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Boxerin Club GRATUITARIVISTA ® N°3 (5) - gennaio/febbraio 2014 BOXERIN CLUB IL MURO DEL CANTO RUBBISH FACTORY NOBRAINO LE INTERVISTE IN QUESTO NUMERO Renato Marengo, Daev Tommaso Di Giulio Giancane Hopes Die Last Michael Pergolani I Cani Masons Il Muro Del Canto Nobraino e la chiusura di ‘DEMO’ Rubbish Factory Uscita 17 Viva Lion SOMMARIO 3 EDITORIALE ® Ripresa economia e... culturale 4 MIXER Editore/Direttore Tra ritmica e armonia: il BASSO Francesco Galassi 6 SUL PALCO Vice Direttore Riccardo De Stefano Hanno distrutto la parola “EMERGENTE” Direttore Responsabile 8 LE INTERVISTE Federico Formica Renato Marengo e Michael Pergolani Caporedattore Matteo Rotondi 10 ROCK THE DJ Addetto Stampa Giancane - Carne Flavio Talamonti I Cani - Glamour Hanno collaborato 11 Raffaella Aghemo PROMOBAND Francesco Bommartini Nobraino Valerio Cesari Hopes Die Last Mad Curtis Viva Lion! Sergio Di Giangregorio Il Muro del Canto - Ancora ridi Giulio Falla Dario Ferrari Tommaso Di Giulio - Per fortuna dormo poco Matteo Gherardi Daniela Masella 14 IN COPERTINA Alberto Quadri Boxerin Club - Aloha Krakatoa Marco Reda 16 Giovanni Romano IL RECENSORE Danilo Silvestri Uscita 17- Solo buone notizie Valentina Mariani Masons - Masons Sede Daev - Daev Via Pietro Adami, 32 Rubbish Factory - The Sun 00168- Roma (Italy) Tel: 338.1786026 18 INDIPENDENTEMENTE E-mail: [email protected] Download, du du du. Stampa Fr.am Print s.r.l I soldi più virtuali che esistano Via Panfilo Castaldi 24, 19 LIBRI IN TOUR 00153 - Roma Rubrica di recensione libri Impaginazione e grafica Francesca Radicetta 20 SUONARE SUONARE Diffondere o difendere? La foto di copertina dei Boxerin Club è a cura di Danilo D’Auria 21 L’AVVOCATO RISPONDE La riproduzione anche parziale degli articoli è Il diritto d’immagine permessa solo dietro autorizzazione scritta. 22 ALT! Contatti Gli highlights di fine anno Web: www.exitwell.com Info: [email protected] 23 Proposte: [email protected] QUADRIPROJECT Sai sfruttare il tempo in sala prove? ExitWell è un marchio registrato. Testata registrata presso il 25 STRUMENTI MUSICALI Tribunale Civile di Roma. Il feeling della mano sinistra Numero di registrazione: 203/2013 Finito di stampare: gennaio 2014 ExitWell Media Partner MEI Distribuzione nazionale a cura di: ExitWell (Roma) / Astarte Agency (Milano) / Francesco Bommartini (Verona) / La Suburbana (Bologna) / Dagon Lorai (Napoli) EDITORIALE RIPRESA ECOMONICA E… CULTURALE Chi di musica vive (e non mi riferisco soltanto a chi con la musica si “guadagna il pane”, ma anche e soprattutto a chi nutre quotidianamente la propria mente con la musica), si rende sicuramente conto di quello che potremmo definire un impoverimento culturale generalizzato. Ciò che soprattutto si nota è una crescente mancanza di curiosità Per contrastare questo fenomeno il MEI (Meeting degli indipenden- nei confronti del nuovo, del mai ascoltato e dell’emergente, cosa che ti) sta portando avanti una lodevole iniziativa, sostenuta dal mini- si riflette poi nell’affievolirsi di quel desiderio non solo di ricercare stro dei beni culturali Massimo Bray, dall’ex viceministro dell’eco- cose nuove, ma anche semplicemente di uscire di casa per andare ad nomia Stefano Fassina e da molti personaggi illustri della musica ascoltare una band emergente. italiana (oltre che da ExitWell). La proposta è quella di inserire all’in- terno del nuovo contratto di servizio Stato-RAI un vincolo che pre- Oggi, sul finire del 2013, alle soglie del 2014, la parola d’ordine sulla veda una quota pari al 40% di musica italiana, prodotta in Italia, bocca dei politici nostrani e sulle prime pagine dei giornali è “ripre- all’interno dei programmi radio e TV, con una ulteriore quota de- sa”. Economica certo, quella ci interessa, come se bastasse risolvere i stinata alla promozione dei giovani talenti pari al 20%, estendendo problemi del nostro portafogli per guarire l’Italia. Ma non sono solo poi tale rapporto ai grandi network radio e TV privati. Un intervento i nostri conti in banca a soffrire. L’Italia produce, oggi come nel più questo a costo zero per il governo, ma che sarebbe un forte impulso roseo passato, una stragrande quantità di ottima musica, produzio- per la ripresa economica del settore musicale nostrano. ni indipendenti che arrancano nel cercare la visibilità e il riscontro che meritano, che nel nostro paese non vengono valorizzate e che, Per avere un’idea di quanto questa iniziativa possa essere efficace a -li come succede in molti altri campi, spesso finiscono per tentare all’e- vello economico ci viene incontro Il Fatto Quotidiano, che in un arti- stero il “salto”. colo molto interessante a firma Fabrizio Galassi e Pasquale Rinaldis riporta una proiezione dei guadagni lordi derivati dalla trasmissione In questo quadro proprio chi si dovrebbe occupare della diffu- di brani italiani da parte di radio e TV, basati sul “Rapporto Musica” sione e della promozione della musica preferisce puntare sui annuale delle SIAE. Secondo quanto riportato nell’articolo gli introi- prodotti esteri, anziché favorire lo sviluppo di quelli nostrani. ti passerebbero (solo di diritti SIAE) da circa 23 milioni di euro a qua- Dati alla mano (riferiti ai mesi da settembre a novembre 2013), secon- si 44 milioni di euro l’anno, senza contare le cifre derivate dall’indot- do Earone, servizio di classifiche musicali online, nella top 100 dei bra- to: aumento delle vendite, dei concerti, maggiore stimolo per le eti- ni più programmati in radio, 61 sono di produzione estera contro 39 di chette indipendenti e la crescita culturale e professionale del settore. produzione italiana. Di contro, secondo Musica&Dischi, tra le prime 50 posizione della classifica di vendite dello stesso periodo, il 60,6% Tutti questi numeri testimoniano semplicemente come con picco- dei dischi venduti in Italia è di produzione italiana, mentre solo il li sforzi mirati e a costo zero si potrebbero risolvere alcuni dei pro- 21,1% di produzione straniera (il restante 18,3% è composto da com- blemi che impediscono non solo agli artisti, ma anche al pubblico, pilation miste). Si evince facilmente una sostanziale differenza tra ciò di godere dell’enorme qualità che le nostre band hanno da offrire. che gli italiani acquistano (quindi ciò che verosimilmente agli italiani piace) e ciò che le radio trasmettono. Francesco Galassi 3 MIXER TRA RITMICA E ARMONIA: IL BASSO Ed eccoci al nostro appuntamento fra cavi, connessioni, regolette e tanta, tanta polvere... Come in ogni studio che si rispetti! Oggi si parla di uno strumento fondamentale nel pop-rock, il basso; non che Un basso a cinque o sei corde, dotato in altri generi sia meno importante, ma diciamo che White Stripes a parte cioè del si basso, si può valutare se re- (e pochi altri) senza basso si fa poca strada. gistrarlo usando un ampli per i medi È lo strumento che fa da tramite fra la parte ritmica e pulsante del nostro bra- ed un altro solo per i sub; un basso a no e la parte armonica dello stesso, fondamentale è dir poco. quattro corde di solito si gestisce be- ne anche con un solo ampli per fare Prima di tutto partiamo con l’analizzare lo stile del bassista in questione, ad “tutto” il suono. esempio è necessario indagare se si tratti di un chitarrista fallito o di un bas- sista per vocazione; i bassisti per vocazione sono una manna dal cielo, i chi- Marche, modelli e combinazioni so- tarristi falliti tendono a suonare troppe note nei punti sbagliati o comunque no del tutto personali e quasi sem- non hanno il concetto di “stare incollati alla cassa” senza invadere spazi altrui. pre non è la scarsa qualità dei mate- riali a determinare un suono scaden- Questa premessa non è solo di colore: un bassista-chitarrista avrà bisogno di un te, bensì una cattiva gestione del bi- suono più snello, con meno basse, altrimenti finirà per infestare il brano di bas- lanciamento del suono di parten- se frequenze moleste con tutte le sue note. Un bassista “di professione” sa come za fra toni del basso e settaggio della gestire i pieni ed i vuoti quindi si possono usare suoni più pieni; questa non è la testata; mi piace far notare che mol- legge, ma la casistica dice questo. to più nel basso che nella chitarra è fondamentale l’uso millimetrico Ora passiamo a questioni più tecniche; prima cosa da fare è prendere in con- dei toni dello strumento per adatta- siderazione lo strumento del musicista: so che suona ovvio, ma se il basso è a re la timbrica, senza cambiare nulla quattro, cinque o sei corde fa una grossa differenza nel tipo di approccio che sull’amplificatore, al brano che si sta bisogna avere in fase di registrazione. registrando. La tecnica consolidata per registrare un basso è quella di prendere lo stru- mento sia in D.I. (Direct Injection), cioè attraverso l’uso di una D.I. Box o attraverso l’uscita bilanciata della te- stata/ampli, che microfonando l’ampli. Partendo dalla D.I. vi consiglio, in principio, di usare sempre due D.I.: una presa dalla testata ed una presa direttamente dal basso, così da ave- re il suono del “legno” e quello del circuito dell’ampli. Potrebbe essere utile tenere entrambe le D.I. oppu- re semplicemente selezionare quale delle due è più indicata per questo o quel brano. 4 MIXER Per quanto riguarda il microfono bisogna prima stabilire tre il suono che esce dal cono ed investe il microfono se si sta usando un sistema a più vie (alti, medi e bassi) o viaggia a 340 metri al secondo circa (velocità del suono un “monocono” da cui esce tutto. in aria); si troverà quindi fisiologicamente un po’ in ri- tardo. Questo non produce “fuori tempo” musicale, ma Nel caso di un “due vie” metteremo un microfono di quel- la somma di D.I.
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