LEY ANTIPIRATERIA

El Consejo de Ministros aprobó la reforma del Código Penal que contempla la condena de hasta seis años de prisión para quien incluya en su página web listados de enlaces a contenidos que son objeto de propiedad intelectual. El juez podrá ordenar su retirada e incluso el bloqueo del portal, según el borrador enviado al Consejo de Estado.

El objetivo es perseguir las páginas que permiten la obtención de un listado de enlaces a través de los cuales se puede acceder ilícitamente a obras protegidas por los derechos de autor (películas, libros...). En ningún caso se actuará contra usuarios o buscadores neutrales, ni contra los programas P2P que permiten compartir contenidos.

En concreto, se persigue la explotación económica, reproducción, plagio, distribución y comunicación pública de una obra, sin autorización de los titulares, con ánimo de obtener un beneficio directo o indirecto (a través de publicidad, por ejemplo), así como facilitar el acceso a la localización de obras o prestaciones protegidas en internet.
COMO VERÉIS LA ÚNICA MANERA DE COMPARTIR LEGAL ES CON P2P, EN GMAIL TENEMOS UNA HERRAMIENTA P2P QUE ES Google Drive. ESTO NOS ASEGURA CUMPLIR CON LA LEY, YA QUE, COMPARTIMOS GRATIS Y SOLO A NUESTRA FAMILIA DE AMIGOS.

domingo, 26 de junio de 2011

BOOTLEG:Alan Parsons - Tilburg, Holland 5-Oct-2004

BOOTLEG DEDICADO A MIKE V.M









Alan Parsons - Tilburg, Holland 5-Oct-2004

Audiencia 320 Kbps mp3
Concierto en Holanda que gracias a nuestro amigo MIKE podemos postear en nuestro blog.
Enjoy yourself

TEMAS:

Cd1

1.01 Alan Parsons - I Robot
1.02 Alan Parsons - Damned if I Do
1.03 Alan Parsons - Don't Answer Me
1.04 Alan Parsons - Breakdown - The Raven
1.05 Alan Parsons - Luciferama
1.06 Alan Parsons - What Goes Up
1.07 Alan Parsons - Days are Numbers (The Traveller)
1.08 Alan Parsons - Time
1.09 Alan Parsons - Psychobabble
1.10 Alan Parsons - Return to Tunguska
1.11 Alan Parsons - More Lost Without You
1.12 Alan Parsons - I Wouldn't Want to Be like You
1.13 Alan Parsons - We Play the Game
1.14 Alan Parsons - Don't Let It Show

Cd2

2.15 Alan Parsons - Standing On Higher Ground
2.16 Alan Parsons - Prime Time
2.17 Alan Parsons introduces the Band
2.18 Alan Parsons - Sirius - Eye in the Sky
2.19 Alan Parsons - (The System of) Dr.Tarr and Pr.Fether
2.20 Alan Parsons - Old and Wise
2.21 Alan Parsons - Games People Play










Line-up:


ALAN PARSONS: Guitar, vocal, keyboards, percussion


GODFREY TOWNSEND: Guitar


STEVE MURPHY: Drums


P.J. OLSSON: Vocals


JOHN MONTAGNA: Bass


MANNY FOCARAZZO: Keyboards



LINK: pinkfloydpinkmoon@gmail.com




domingo, 19 de junio de 2011

BOOTLEG: Live U.S.A 98







Live U.S.A 98

320Kbps mp3 Audience

TEMAS:

01(The system of) Doctor Tarr & Professor Fether
02 Can't take it with you
03I wouldn't want to be like you
04Old and wise
05Money Talks - La Sagrada Familia
06Days Are Numbered (The Traveller)
07Prime Time
08Limelight
09Time
10Blackbird
11Turn it up





viernes, 10 de junio de 2011

BOOTLEG: ANDY LATIMER CAMEL LIVE AT THE CATALYST 2003




Aunque el blog esta dedicado a THE ALAN PARSONS PROJECT, una de nuestras debilidades siempre ha sido Camel, grupo que paro su actividad debido a una enfermedad de su lider Andy Latimer, recientemente hemos sabido que Andy practicamente ha superado su enfermedad, y que esta componiendo un nuevo álbum con CAMEL, no obstante y para quien no estuviera al tanto, os ponemos un poco en antecedentes con la enfermedad que padece desde hace algún tiempo, Andy Latimer:
En 2002 Camel anunció su gira de despedida y la esposa de Latimer Susan Hoover anunció la grave enfermedad que sufría Andy Latimer: policitemia vera. Un trastorno en la producción de glóbulos rojos en la sangre que ha derivado en una mielofibrosis, enfermedad que afecta gravemente a la médula ósea.
Entre 2008 y 2009, Andy recibe finalmente el trasplante de médula osea lo cual hizo que se recuperara practicamente en un 70%. Luego de esto, su esposa afirmó que si Camel retorna a los escenarios sería en un mínimo de un año. No obstante, Latimer sigue componiendo y trabajando en sus canciones. Se puede afirmar que ha trabajado grabando como sesionista con diferentes músicos, como es el caso del músico David Minasian quien lanzó su primer disco en 2010 en compañía del mismo Andy Latimer quien grabo gran parte de las guitarras.
Desde nuestro humilde blog le queremos dar todo el animo del mundo para que se recupere completamente y pronto lo veamos en un escenario junto con su grupo Camel.
ENLACES: pinkfloydpinkmoon@gmail.com

Enjoy yourself

Recuperamos un concierto de su ultima gira:
CAMEL LIVE AT THE CATALYST 2003
Line-up / Musicians
- Andy Latimer / guitars, vocals, flutes
- Colin Bass / bass, vocals
- Dennis Clement / drums
- Tom Brislin / Keyboards

1 Rhayader
2 Rhayader Goes to Town
3 Lady Fantasy
4 Echoes
5 Stationary Traveller
6 Drafted
7 Another Night
8 Unevensong
9 Hymn to Her
10 Mother Road

Bueno y también del 2003 os dejamos una autentica joya los miembros fundadores de CAMEL, Latimer, Ferguson y Ward (excepto PETE BARDENS tristemente fallecido) tocando juntos otra vez en una session Jam impresionante, descargatelo aqui

domingo, 5 de junio de 2011

BOOTLEG: Alan Parsons live Project Argentina 2011

Este boot se lo queremos dedicar a nuestro amigo de Argentina
Carlos Ariaudo que asistió en directo a uno de los conciertos que Alan Parsons ofreció en este país





Grabacion de Audiencia 256 Kbps mp3


Links: pinkfloydpinkmoon@gmail.com



Enjoy yourself

1 Intro Subclones Thank You Card
2 I Robot
3 Don´t Answer me
4 Luciferama
5 Breakdown/The Raven
6 Time
7 I don´t Want to be Like you
8 One More River
9 Don´t let it Show
10 Damned If I Do
11 The Turn of a Friendly Card PART I
12 Snake Eyes
13 Nothing Left To Lose
14 The Turn of a Friendly Card PART II
15 Psychobabble
16 Old and Wise
17 Sirius
18 Eye In The Sky

ALAN PARSONS: Guitar, vocal,
keyboards, percussion
P.J. OLSSON: Vocals
MANNY FOCARAZZO: Keyboards
DANNY THOMPSON: Drums
GUY EREZ: Bass
ALASTAIR GREENE: Guitar
TODD COOPER: Vocals and Sax


Carlos Ariaudo con Alan Parsons y algunos miembros de su banda

viernes, 3 de junio de 2011

ENTREVISTA: Alan Parsons’ Art of Listening and the Science of Sound part III


Crawdaddy!: Can people get away with just the EQ that is in their DAWs? Do you think that plug-ins or hardware is essential for great EQ?

Parsons: There’s always a box that has more musical sounding EQ than the next, but applying basic principles can be done with any [EQ]. That’s the secret—knowing what you want to achieve with EQ, and if one EQ doesn’t achieve it, then try something else.

Crawdaddy!: How can you can teach that—the art of listening?

Parsons: You can’t teach that. It’s literally, as you said, the art of listening.

Crawdaddy!: You obviously have great ears. Do you have the same ears you had when you were making Dark Side of the Moon?

Parsons: [Laughs] Well, I’m in my 60s now. You can’t change the laws of human development. There was a time that I could hear 19 KHz, and I can barely hear 14 KHz now. I think I’m blessed to have built-in early warning devices. When I was listening to too much live music, I knew I had to stop. I don’t think I’ve suffered any significant hearing damage over the years.

Crawdaddy!: You are still playing live, so you must keep a manageable stage volume.

Parsons: We all wear in-ear stage monitors.

Crawdaddy!: Do you go to concerts much?

Parsons: Not so much, no, and if I do, I take earplugs. I’m afraid I’m an old man in that respect!

Crawdaddy!: As we mentioned earlier, this loudness issue translates to recordings as well. If only a producer would stand up to a band and say, “You don’t get six guitar tracks; you only get two because anything more is sonic mud!”

Parsons: Well, it’s all about the relationship you have. A producer can’t be a dictator, and he can’t put too much of himself into working with an artist, because it is the artist’s record. But I guess I could argue that with the Alan Parsons Project, I was the artist, in a sense. Although I’m still essentially manipulating and controlling other people—directing would be a better word.

Crawdaddy!: I’ll tell you who needs a producer. The half-time show at the Super Bowl. That was embarrassingly bad, the sound at that show.

Parsons: Ah, yes, but that is often the case.

Crawdaddy!: Well, I’m trying to get my name in there. [laughs] What producers do you admire that are making music these days, or back in the ‘70s or ‘80s?

Parsons: I think that the perfect producer is the one that becomes a respected member of the overall team that makes the record. I’ve worked with so many of them, and there were so many good ones; I’ve always felt that Mickie Most [Jeff Beck Group, Donovan, the Animals] was a great producer. Sadly, he died a few years ago. He had everyone’s respect, and he knew his limits, and he knew the limits of the people he was working with. He always got great results and had a fantastic ear for a song. He could spot a hit song at 10 miles, you know?

Crawdaddy!: What about Bob Ezrin and George Martin?

Parsons: I have a lot respect for those guys, George Martin in particular. I think people can appreciate now that he really was the fifth Beatle.

Crawdaddy!: Your DVD has sort of a hall of fame of recording engineers, producers, and musicians. Was it fairly easy to line them up, and easy to select them?

Parsons: I know them all, of course. We kept bumping into each other at trade shows and at seminars and what have you. I’ve experienced how they work. Of course, engineers never work together; they’re always doing their own thing. But that’s what is so refreshing and interesting to me: To talk to them about their art, face-to-face. That was a hugely fulfilling part of making the program.

Crawdaddy!: Is there any chance of a follow-up DVD, sort of a “Master Class” that goes to the next level technically?

Parsons: We are talking about turning it into a thing where you can qualify for some kind of diploma for having viewed the series. And we are planning live studio seminars where eventually we’ll go through the process of recording a song by a band over a couple of days with a small group of people. It’s hard to compete with all the schools out there. We would have to offer something different, and in a much smaller timeframe.

Crawdaddy!: Well, I think you have already accomplished that with your DVDs. I don’t think the schools can deliver the insight and instruction directly from the kind of artists and studio professionals you have on your DVD. They don’t have the background that you have, certainly.

Parsons: Yeah, the schools, of course, can’t offer the big names. They can offer really good people. But if they were that good, they wouldn’t be teaching in schools… They’d be out there doing the job!

jueves, 2 de junio de 2011

ENTREVISTA: Alan Parsons’ Art of Listening and the Science of Sound partII


Crawdaddy!: Do you think the success of that album changed the band’s attitude towards making records?

Parsons: I don’t know. Our relationship ended for business reasons shortly after [Dark Side of the Moon]. I was certainly up to doing another record, but the business got in the way.

Crawdaddy!: But then you moved on to the Alan Parsons Project, and that obviously worked out.

Parsons: Yeah, it could certainly be argued that the Alan Parsons Project would not have happened if it weren’t for Dark Side of the Moon.

Crawdaddy!: Given how well you were recording in the analog world and how well you knew this stuff, what was the process like moving to digital?

Parsons: It was a slow transition. First came the boxes—the Eventide boxes, and you know, digital delay. And then there was pitch correction, which was previously just a nirvana, just an unattainable thing that people thought, “Oh, you’re never gonna be able to change the pitch on something.” [laughs] So that was pretty magical at the time. And then came the CD technology that allowed us to record digitally and put it on a CD. The sound of early CDs was remarkably gritty compared to how it is now. And at the time all we could concentrate on is how clean it was. You know, no crackles, no surface noise, and the actual sounds seemed to be secondary. And that’s what everybody said—“It’s so clean and so quiet.” And our ears got sort of tuned into [the digital sound] in later years as the technology progressed.

Crawdaddy!: On your DVD, it looks like Steinberg’s Cubase is your DAW [digital audio workstation] of choice?

Parsons: It’s certainly been the one I have spent the most time with. The unfortunate fact of life is that Pro Tools is the de facto standard.

Crawdaddy!: It is. For years it was overpriced for how it sounded and what you got. I don’t believe it ever lived up to its hype in the pre-HD era.

Parsons: I had some bad experiences with Digidesign. You know, I bought these huge systems and then found two months later that they were out-of-date. But I think they have done the right thing with Pro Tools by making it hardware compatible with everything. It clearly works, and I think it’s healthy to have competition.

Crawdaddy!: What kind of commercial music do you listen to these days? Do you listen to today’s music?

Parsons: Only by default, like on the radio or whatever medium it’s on. I don’t tune into radio stations that are playing chart music particularly. And I was embarrassed to look at the album charts just a couple of weeks ago, and I only knew two of the artists in the Top 10. And one of them was the Allman Brothers! [laughs]

Crawdaddy!: Interestingly enough, a lot of teenagers have turned to bands like Led Zeppelin and Black Sabbath. I think that’s because there is a lack of good bands coming out on labels. It’s such a business now. All sizzle, no steak.

Parsons: There is a style right now that I don’t particularly like: Heavy auto-tune, heavy compression. It’s very stylized, and I don’t find it appealing.

Crawdaddy!: I think it’s a real problem that engineers over-compress and producers want it over-compressed. And then mastering engineers compress it again, and then radio stations compress it one more time.

Parsons: Yeah, and there’s nothing left at the end of the day.

Crawdaddy!: How do you get these people to stop? [laughs]

Parsons: Form a band and try to be different and try to be real. I mean, this can’t last forever, all this nonsense. It’s got to go back to musicianship. Hopefully a new wave of progressive rock.

Crawdaddy!: I agree, and I hope so.

Parsons: It’s totally manufactured now.

Crawdaddy!: I think part of the problem is that listening to an album used to be a special thing. You couldn’t do it on the bus. You couldn’t do it walking to work. You had to do it in a home or some environment where you’re focused on listening. Do you think the album is a lost format?

Parsons: Absolutely. It’s a thing of the past. We’re in an iPod world now. It’s three or four minute segments. It’s just the way they do it now.

Crawdaddy!: How do you feel about that?

Parsons: It’s disastrous.

Crawdaddy!: Perhaps that’s why vinyl records have made a resurgence. We’ve got two generations now who know little about the album concept—artwork, the production, the story.

Parsons: And part one and part two—side one, side two. That’s one of the biggest loses.

Crawdaddy!: When it comes to studios closing down on a daily basis, I think your DVD fills an important gap—in that, as commercial studios close down and of course the talented professionals who know how to operate them go with them—people are left with little choice but to go at it alone. So now we’ve got people recording in their bedroom who may know how to edit a registry in Windows or how to get real tweaky on a plug-in, but they don’t know the first thing about where to put a mic to record an instrument.

Parsons: And that’s something that people like me are likely to complain about. But I accept the fact that it isn’t necessary to do what’s going on now.

Crawdaddy!: I enjoyed watching your DVD. You seemed very accessible and a very good instructor. Was that hard for you?

Parsons: At every stage, we tried to make it better than it actually was through the editing process. [laughs] The early edits were very different than the final edits. We would literally throw out about 20 minutes, because it wasn’t quite right. It’s actually a miracle that we got it [down to] 10 hours—it couldn’t have been 20 hours long.

Crawdaddy!: So it’s kind of like making a record then?

Parsons: Yeah, absolutely.

Crawdaddy!: You seemed very comfortable talking technical to the camera. Were you?

Parsons: Well, I think that my camera presence is variable. When I see the program, I think, “Oh well, this is early on, and oh, this is when I’d been doing it for a few months.” I did get better at it. And it was all teleprompted and scripted.

Crawdaddy!: It looks great. It’s one thing to know this stuff works, and it’s another to be able to teach it. What are some of the more common mistakes home studio owners make these days that they can easily correct?

Parsons: I think a lot of engineers mic guitar amps too close, particularly live. There are live engineers, you know; they [mic] up against the cloth of the cabinet. I’ve never thought much of that technique. At least a foot away is where I like to put them. And acoustic guitars are quite difficult to record. One little trick I’ve always favored was to [put a] high pass [filter on] it. Get rid of some of the boominess. Really, there is no such thing as making mistakes. But guidance in the right direction is sometimes useful.

Crawdaddy!: It is clear from the DVD that recording is not a hard science. There is an element of art to it. And I thought the section on equalization was great. EQ is a bit of a mystery to many of us. Do you think it’s important to EQ everything in this world of canned sounds and drum loops?

Parsons: I think that EQ is now and will continue to be the most powerful tool for recording. I mean, you can turn a sound inside and out with EQ. And, providing you know the results you are looking for, it’s incredibly powerful.
 
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