I present my new single, "Love Well Done," recorded with DJ and rapper DJ Haley. I haven't written music in purely dance styles for many, many years, even though that's where I started, and this track gives an idea of ​​how I see dance music. Since I've always written dance tracks in trakkers, this single was also recorded in the same environment—in this case, Renoise. Essentially, producing this single, I returned to the beginning of my "musical career" (although for someone who loves music as a way of life, the word career doesn't apply to music production).

Pavel Poletaev, aka DJ Haley, a very experienced DJ who has played extensively in Vietnamese clubs, including on Bui Vien Street, mentioned in the track, inspired me to create this single. He gave me the idea and perspective for the song's lyrics, and together with me, he wrote the rap vocals and rapped them. I completed the lyrics for the melody and sang them. Musically, it's an Asian style of house music (vinahouse), though with a strong leaning toward my personal style of producing this type of music. All sounds in the track are one-shot samples from vintage analog synthesizers. The long, beautiful "pit," recorded on vintage digital synthesizers around 1990, references pentatonic scales, and in it, I enjoyed working with both the Eastern mode of the music and its intervallic and melodic features. All vocals were recorded on AKG C414 XL2s, with backing vocals on a stereo pair of AKG C414 XL2s.

I was interested in revisiting the old days when I was making this type of music, and I really had a lot of fun producing this track.

The track is available in three versions: with rap and vocals (the original version), with vocals (the EDM version), and without vocals (the instrumental version). The track's tempo is 142 bpm.
Producer, arranger, mixing & mastering engeneer, phonogram creator, composer of song and arrangement,vocals, backing-vocals, co-lyricist - Alexander 'al l bo' Bobrov; Co-producer, rap vocals, co-lyricist - Pavel 'DJ Haley' Poletaev

(C) Alexander Bobrov

https://worldofbrights.bandcamp.com/album/love-well-done

Original #Renoise 3 session of al l bo, DJ Haley - Love Well Done (original mix)

al l bo, DJ Haley - Love Well Done (lyrics video)

FERAMANIA - My Crymes (al biber remix) / Cubase project

al l bo, DJ Haley - Love Well Done (al biber remix) / Cubase Project

Ирина Бурмистрова - Частичка музыки (al biber remix) / Cubase Project

I present to you a disco composition I produced after listening to the song "A Piece of Music" by the very, very talented singer Irina Burmistrova. I felt like a song like this needed to be played to its full potential, so I developed an instrumental that I think perfectly captures the character of the piece, and layered it with an a cappella provided by Irina. It's a luxurious space disco, rich in both cosmic and earthly sunshine, and I'm probably even proud of the track's mood—it's positive, just the way it should be. Overall, I'm confident that everything came together perfectly in this piece, and the combination of Irina's vocals and my instrumental has created a truly wonderful musical hybrid that I personally enjoy listening to over and over again. You can find the credits for Irina's song "A Piece of Music" on her iTunes account, and I'm the author and performer of this instrumental. With that, let's listen to it all!

DJ Haley in WorldOfBrights Home

I present to you the long-awaited single from FERAMANIA, "School Secrets." This is a stunning work, on which we invested an incredible amount of time and thought, and applied the best techniques of the past to achieve "that very sound."

Sergey brought me this song as a well-prepared demo, which already sounded like a full-fledged composition by modern musical standards, and we simply began experimenting with its sound. I had only a general idea of ​​the type of sound I wanted, but I didn't know how each subsequent recording session would end. I knew exactly what I wanted as my main synthesizer: an AKAI S5000 from 1998, along with a set of sound libraries from the same era (the "AKAI CD"s), and then we simply moved through these incredible soundscapes, the variety and depth of which was simply mind-boggling. We did countless arrangement sessions in the studio, and I don't even remember how many days in a row, working for an average of four hours each time, taking breaks and walking around the studio, discussing what to do next and what we'd already discovered in terms of sonic solutions. In the end, we discovered so much that I don't even want to describe it – from a sunny European morning accompanied by the chimes of a city clock, through the mysterious sounds of the mid-90s, to the refreshing Pan's flute.

Producing the vocals also took a long, long time. We tested different microphones and different singing styles. In the end, I requested vocals in the timbre of Marc Almond and used a Brauner Phantom, which was ideal for this, and it worked perfectly. This is probably one of Brauner's iconic recordings, and it gives you a good idea of ​​what this microphone is like. Then we recorded children's vocals, first trying to find a full choir, then simply creating the choir effect through spatial stereo recording. It was all very long and meticulous.

If someone talks about "experiments in music," then here you go—this is an experiment in pop music (yes, that happens, and it doesn't necessarily have to be experimental music—it's fusion, noise, or IDM). The end result is cool, unusual, and phenomenal. I'm pleased that such a musical work was born and revealed itself in the form of this final mix. So, listen!

I've completed the sound concept for a remix (or rather, a replay) of the song "Dance, Dance" for the band FERAMANIA. I initially wanted to stick with a funk-rock sound, and if I did integrate hints of disco and classic electro, I wanted to do so only sparingly, so as not to stray beyond the realm of danceable electro-rock. Those familiar with the genre will recognize the primary influences on this sound concept, including Junkie XL and Norman Cook from the late '90s, as well as early Daft Punk from the same era, with hints of Michael Jackson and Paul Hardcastle from the mid-'80s. Overall, the sound is unique and one-of-a-kind, which is exactly what I wanted. I'll explain why I liked this song and why I remixed it specifically when it's released; we're currently re-recording the vocals.

I've finally managed to find all the components for an inspiring sampler-synthesizer – the Roland S-550 from 1987. There are a number of iconic samplers that are well-known to discerning musicians and that are associated with "that" sound of bygone musical eras, but in my experience, the S-550 is the best creation of the magical and imaginative sounds of the 80s and 90s simultaneously. It later became equally legendary in its keyboard incarnation, the W-30, but the S-550 offers the most functionality.

I also managed to find a rare board for connecting hard drives to this device (SCSI option), and eventually added an FDD (Flash Floppy DD 720kb) emulator. The hard drive board is necessary because the device has a very, very extensive library of several hard drive images with samples from the excellent Roland L-Series and Roland RSB series, and some from the W-30 libraries. A USB floppy disk is needed because even with a hard drive, the device still boots from a floppy disk (albeit with an operating system "designed specifically for hard drives" – the so-called Roland OS CD5).

My unit has an excellent audio path without excessive noise, its video path displays images directly on the Windows desktop, and can be controlled either with a mouse with a special connector (I have one) or with free Windows software.

For fans of the history of music technology, I highly recommend taking a closer look at the Roland S-550, as it is exceptionally beautiful in every way.