JB Mpiana is going to become very popular because of this Zennith Concert and the accompanying polemic and Combattants....I also suspect the Congolese Government is in this whole Zennith thing....
<cite>@archos said:</cite> probably cd sales and stuff like that,like proper professional musicians,whereas jb and werra got most of their money from sponsors in congo koffi and fally sell cds far better than the rest of congolese artists
Now I see some sense in this...but again, to avoid margins of error in data, a complete analysis would be helpful...but such a study would be difficult as some artists will not be willing to give out all information...
<cite>@Sylvester said:</cite> I guess going digital has it's fair share of problems as once mastered it's hard to edit so whatever was recorded is permanent unless they delete and re-record which is expensive so when a sound engineer cocks up the musicians get stuck with whatever has been recorded,these days it's like they are recording live and using several condenser microphones to capture sound from instruments and vocals,this is then sent to a mixer and sound is edited on the computer linked to the digital mixer.
Back in the days they hard huge mixers where every instrument was plugged in individually so the sound engineer could change the levels of output on the desk but so if the solo guitar was faint during the recording session then it cannot be corrected individually.
<cite>@Sylvester said:</cite> I guess going digital has it's fair share of problems as once mastered it's hard to edit so whatever was recorded is permanent unless they delete and re-record which is expensive so when a sound engineer cocks up the musicians get stuck with whatever has been recorded,these days it's like they are recording live and using several condenser microphones to capture sound from instruments and vocals,this is then sent to a mixer and sound is edited on the computer linked to the digital mixer.
Back in the days they hard huge mixers where every instrument was plugged in individually so the sound engineer could change the levels of output on the desk but so if the solo guitar was faint during the recording session then it cannot be corrected individually.
By the way, why is it that today, recording of music by Congolese artists is posing a challenge when long time ago they were perfect? Just listen to Wenge Musica, Zaiko, Pepe Kalle etc in the old days, you literally had no mistake.....I wonder!!
I have a feeling there is some leak in data from this analysis.....there are some that are very rich but have not declared all their assets and money. So what is this based on? assets? money?
Ok Sly, clarified....but still the soloist is very key to how the atalaku will flow and I find that in Fally's generiques, it is happening.....if only Ferre's guitarist was very creative and the recording of the solo was much clear, we could have had a totally different generique in Kibombanda and Boit Nior...I actually enjoy Kibombanda my self.....just that there is no solo.....
Its sad that these musicians do not read our blogs....
I have listened to bout nior, kibombanda, toi et moi etc, I find that all atalakus of ferre and fally have melodic voices. But again what puts an atalaku at an advantage is the soloist. Alverito solo of fally is slightly more creative than charly solo and that is why fallys atalakus sounded better......i guess even before an atalaku creates a rap, first the guitarist comes up with a tune.....am I not correct?
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