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2005-01-26
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[1/2/2010]【轻音乐】Klaus Wunderlich 1976年专辑《Latin Festival》
【轻音乐】Klaus Wunderlich & His New Pop Organ Sound 1976年专辑《Latin Festival》 (MP3/320K)




Broadcasting stations were eager to acquire the musical and acoustic "treats" which Wunderlich recorded on tape. Klaus became known in every household, making him the 'Mr. Hammond' everybody knew and loved. Klaus never stuck to just one direction in music. That versatility was capable of accepting the newest of hits, just as equally as presenting his version of familiar themes from classical music - including Operetta, Musicals and Hit melodies. Klaus was astonishingly many-sided, nomatter what he plays and how real he represents the independent style of an orchestra or performer, there is always that typical swinging "Wunderlich Sound". Klaus always finds something positive to respond to.
In 1972, he stopped this hectic lifestyle. In the basement of his house he built a Sound Studio. Since then, he was musician and sound engineer - all rolled into one. Klaus Wunderlich was a perfectionist and tinkerer, so he realized in the early seventies that "the sounds of the Hammond Organ didn't give any challenges any more...". So, he created his legendary "New Pop Organ Sound" by blending the sound of three different types of organ in a most crafty manner (Wersi W248S, Lowrey H25-3 and Hammond H-100). In this way, he was able to realize orchestral recordings by using the multi-playback process that, in their precision, made orchestras green with envy. Since that time, he now played all the parts himself - even the percussion. Klaus experimented with MOOG Synthesizers and even enticed the good old piano to produce completely new, electronically-polished sounds. Besides the Wunderlich-Pops series he published recordings with names like "Sound 2000" or "Synthesized Old Evergreens" that have enjoyed worldwide success. Klaus Wunderlich had a way of playing his instruments - using their timbres - that was absolutely unknown and unforgettable. However, this sound could only be created in a studio - not played on the podium.
广播电台急于收购的音乐和声学“对待”的德里希录在磁带上。克劳斯成为 家喻户晓,使他成为'先生 哈蒙德'人人都知道和喜爱。克劳斯不守在音乐只 是一个方向。这种多功能性是能够接受最新的点击,因为他提出的从古典音 乐熟悉的主题一样,同样版本-包括歌剧,音乐剧和命中旋律。克劳斯惊人多 方面的,不论他如何发挥真正的他代表了一个乐团或独立式的表演,但始终 是典型的摇摆“德里希的声音”。克劳斯总能找到一些积极回应。
1972年,他停止了这个繁忙的生活方式。在他家的地下室里,他建立了一个 声音工作室。从那时起,他是音乐家和音响工程师于一身。克劳斯冯德里希 是一个完美主义者和工匠,因此他在70年代初认识到“哈蒙德器官的声音没 有给任何挑战,再..."。因此,他创造了著名的“新流行器官的声音”通过 混合以最狡猾的方式三种不同类型的机构声音(Wersi W248S,Lowrey指出H25 - 3和哈蒙德h - 100)。这样,他能够实现使用多回放过程中,在它们的精 确性,使乐团羡慕不已管弦乐录音。自那时起,他现在发挥自己的所有部分- 即便是打击乐。克劳斯试验了穆格合成器,甚至诱惑美好的旧钢琴生产全新 的,电子抛光声音。除了德里希持久性有机污染物,他出版了一系列诸如“ 声音2000”或“合成老常绿树”已得到全球成功的名字录音。克劳斯冯德里 希了他的乐器的演奏方法-利用其音色-这是完全未知的和令人难忘的。然而, 这种声音只能建立在工作室-没能登上领奖台的作用。

01 Amor, Amor, Amor 02 Eso Es El Amor 03 Summer Samba 04 Rumba Tambah 05 Let's Do The Latin Hustle 06 Cu Cu Rru Cu Cu, Paloma 07 Canto de Ossanha 08 Besame Mucho 09 Mas Que Nada 10 La Parranda 11 Baia 12 One Note Samba 13 Olé Guapa 14 Brazil


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