Search Results for: live music

Digital voice effects processors

Although the technology of voice processors is not new and has been used for decades, first in recording studios when refining vocals and instruments, it is now available to anyone, be it vocalist, instrumentalist or both, now we are presented with the question, is a performer using it a good vocalist or not, in fact only if we have an “unplug event”, can we realise the vocal range actually, as I said before, it has been used for years in recording studios, as I said before, it has been used for years in recording studios, maybe they have given it another name but they “tweak” the voice on the tracks and you could notice it, only in live events you could perceive some differences and they said it was the “acoustics” or some other excuse.

Nowadays we can no longer distinguish it as it has been used and popularised in performances in front of the audience, whether they accept it as part of the show or just don’t care about the real voice. But don’t misunderstand this, because there are excellent singers who have used it or use it to have a virtual backing vocal with their own voice, special effects as required by the song and it is totally valid.

Courtesy of: Roz Firth

What is really unacceptable, or at least it is to me, is that I am a lousy “shower singer” who uses it to modify my voice to such an extent that it is a deception to “my audience”.

Technology has digitised the equipment by reducing its size and power consumption, adding extra functions to just processing the voice like in a recording studio, it has integrated the voice through a microphone to musical instruments, whether the vocalist is playing a guitar or other musical instrument while performing in front of an audience or accompanying himself in the recent “if the music inspires me to vocalise, it’s perfectly valid” home studios.

However, these very small pieces of equipment have their detractors, be they purists or bandleaders, the latter may argue that it “takes away the work of the extra musicians” but the current reality indicates that if you want to make a live performance you must take care of the economy of all and not only favour the orchestra or the producer of the event, what must prevail is the excellence of the music in front of the audience, and for that you need good vocalists and excellent musicians.

The technology of voice processors accompanied by digitised effects is already with us, there is no turning back, nor should there be, everything changes for the better and that leads us to have better vocalists and more qualified musicians, it gives the opportunity to emerging musical groups that do not have a large budget for extra musicians, recording studios … if you are good with little, you will be evaluated by those who really matter, your audience.

Now let’s talk about these vocal effects processors, what they do, what they look like, costs, etc.

What do they do?

They are electronic devices that allow echo effects, reverb, voice multiplication (to be and make your own chorus), enhance the vocalist’s singing in real time, pitch, depth, volume, add pre-recorded harmonies and loops, change tempo, gender, age and distort the voice, something you could never do on your own, all while performing in front of your audience, something unthinkable between how the artist sounds in studio and “live” and in addition to this we can integrate via MIDI connection a guitar, piano, synthesizer or simply next to the microphone, a harmonica, to the audio output.

What are they like?

They are small, portable and not expensive musical equipment digitized or purity of sound that emanates from them, are placed between the microphone, either dynamic, condenser … the main thing is its connection is XLR, these capture the voice processing it, mixing it to achieve and deliver a very refined voice (such as that of a recording studio operated by a sound engineer), directly to the audio system to the public, and are presented as desktop models or pedal, both do wonders.

Variety and cost

At this point we must remember that like all equipment, they are constantly updated, improving their quality and variety of effects and interfaces to other equipment, so there is a wide variety of prices according to their characteristics, currently we can indicate six really efficient voice processors, I established the order according to the price range and not preferences, in the links you can see videos of artists using them, their use and more.

TC-Helicon VoiceLive 3 https://www.tc-helicon.com/product.html?modelCode=P0CDY ($ 740)
Boss VE-20 Vocal Performer https://www.boss.info/global/products/ve-20/ ($ 360)
Zoom v3 https://zoomcorp.com/en/us/vocal-processors/vocal-processors/v3/ ($ 285)
Roland VT-3 Vocal Transformer https://www.roland.com/global/products/vt-3/ ($276)
EHX Voice Box Vocal Harmony Machine and Vocoder https://www.ehx.com/products/voice-box/ ($ 262)
TC Helicon VoiceTone Harmony-G XT https://www.tc-helicon.com/product.html?modelCode=P0CMT ($ 229)
Behringer Virtualizer 3D FX2000 https://www.behringer.com/product.html?modelCode=P0A3P ($ 160)

The recently released single “Cómo te quiero yo” is the preview of what will be the album, Sabrosura y Tradición, soon to be released also in acetate.

With a fifty-year career in music, the leader of the Salsa 220 Orchestra, Colombian trombonist Oscar “El Gato” Urueta releases the second song of the musical concept he now directs.

“El Gato” delivers his latest single “Cómo te quiero yo”, composition and arrangement by Venezuelan pianist Alberto Crespo; this time with Rodrigo Mendoza, remembered for his time with Dimensión Latina de Venezuela, on vocals. Urueta got in touch with Alberto Crespo after seeing his work in social networks.

This single, in my opinion, deserves international diffusion because of the Afro-Caribbean interpretation in this concept described by Urueta himself as high-voltage salsa. I listened to the track and I feel obliged to highlight it for bringing us a classic salsa concept, without being more of the same; so let’s go to the mambo, here is what you hear:

During the first 10 seconds, Rodrigo Mendoza leads the vocal part opening the theme as if opening a door; inviting the listener to go on a musical journey that merges various cultural influences.

At the first minute mark it is already known that the trombones of Oscar “El Gato” Urueta and Eliel Rivero are in charge of the musicalization. At minute 1:45, Alberto Crespo’s piano solo delights us without making it dense.

This piano solo, from which the salsa dancer who dances in tune can benefit, seems to embrace in perfect synchrony the sound of José Soto “Mortadelo”‘s bass.

At minute 2:30 the trombones take over the song, and melodically give way to the tumbadora, in the hands of Carlos Padrón; meeting with the sound of the same in a tasty instrumental correspondence full of cadence and Caribbean flavor.

At minute 2:36, the bass of José Soto embraces again the sound of the tumbadora.

At minute 2:40 the tumbadora turns on the mambo. At minute 2:42 the tumbadora leads the percussion, opening the way for a bell that plays with the coros of Luisito Cabrera, Rodrigo Mendoza and Edgar “Dolor” Quijada, as well as interweaving with the trombones.

The trombones persist and sustain a mambo of those that bring “more salsa than pesca’o”, as we say in Puerto Rico; until around minute 2:55 the conga, the timbal and the bell execute a forceful cut and in unison, to return the arrangement to the trombones.

At minute 4:00, the leader’s trombone seems to be in sync with the percussion and vocalist to close the track; shortly after the trombones enter into a brief correspondence with the tumbadora, just before Padrón’s campaneo concludes the track at minute 4:25.

Urueta has a healthy musical trajectory, surrounded by the greats of the salsa sound. “El Gato” was part of the Colombian orchestra La Protesta, when Joe Arroyo was the group’s vocalist. Urueta was also part of the now world renowned Grupo Niche, replacing Alexis Lozano on trombone. Urueta traveled to New York City with Grupo Niche as part of the first international tour of the group founded by the late Jairo Varela. He later settled in Miami where he was part of the orchestras that accompanied stars such as Frankie Ruiz, Hansel y Raúl and Santos Colón, to name a few.

Coincidentally, “El Gato” Urueta joined Hansel y Raul’s orchestra when the song ‘Maria Teresa y Danilo’ had become a hit throughout Latin America. Urueta shared the stage with musicians of the stature of Israel López “Cachao”.

In the 1990s, Urueta was a musician with Joe Arroyo’s Orquesta La Verdad, with whom he traveled around the world.

After participating in several concerts accompanying Richie Ray and Bobby Cruz, about five years ago, Urueta took on the task of forming the Orquesta Salsa 220 with which he presented the single “Guaguancó sabroso”, which featured Puerto Rican Rico Walker as guest artist on vocals.

“Cómo te quiero yo” is the preview of what will be the album: Sabrosura y Tradición, soon to be released also on acetate.

Bella Martínez

You can read: Sigo entre amigos de Luis “Perico” Ortiz

By Bella Martinez, ISM Correspondents, San Juan, Puerto Rico

Xiomara Laugart, nicknamed “La Negra” was born in Guantanamo, Cuba

For Xiomara Laugart, the past never goes away; she likes to hide in music. “My faith, I believe in you, you won’t go away,” Alberto Tosca wrote to her in that song and Xiomara seems to have decided to live by those lyrics, to this day.

Her loud laughter filled my kitchen this afternoon, while Omar brewed coffee, many times, and my mother cooked pumpkin flan. She evokes her mother in the sweet, comes back to life and tells.

She tells with astonishing naturalness that she never studied music and goes on and on. She goes on to freedom, and overflows with passion, because for her freedom is music.

Technically she could do whatever she wants, but if she does not feel it, if it does not make her vibrate, Xiomara, “The voice of Cuba”, could not sing.

On September 8, 1960 in Guantanamo, Cuba, XIOMARA LAUGART, nicknamed “La Negra”, was born. Excellent singer, established in Massachusetts.

Before emigrating to the United States, Laugart had an extensive career within the Cuban Nueva Trova movement. He has recorded more than 17 albums.

Representative of Cuban music in various parts of the world. He worked with the group Pisos Nuevos in Nicaragua. Also with Descemer Bueno. He led the group Yerba Buena. She represented Celia Cruz on Broadway.

Xiomara Laugart was born in Guantánamo. She attended university and graduated in Economics, then began her musical career through the nueva trova, a movement of political musical protest, very popular between the sixties and nineties.

He studied music at the Escuela de Superación Profesional Ignacio Cervantes. He began his artistic career professionally in 1985.

His beginnings were quite intense, participating quickly in international stages.

In 1979 he participated in the Festival of Political Song in Berlin. In 1980 he traveled to Nicaragua with the Pinos Nuevos Group, from the Isle of Youth.

The following year she participated again as a guest at the Berlin Political Song Festival and that same year she won third prize at the Political Song Interpretation Contest in Sochi, Soviet Union.

In 1980 she won third place in interpretation at the Adolfo Guzmán Cuban Music Contest; she participated in the V Festival y Activo de la Nueva Trova, the VI Cumbre and Carifesta. He belonged to the Guiñol Theater group of Isla de la Juventud. He was a member of the group Aconcagua and Talla Extra (X-L), and, for a time, worked with Alberto Tosca.

In 1982 he performed at the Café Concert in Mexico, participated in the Festival for Non-Intervention in Central America and Disarmament, held in Holland, Belgium, and the same year, he traveled to France. He became a regular in Mexico and returned to the Aztec country in 1984.

That same year she participated in the Political Song Festival held in Sopot, Poland, and later toured Honduras and Costa Rica.

His voice has a very wide register, although he stands out for his high tones.

She shows a vivid and exceptional sense of rhythm that allows her to interpret from bolero to salsa, from danzón to guaracha to the most sophisticated jazz and funk.

Atrapando espacios, Qué manera de quererte, Hoy mi Habana, Se fue, Ni un ya no estás and Oh melancolía! are some of the songs that are part of her repertoire and that continue to receive a standing ovation every time she performs on the stages of South Florida.

“The first person who introduced me to Miami was the maestro Meme Solis.

Meme has been my mentor in this city and was responsible for opening the doors to a new audience that followed him for years and now goes to my concerts, she says when referring to her close relationship with the legendary Cuban composer.

Source: Hyper Media

Xiomara Laugart

You can read: Israel Kantor was an excellent bassist, arranger and composer who achieved great popularity in Cuba for his vocal technique and original “Sonear” style.

AQUILES BÁEZ

Swing And Tradition Of A Distinguished Venezuelan Artist

Chapter I: Aquiles’ Farewell

“With all the pain in my soul, I must publicly communicate that my friend, my brother, my accomplice Aquiles Báez passed away this morning at 5 in the morning in the city of Aachen, Germany. Aquiles was in the middle of a concert tour here in Europe. He flies high gordito.” Ramón Arturo Aular (Báez’s friend, musician, and professor at the Aachen Conservatory of Music) informed the community through his Twitter account the Monday, September 12^th.

The virtuoso musician, noble guitarist, arranger, and excellent composer died of a sudden heart attack at the residence of his friend Ramón Aular. His last concert was held in the city of Cologne located in western Germany as part of his 2022 European tour, the first he did after the cessation of activities due to the Covid-19 pandemic.

The noble 58-year-old artist had already performed in Spain and was preparing to present his music in some German cities such as Berlin, Tubingen, and Hamburg, before finishing his tour in France and Portugal.

“I think it is important to project the work that one has been developing in other latitudes. This is very interesting because I realize that the music I make is universal, it is not limited only to playing for the Venezuelan diaspora, which of course also provides an audience”. Báez expressed this to an international media.

During his artistic career, he recorded 17 albums and collaborated on more than 150 recordings with other artists. Báez was a professor at the Berklee College of Music (Boston, Massachusetts) and was recognized for his mastery of the guitar with “elements of mixed Caribbean and Afro-Venezuelan cultures with classical music and Jazz.” Fragment extracted from his biography.

In life, he shared stages with artists such as Paquito D´ Rivera, John Patitucci, Romero Lubambo, C4 Trío, Ilan Chester, Simón Díaz, Huáscar Barradas, Worlds of Guitars, Aquiles Machado, Serenata Guayanesa, Iván Pérez Rossi, Fareed Haque, Dawn Upshaw, Richard Bona, Luisito Quintero, Solo Razaf, Marco Pereira, Oscar Stagnaro, and Ensamble Gurrufío.

Before passed away, Aquiles Báez was preparing the publication of two studio albums and the creation of five more. He was also in charge of making the music for the Venezuelan play Mi último delirio, which premiered on September 2^nd with the lead role of his friend Héctor Manrique and with great reception from the public and specialized critics.

Chapter II: Getting to know the musicians’ Master to the rhythm of the compass

His older brother, Julio, was the one who instilled in him a love for music by giving him his first instrument, the Cuatro.

Aquiles Báez was always an irreverent musician who made the type of music that he felt. “It is important to make music from what one feels it is, from that forceful energy that is the act of creating…Lately, I have been respected. It was hard to get that position. They have not always respected me, perhaps because of my way of being, irreverent. The people who manage cultural spaces have always taken me as an anarchist… I consider myself someone accessible, the teacher thing hasn’t gotten to me, seeing everyone below me, that seems pathetic to me…” Aquiles expressed this to a Venezuelan media.

“Throughout his career, Aquiles has received various awards and recognitions. These include Pepsi music awards and the William Leavitt award given by the Berklee College of Music; In addition, he has stood out with more than a dozen awards as a composer of music for film, theater, and dance. Extracted from his biography.

In 1996, at the age of 32, Aquiles decided to move to the United States to study at the Berklee College of Music in Boston. After two semesters he dropped out, considering that he was “learning the same thing but in another language.” And that was not only his thinking, but also what he demonstrated during his stay as a student at the academic campus, so shortly after he entered the Berklee College of Music again, but this time as a professor.

On this academic campus, he gave “clinics, workshops, and seminars at different universities and musical institutions such as Indiana University, Temple University, Queen College, Krems Summer camp, Curitiba Music Office, The Jazz School in San Francisco, among others, in Europe and the United States”, according to his biography.

Shortly after, he participated as a guest musician on the albums of Panamanian artist Danilo Pérez: Central Avenue (1998) and Motherland (2000), both albums nominated for Grammys.

Aquiles Báez was a founder and member of the board of directors of Guataca productions. In this space, they continue to support emerging Venezuelan artists. Báez’s methodology for finding new talent was to research, listen to them live and contact them. “Why not support those guys who come after you? Why not make life more pleasant for them? Or a lighter path than one had. This road is not easy at all, it has been very hard, and it continues to be hard. And one continues and believes that he has acquired a certain reputation…” Báez expressed this in an interview conducted by a Venezuelan media outlet.

Chapter III: Anecdotes of a famous life

Last night sharing with the beloved Maestro Carlos Cruz Diez (Panama. October 29, 2016)

Countless artists expressed their affection and grief for Aquiles’ departure, expressing testimonies of a life full of joy, love, and passion for musical colors.

“One of the artists who has inspired me the most and a great human being. He made it possible for us to make our first album, the tour of the United States and opened the doors of his home for us. We made a lot of beautiful friends with Aquiles. D.E.P, Maestro, compaíto Aquiles Báez”. Jorge Glem (Cuatrista and member of the group C4 Trio).

“The wonderful Aquiles Báez was a musician capable of playing all Venezuelan music of all genres“. Alfredo Naranjo (Vibraphonist)

“Dismayed by the sudden death of my dear friend Aquiles Báez, one of the great musicians of our country, guitar teacher, and eternal officiant of humor and simplicity”. Leonardo Padron (Writer)

“Today we are less. I have just been informed that our admired and beloved musician and my dear friend, Aquiles Baez, has passed away. This news is heartbreaking and unfair. Aquiles is one of the most creative and generous people I have ever met”. Héctor Manrique (Director and theater actor)

“Thank you for being an inspiration in music and a big brother in life. Without your unconditional support, I would not have even reached the corner”. Álvaro Paiva Bimbo (Guitarist and 2022 Oscar nominee for the soundtrack of the Disney movie “Encanto”)

“How can we forget this great friend and fellow adventurer”. Claudio Nazoa (Comedian)

“I was left with the desire to carry out the project we had to record an album together. What profound sadness!” Miguel Delgado Estévez (Musician, arranger, and producer)

Finally, the Venezuelan percussionist Omar Ledezma Jr. expressed his sorrow for the death of Báez.

LENTEJAS. That’s what the gordo called me. 7 years of my life I played and toured the world with Aquiles Báez. We met at one of his concerts at the Bellas Artes thanks to my dear Carlos Reyes, another great guitarist from our country, at the time I worked at the MACCSI. Years later, arriving in Boston, he called me to be in his group and I couldn’t believe it. The gordo was my musical hero thanks to his Platabanda and the number of times I saw him accompanying great singers. He was the one who told me to grab El Cajón and start putting in the merengue and the gaitas. I knew his bad jokes by heart: “Vamos a tocar la canción de DC: Di si encontraste…”, with him, I learned to be a person first, then a musician, I learned not to make ugly faces if I made a mistake, with him, I had to press on reading, to be punctual, to put my batteries.

Anyway… with the gordo I learned to be a professional musician, because with his virtues and defects, for me, he was the best.

I love you my gordo, wherever you are. Thanks. #aquilesbaez”.

You can continue reading the article about Omar Ledezma Jr. From The Venezuelan Melody To The Caribbean Rhythm.

Here is a small excerpt from this interview of 2021:

Years later, and with experience acquired in presentations, and groups, Omar Jr. met his first mentor, Aquiles Baez, a famous Venezuelan artist, guitar virtuoso. Together with Aquiles, he made his first international tour of the United States. “With Aquiles, I had the pleasure of playing Venezuelan music. We play with many artists in the United States… Thanks to him I developed percussion (Non-autochthonous element) in Venezuelan music”. Ledezma Jr. commented.

“Fall in NY. How beautiful are the colors of Autumn in NYC. Enjoying that watercolor of nature”. Aquiles Baez (November 8, 2018)

Where To Go Dancing Salsa In Sydney?

Seductive Afro-Cuban music comes to life in the Australian capital every night of the week

You probably already knew that a lot of Salsa is heard and danced in Australia. But, have you ever wondered, which are the best places to go Salsa dancing in Sydney? Here, we’ve rounded up six of our favorites.

ESTABLISHMENT BAR

Salsa Tuesdays are back at the Establishment Bar! This iconic Sydney spot is unique and sophisticated. It has narrow spaces, a 42-meter-long marble bar, and columns lining the walls that recreate the style of ancient Greece.

Establishment Bar with its lush lighting offers its attendees Afro-Caribbean music on Tuesday nights with live bands, dance shows, DJ playing Salsa, Bachata, Merengue, Reggaeton & Bossa Nova until 3 AM, and live percussion. Weekly you will learn basic concepts in the free Salsa class starting at 8 PM, in addition, to enjoying cocktails ($10) and mojitos ($12) all night so you can enter an authentic Latin American Rumba.

This multi-award-winning bar is located on the Ground Floor, 252 George St, Sydney NSW 2000, Australia.

THE ARGYLE

Wednesday nights are from The Argyle! This two-floor club has been powering Sydney nightlife for fifteen years (2007).

This venue located at 18 Argyle St, Las Rocas, Sydney NSW 2000, has six bars, an iconic outdoor patio with spacious mini-environments to enjoy a Salsera night with the lineup of DJ Miro and his friends, as well as live bands in constant rotation.

These fun mid-week nights start at 7:30 PM to 1 AM and are $10 (includes a Salsa lesson). The dress code is casual, and minors are not allowed after 9 PM.

THE COLLAROY

Friday nights are Salseras at The Collaroy! Located right on the beachfront at 1064 Pittwater Road, Collaroy, New South Wales, Australia, this restaurant/bar with live entertainment and DJs downstairs on weekends stays open until 3 AM.

On Fridays from 8 PM to 9 PM, they offer Salsa classes (free) and from 10 PM the Latin party starts until 3 AM with live percussion and a DJ playing Afro-Cuban melodies, urban music, and Bossa Nova.

The Collaroy has an open-air terrace with a magnificent panoramic view of the peninsula’s north.

LATIN DANCING UNDER THE SAILS – BROADBEACH

Latin Dancing Under The Sails may change its date due to weather

Salsa takes over Saturdays at The Oasis Shopping Center! Every last Saturday of the month the LatinMania team brings the Latin Social Dance event outdoors at the Oasis shopping center located in Broadbeach Gold Coast, Queensland, Australia with music provided by DJs specialized in Salsa, Timba, Bachata, Merengue, and Salsaton from 7 PM to 10 PM.

The event is free and this month the theme will be Halloween. So don’t miss this opportunity to dance Salsa in Sydney with Colombian-born instructor Alejandro Barriga next Saturday, October 29th.

PLANT 4 BOWDEN

Every first Sunday of the month is Salsero at Plant 4 Bowden! This place is 100% green and adheres to international standards for green building design earning a 5-star rating for its operations.

Plant 4 Bowden, characterized by its environmental sustainability, presents its Salsa nights every first Sunday of the month from 4:30 PM to 10:30 PM with food, drink (local craft beer from barrel), Salsa, Bachata, and Kizomba along with wonderful musical shows on the ground floor. The ticket price is $20 at the box office, and it is located at 5 Third St, Bowden SA 5008, Australia.

The magic of Salsa in this space happens surrounded by greenery with ample indoor seating and outdoor areas.

SALSA IN THE PARK

There is no better time than now. Go out dancing Salsa today in the Park (Sydney – Australia)

The second Sunday of every month is a Salsa immersion in the Park! Salsa in the Park is a free event that offers 3 hours of Latin music and social dancing outdoors at El Pabellón del Norte, 95 Marine Parade, Broadwater Parklands, Southport next door to the revolving chapel adjacent to North/Smith Street.

The half-hour lesson starts at 3 PM, and then the Social Dance continues until 6 PM with music provided by top DJ’s mixing old and new Salsa, Bachata, Merengue, Cha Cha, and more.

Who can attend? The whole family and their pets. No experience is required. What are the benefits? Meet new friends, you’ll get fit, improve your mental health and coordination, and stay active. When? The next date is Sunday, October 9th.