traditionalist Movement of the 80s, led by Dwight Yoakam, to the L.A. Insurgent Country Movement of today.  
One of the artists who best represents the new purification of this vital American genre is Rod Melancon. Today, he may be marketed as 'Americana,' but make no mistake; he is country to the bone.  He's even taking the Dwight Yoakam route to country success by using L.A. as his starting platform. This is not by design, although fate may have had something to do with it;  because he actually started in Hollywood with hopes of an acting career. However, Rod Melancon’s recently taken to recruiting members of Yoakam's band (Brian Whelan on pedal steel and Mitch Marine on drums) to perform beside him during live concerts.    As his debut album, My Family Name, confirms, Melancon, born and raised in South Louisiana, is a natural country singer-songwriter in the tradition of Johnny Cash and Merle Haggard.  At 24, he has written a series of songs that reflect the life and culture of his roots in a way  reminiscent of Cash's early work in Memphis.  
  From the opening track, the outlaw influenced, "Living Like My Heroes," to the eerily haunting ballad, "Lord Knows," he is renewing the landscape once cultivated by the best of the best in country music. Melancon innately knowswhere story meets poetry. It's the purity of sound and song that most of today's mainstream country singer-songwriters have long abandoned in favor of songs about a more modern and clichéd country culture. It would be easy for many critics and A&R people to pass Melancon off as a retro-fluke, soon to fade. But Rod Melancon is not retro, he is most definitely for real. It's that reality and lack of posturing, supported by some stunningly classic-based original country songs, that give Melancon his edge.  It takes no effort for fans and music critics alike to call forth the images of Elvis or James Dean when seeing Rod live.. That’s his natural persona, it's who he really he is. Yet, rather than stating  he may have been born into the wrong musical era,, perhaps, it would be better said, he was born at just the right time, a time to revitalize country music to its original glory. 
  On "Angola Blues," Melancon portrays life in the shadows of Louisiana State Prison-aka Angola- near his hometown. It's the place where father and son Lomax once discovered Leadbelly. It's where the haunting story of Dead Man Walking was filmed nearly 20 years ago. It's the same soul that runs through all Melancon's music.  Like Cash opened his classic "Folsom Prison Blues” with "hear that train a comin...”,  the “Angola Blues” lyrical lead-in, "I left town when I was just sixteen..." casts the same immediate hook into the listener, one that doesn't let go until the song’s end. "Reggie," humanizes the young soldiers sent to fight in the Middle East over the last ten years, diggging deep with compassion and empathy. "South Louisan," is a dark, true tale of white trash revenge that is as ironically humorous as it is tragic.    The album production is clean, lean and created with skill, vision and talent from start to finish. The credit on this goes to Sonora Recorders' Richard Barron and legendary L.A. bassist (who is also in Melancon's band) Chad Watson. The session musicians  read like a Who's Who of  legendary L.A. country session work, including Herb Pedersen, lead guitarist, Vern Monnett (Charlie Rich), Dean Parks on pedal steel, Matt Cartsonis (Warren Zevon) on mando and Lone Justice's Don Heffington on drums.  The music expertly supports each song in realizing its potential in mood and texture. Vern Monnett's lead guitar is a consistent presence that weaves through the music in much the same way Mark Knopfler did on Bob Dylan's classic, Slow Train Comin.'  It's like a conversation between singer and  player.   
   Most recently, Melancon is working an album of new material produced by Dave Cobb in Nashville. Along for the ride is Jamey Johnson's band. If the first two songs is any indication, Melancon is digging his roots even deeper than on My Family Name.  "Mad Talking Mad," is rootsy country-rock that’s heavy on his own brand of rock-a-billy rave and rage.  Don Convey's R&B classic "Have Mercy," is given a hard rocking edge that gives the song a whole new life.  It's the kind of marriage between country and rhythm & blues that have made for classics in the well-known studios and music halls of Memphis and Nashville.     There is a sense of inevitable destiny with some artists early in their career.  That sense surrounds Rod Melancon today. To borrow from a statement made long ago about Springsteen, I have seen the future of country music. His name is Rod Melancon.  


In 2004, Marc Broussard, then a precocious 22-year-old singer/songwriter, released his major-label debut; he called it Carencro, after the Louisiana town where he was born and raised, and its thematic centerpiece was a hickory-smoked slab of Bayou soul called “Home.” That album and the three that followed revealed Broussard as an old-school Southern soul singer blessed with a rarefied gift and innate stylistic and emotional authenticity, causing the L.A. Times to rave, “The guy can really sing, with power, nuance and class. Anybody got a phone book? I’d listen to him hum a few pages.” Those records also evidenced Broussard’s maturation into a songwriter of uncommon eloquence, fashioning the indigenous idioms of his native region into compelling personal testimony.   

Now, a decade after his critical breakthrough, Broussard has come full circle with A LIFE WORTH LIVING his sixth studio album, a celebration of what home means to him, starting with his wife and kids, the street he’s lived on his entire life, surrounded by loved ones, and all the minutiae of everyday life that he has come to treasure. 

“Home definitely has a lot to do with this album,” he confirms. “But family has a lot to do with it as well, and those two go hand in hand. The infrastructure of family is really important, especially when you have four kids. Luckily I’ve got family that I’ve been able to lean on throughout all these years. Then,on top of it all, this place is just special. There’s a different way of living, a different way of communicating and a different way of celebrating life here that is infectious. And once you realize it, you never want to leave.”

Broussard signals his intentions with the cover portrait, which pictures him with his wife and kids sitting on the steps of a neighbor’s house, instruments in hand, persuasively conveying the notion that the family that plays together stays together. That touching photograph, which recalls Norman Rockwell’s heartwarming images of home and hearth, leads the listener into a song cycle that brings those traditional American values to vivid life, a linked series of ballads and deep-gut soul-rockers with revealing titles like “Edge of Heaven,” “Another Day,” “Weight of the World,” “Perfect to Me” and “Shine.” These songs, some intimate and others churning with intensity, like the kickass blues-rockers “Dyin’ Man” and “Man Ain’t Supposed to Cry,” chart the full range of concerns and emotions of a husband, father and provider as he experiences the joys and sorrows of existence. 

“Whether it’s because I’m older and a little more perceptive, or whether it was just the right time, I find myself with a set of songs that really means the world to me,” Broussard says with pride. “The lion’s share of the material on this record is extremely personal. There are decades of stories behind a single line in any of these songs. In that way alone, it’s vastly different than anything I’ve done before. There was much more attention to detail; I feel like I’ve become a more focused writer.”

From the charged metaphor of the opening track and lead single “Hurricane Heart” to the closing existential lament “I’ll never Know,” Broussard gets really close to the bone on this record—so close, in fact, that there seems to be no distance between himself and these songs, each of them drawn from the very fabric of his life; it’s as if they’re being transmitted from his heart and soul directly to the listener. That’s particularly true of the poignant title piece. 

“It was a rare occurrence to have a song that just kind of wrote itself,” Broussard says of “A Life Worth Living.” “It felt like I was the conduit more than the writer, that I received this thing. It happened right after the passing of my grandmother. She was sick, and she decided not to fight the cancer, which is indicative of her style—she lived by her own rules. My mother’s mother was the matriarch of this wonderful, massive family. Hurricane Isaac was bearing down on the Gulf Coast of Louisiana at the same time that she was passing away, and because it was such a sudden thing—we found out she had cancer and three weeks later she was gone—we were all left speechless. I felt like someone needed to say something and luckily the whole thing laid itself out in front of me. 

“That’s one of two songs on this record that came to me this way,” Broussard continues. “The other one is ‘Give ’Em Hell.’ It’s about a friend of mine, Squirrel we called him, who was the head of the English department at a Jesuit high school in New Orleans. This guy was a brilliant writer, and one of my favorite people of all time. Squirrel passed away suddenly from a heart condition last April, and that led to another song that just hit me. I sat right up in bed and heard the first line. 

“My grandmother passed away at the end of the summer of 2012, and Squirrel passed away in the spring of last year, so those two songs buttressed the entire writing process for this record,” he notes. “I felt both my grandmother and Squirrel’s presence coaxing me through every line, through every tear that rolled down my face as I wrote. Both were extremely emotional to write because I knew how gut-wrenching every line was going to be. So surrendering to the process was very difficult, but incredibly cathartic in the end.” 

The album’s other linchpin song is “Honesty,” which, like “A Life Worth Living” and “Give ’Em Hell,” began with an epiphany. “‘Honesty’ was born out of an experience I had listening to a song called ‘Don’t Tell All My Friends About Me,’ by a brilliant guy named Blake Mills,” Broussard recalls. “That song had a profound effect on me in that it was so brutally honest it couldn’t be denied. For a long, long time, I’ve avoided writing about the darker side of relationships and love for fear of offending my wife’s sensibilities. But after I heard that song, I said to myself, ‘I can’t do that anymore. I’m not gonna allow myself to be stifled; I need to be able to write whatever I’m feeling.” So I had a talk with my wife and let her know that none of this stuff was really that personal, and all she needed to do was focus on how we are to each other. Then I proceeded to open myself up. So ‘Honesty’ is really the quintessence of this new spirit in my writing. 

A LIFE WORTH LIVING marks Broussard’s return to Vanguard, which released 2007’s SOS: Save Our Soul, his scintillating album of covers of Southern soul classics.

“Luckily, I’m with a company that recognizes opportunities and is nimble and agile enough to make moves on it when they present themselves,” says Broussard. “All of the things that I needed to happen for me to feel confident about this project have come together. It’s put me in a really good head space. I’m really looking forward to the future, and there’s no end in sight, that’s the thing. We’ve got ideas that are fresh, and a team that’s really excited about implementing those ideas. I’m poised for some big things, hopefully, right here.”

With that, Broussard eases himself back into the unhurried rhythm of life in Carencro. The next order of business: dropping off a cookie cake baked by his wife to his daughter’s first-grade class at the neighborhood elementary school.

I’m a artist that go by the name of Mac Reaper from Memphis, Tennessee. I started doing music when I was 08 and started live production when I was 15. From there on I have been in Many events such as performing at shows, on radio shows, producing music, and creating music. With dedication and commitment achieving and believing in myself gives me the confidents to proceed on that right path to success by uplifting myself as well as uplifting others with real music and proper music they can relate to.
"MORE ABOUT ME" WHAT'S GOING ON WORLD I AM A ARTIST/SONGWRITER/PRODUCER/ENGINEER/GRAPHIC DESIGNER THAT GO BY THE NAME MAC REAPER I STARTED MAKING SONGS AND WRITING WHEN I WAS 8 YEARS OLD.  I LOVE THE SOUND OF MUSIC IT WAS MY FAVORITE SUBJECTS IN SCHOOL. WHEN I WAS IN MUSIC CLASS I ALWAYS LOVED THE SOUND OF MUSIC HOW THE VOCALS MEET THE MELODY OF THE TUNE. FROM THEN ON I HAVE BEEN MAKING MUSIC. IN HIGH SCHOOL I USE TO HAVE RAP SESSIONS SOMEONE MADE A BEAT BY BANGING ON THE CAFETERIA TABLE WITH ONE HAND PENCIL THE OTHER. I WANTED MUSIC SO MUCH MY FRIENDS AND ME DON'T HAVE A STUDIO I BOUGHT A KARAOKE MACHINE AND WE PRACTICE BY LISTENING TO THE BEAT RECORDING OURSELVES UNTIL WE FOUND A STUDIO. BY ASKING AROUND I FOUND A PROGRAM CALLED COOL EDIT PRO AND I PUT IT ON MY COMPUTER. FROM THEN ON I HAVE BEEN MAKING MUSIC FOR 11 YEARS NOW. I AM IN A HIP HOP GROUP CALLED INDEPENDENT CRIME ENTERTAINMENT. WE LOVE TO DO EVENTS AND PERFORM LIVE. I PERFORMED IN (TUNES FOR TOYS 2011, MEGA MUSIC FEST 2010, SEVERAL NIGHT CLUBS) I ALSO HAVE YOUTUBE VIDEO ACCOUNT http://www.youtube.com/user/lilrara21519 IM ON DAT PIFF WITH MY LATEST MIXTAPE http://www.datpiff.com/Mac-Reaper-I-Am-Mac-Reaper-mixtape.225085.html ADD ME ON FACEBOOK ALSO www.facebook.com/macreaper
Thank YOU FOR YOUR TIME SUPPORT MY MOVEMENT MAC REAPER

The future is ahead of us. Here, have a banana.
The new album, Post-Truth and Bird Feeders is out now. 
Order the vinyl / CD on vangoose.bandcamp.com.
Available for streaming on all platforms.

Hello and thank you for stopping by! My name is Darrick and I run Driftwood Studio out of La Jolla in San Diego, CA. What sets Driftwood apart from many studios and recording/mixing services is that I come to you. I have a mobile recording rig and a stationary set up that allows me to record the raw tracks where ever the artist feels comfortable and then I take them back into my workspace and edit, mix, and master them. The end results are tracks that come together to become a professional sounding product that the artist is proud to share with their fans and audience. Driftwood Studio provides everything one will need to record their songs in a relaxed and creative environment while yielding the results that they would expect.

ABOUT ME: I have been fascinated with recording music since I was 12 years old attempting to multi track my horrible playing by using two cassette recorders to primitively over dub my playing onto one tape. When I was 15 or 16 I finally saved up enough money to buy a Tascam 4-Track recorder and a couple of Radio Shack mics and I was able to make slightly better recordings. As the years went by and technology became better (and my income increased) so did my set up and my talents as a Recording Engineer. As a person who always wants to learn and do better, I have spent countless hours reading books/magazines/blogs/websites and watching videos on the art of recording and mixing audio along with even more countless hours experimenting and honing my skills pushing faders and twisting knobs learning my equipment and the effect each little tweak makes on the sound.

MY EQUIPMENT: I run the most recent versions of Cubase (8), Pro Tools (11), Studio One (2.6) on both setups as my DAWs (Digital Audio Workstations – Recording Software.) I have AD/DA interfaces (the equipment that converts analog sound to digital information and vise versa) which allow for complete band recordings at one time if desired (16 track recording in house and 14 track mobile.) I have a complete microphone locker which allows me to have the right mic for whatever the condition/instrument is to capture the desired sound. I monitor the tracks/song through professional studio monitors and headphones. I have a plethora of effects and virtual instruments that allows the music to transform into an exciting mix.

EQUIPMENT SPECS:
Mics:
Condensors - CAD M179 (x2), CAD E70 (x2), CAD CM217 (x2), Audio Technica AE2500 (x1), MXL 990 (x2), MXL 991 (x2), MXL 840 (x2), MXL 890 (x1), Sterling Audio S50 (x1), Sterling Audio S30 (x1)

Dynamics - Shure SM7B (x1), Shure SM57 (x1), Audio Technica AE2500 (x1), Digital Reference DRI100 (x5), Digital Reference DR-STX1 (x3), Digital Reference DR-KX1 (x1), AKG D 8000 S (x1), Electro-Voice 357B (x1), Electro-Voice 257B (x1)

Ribbons - MXL R144 (x2)

Along with a bunch of other miscellaneous mics.

Interfaces:
Focusrite Saffire Pro 40 (with a Behringer ADA8200 - which allows for an additional 8 inputs)
Tascam US-1800
M-Audio MobilePre

Other Rack Equipment:
DBX 166XL Compressor/Limiter/Gate, Presonus Monitor Station, Equalizer, Headphone Amps, Power Conditioners, and various mic preamps

Monitors and Heaphones:
Monitors - KRK Rokit 5G3 (x2), KRK Rokit 5G2 (x2), Alesis M1 Active 620 (x2), Alesis Elevate 3 (x2), and a Subwoofer (x1)

Headphones - Way too many to list

Instruments:
Guitars and Basses - Various Electrics (Fender, Squier, Epiphone) and Various Acoustics (Fender, Dean, Squier, Epiphone)
Amps - Fender, Crate, Ampeg, & Roland
Drums - 3 Acoustic sets (Pacific, Pearl, Sound Percussion w/ Sabian, Zildjian, and Paiste Cymbals) and 1 Electric set (Roland V-Drums used as a MIDI controller)
Keyboards and MIDI Controllers - Casio, M-Audio, and Korg

I have lots of other miscellaneous pieces of equipment such as plenty of mic stands, etc.

MY SERVICES: I offer everything required to make a complete album or EP. I record the raw tracks so that the quality of the recording will translate into a clean and full mix. I edit the audio so that it is exactly what is required to make the song sound the way that the artist intended. I mix the raw/processed tracks so they meld together to be a rich and intriguing mix which blends together seamlessly and cohesively. Finally I master all of the tracks so that all the songs on the album/EP flow together and translate well on any listening device in any listening environment.

MY PRICING: As I enjoy recording and playing music, this is more of a hobby to me than a venture to try and make a living off of, therefore I am reasonably priced. By no means am I the best or most experienced at engineering music productions but with every song I record I get better, learn something new, and develop a deeper understanding of how this whole process works. I have a day job/career which is how I pay my bills and allows me to buy all the fun toys for my studio. All services are negotiable depending on what is desired on the behalf of the artist. Certain things will cost more like intense MIDI/drum programming and in depth drum editing and quantizing (fixing off beat off tempo playing) or very thorough vocal pitch correction/adjustment. Just ask and I am sure we can work out something that will be beneficial for both of us. I am also a pretty proficient musician/song writer/producer so I am available to play on any track if needed at no extra cost. I play drums, bass, guitar, and enough keyboard to get by.

Once again, thank you for stopping by and shoot me a message if you have any questions or comments or if you are interested in any of my services. Most of all enjoy this art of music as it is without a doubt the language that all ears understand!
Contact me at: driftwoodrecording@gmail.com or here on Soundcloud.

Darrick


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