Sly call Freddy Marchouse and tell him your concerns about Charly solo and to put in Hadji Solo

Yes indeed, that was my plan,i also want to advise him to tell the Kunzardo and Bercy Muana to pull up their socks and to use more of Hadji Solo on lead. Charly Solo is the Chef d'orchestre and has been lead soloist for a long time so he cannot be pushed aside but I want Marchouse to hear that we fans think and know Hadji is better than Charly so Hadji needs more work too.

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?

No,it's the atalukus who create their calls which come with particular dances,the instrumentalists including soloist work around what the atalukus are saying that's why you find that Bill Clinton as lead ataluku for Maison Mere was credited for most generiques,the same goes for Roberto Enkokota and other bigger atalukus,Ferre also says it in interviews that he let's his atalukus do their thing in sebenes and generiques whilst he concentrates on what he knows best, rhumbas and that's where he's going wrong because he,Ferre is an ataluku too and as the boss he needs to control the overall quality of his music but he says the response of the fans to the generiques shows him that his atalukus did a good job,he even cited an example of a young boy who recited the animation from Boite Noire.

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....

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 think you're misxing the two generiques,the first generique on Boite Noire is the title track itself Boite Noire,it's the one Charly Solo plays on and the solo guitar is audible but faint and the soloist wasn't creative,he kept repeating the same crap partitions. The second generique which is actually the best on the album has the new soloist Hadji who played very well and added an excellent solo guitar signature,he played straight and complicated licks. The mixing on both generiques was very poor,the rhythm guitar cannot even be heard on both generiques,it's mainly drums,solo,keyboards,synth and the atalukus.

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!!

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 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.

<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.

I see.....