NON E' CHE NON VOLETE

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Words SARS, Antrace, tutte dall’oriente l’influenza aviaria, tutte dall’oriente le portano gli aerei che vengon dall’oriente gia’ - cascan giu’gli aerei mentre vanno in oriente Eppure nel ’99 ne caddero piu’ che nel 2005 e l’influenza comune ne ha stesi piu’ dell’influenza aviaria Non e’ che non volete che andiamo in oriente? non e’ che non volete che vediamo come vive li’ la gente? Ma non e’ che non volete che andiamo in oriente? non e’ che non volete che noi conosciamo persone differenti? Cerca in internet le notizie per favore Sforzati di non campare di televisione In vacanza vattene in posti piu’ lontani Guarda la gente come vive, se non sono o sono sani Guarda come sorridono quando si scambiano saluti con gli amici come trattano gli anziani ,come tirano su i bambini, se ti sembrano felici Ma non e’ che non volete che andiamo in oriente? non e’ che non volete che vediamo come vive li’ la gente? Ma non e’ che non volete che andiamo in oriente? non e’ che non volete che spendiamo li’ le nostre banconote? E perche’? Mi vengono i sospetti Di barriere artificiali Per proteggere dalle invasioni I nostri privilegi Ma non e’ che non volete che andiamo in oriente? non e’ che non volete che vediamo come vive li’ la gente? Words & Music ® F Carosone 2006

Candies The production concept here was if I were able to build a song entirely on the manipulation of audio loops, rearranged into Melodyne. I started from drum loop audio samples from CM Magazine and applied the bass recording tweaked in Melodyne to fit the rhythm. James Johnson played the additional snare drum to get the first drum’n’bass sketch of the song: although this material was the first brick, you will likely recognize it: NonVolete-drumbass.mp3 I soon realized that this kind of song couldn’t make it without a brass section. After trying all my brass synths and throwing them in the wastebasket, I applied for the real audio samples from the Seattle guys, again adapted to the song by Melodyne. Here you can listen to the saxes that come out in the end: NonVolete-sax.mp3 The break is a Balinese percussion loop found on the Jerry Marotta website (no, he didn’t play with me, sigh!). In this song it plays faster than the original, here it is: Marotta-percussion-break.mp3 I consider it a gem within the song, for the superposition of odd rhythms and careful design of panning. Can you count how many percussions were used in this sample? I wish to thank James Johnson for his contribute, I needed that snare sound and he was brilliant and fast in playing and uploading. Check his website both as a rich convolution reverb resource and as a recording facility if you are from Dallas (USA): www.noisevault.com

List of musicians and instruments Voice; Electric Guitar: Fender Jaguar; Piano: Cakewalk TTS; Electric Piano: Lounge Lizard; Tabla: Taal Mala Drums: loops from CM Magazine re-mapped into Melodyne. Jason Levine: (Rickenbacker) bass James Johnson : snare drum Seattle Youth Jazz Ensamble : brass Reg Mateson, Liz Gilbert, George Borrows : back voices Jerry Marotta : Balinese percussion All from samples, occasionally re-arranged into Melodyne. Mastered with Ozone in Sonar 4PE.

Software box I’m sorry, this time I didn’t use free software for the song, so I can only suggest you commercial software. The basic principles I followed to build this song are: a- I checked regularly the Computer Music Magazine, every month it gives a DVD with tons of samples and audio loops b- I learned Celemony Melodyne: it is an unrivalled monster for adapting monophonic loops to your needs (typically: drums, percussion, bass, sax and brass, voice) c- If you can’t wait CM, purchase a dedicated loop library (they currently ship on DVDs). I suggest never using the originals, but rearranging them into Melodyne instead; use them creatively.

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