La Camisa Negra Latin Lovers

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La Camisa Negra Latin Lovers
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[Lead VocalNuno Resende, Lead VocalJulio Iglesias Jr., Backing Vocals, Sound Effect, Synth Brass, Synth Keys, Synth Pad, Organ, Electric Guitar, Rhythm Acoustic Guitar (Arpeggio), Rhythm Acoustic Guitar2, Rhythm Acoustic Guitar1, Bass, Drum Kit, Metronome]


Cover-groups which are unable to manage their practice schedule and practice together
Professional vocalists
Electric guitarists and acoustic rhythm guitar players
Bassist
Musicians playing on the acoustic drums
Key instrument performers, organ players
Lovers of Latin


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A song 'La camisa negra' by Latin Lovers - Stems. Our multitracks can be used by you to create own version of a mix.
Well, in the meantime, let’s discuss a little more about which benefits multitracks give to us and why the project is conceived. In the article given, we'll run through some technical subjects, which sometimes stay uncertain or misunderstood. We'd also like to share our experience and to talk a few words about our vision and approach.
Let's reflect a little bit more about where all phonograms are even coming from and what kinds of backing tracks are there?
You can find some original stems shared by songs' authors themselves. Many artists and groups purposefully publish their most technically difficult, commercially successful, or just very popular songs in the multitrack format. It's the way to get more respect in the professional industry, among other musicians and sound engineers. For instance, such multitracks could be used by people interesting the art of mixing, other musicians or DJs.
It's a very useful experience to learn multitracks of the greatest hits! Let's say, original studio multitracks of Michael Jackson, Freddy Mercury, Deep Purple or any other. Studio-stems are raw sources, as a rule. Yes, you have physical files, but you don't have appropriate hardware mounted in racks, mixer console as used during record and many other things. To make a good mix is a complex task, it's a creative act. That's why it's very difficult to recover all the palette of the original mix even in you have an original multitrack!
The next kind of phonograms are stereo-mixes of original songs without vocal.
Such tracks, as a rule, are shared by authors or their assistants. The original phonogram has only a few differences from the original multitrack. The difference is that all instruments are bounced in a stereo-track.
You don't have to make an effort to create a great final mix, like in the case with another kinds of backing tracks, but you don't have a technical opportunity to extract something from the mix finalized. We can say that the original backing track is closed for transformation. One bad move can destroy a whole mixdown! Sometimes there could be a few different versions of the original phonogram: with or without backing vocal. To find such a recording is a piece of good luck!
The next variety of backing tracks is karaoke. It could be a video-karaoke or karaoke in mp3-format. It can contain lyrics of the song as subtitles.
The format is the most common and the most popular. There're many different vendors of karaoke. Professional musicians and engineers are participants of their teams. They make a huge quantity of content for them. If some song becomes popular you'll be able to find karaoke-version of it very soon! But what if it's not very popular?
Karaoke has one big advantage over other formats - it's very simple for end-users and users not having any experience at all are able to use it. Push a magic button and enjoy! But what if we want to edit or customize something in the backing track?
Another interesting format is MIDI-karaoke. You can try to look for MIDI files of popular compositions in open sources. Midi-format does not contain any information about the timbre of sound played. Midi-files consists of events (such as Note On, Note Off, Aftertouch etc). MIDI is an interface and it has been originally designed to store and transfer commands, such as when and how loud key is pressed, MIDI does not contain any complex phicysal characteristics of real-word's sounds. MIDI supposes that you use so called software-hardware complex. Playing MIDI, hardware of sotware synth uses its embedded timbres to produce sounds. You're limited by quality or a number of timbers of your synth. MIDI is strictly depends on the hardware where it was created. If you ever changed your synth, there's no warranty that you'll get a great sound on your new synth with you old midi-sources!
You can try to open an existing midi-source in a sequencer (such as Cubase, Fruity Loops, Pro Tools or any other), install all VST-instruments required, and only after then you'll get some meaningful result. But note that fact that MIDI, even if it’s available, might be not of a good quality; the lion’s share of MIDI files is produced by enthusiasts with very low level of knowledge and undeveloped hearing. It will be very difficult for an unprepared musician to reach the similar sounding without the complex of this equipment (well, it’s the most difficult task that may be made up at the turn of music and technology). So, MIDI provides to you lots of opportunities to make a custom mix, but you have to be technically advanced enough to do it. Even if you're experienced already, customization with midi-sources takes a time, and it's a problem!
The next two heroes of our story are such backing tracks created by cutting of original songs or produced with the help of existing voice removal tools. In the case of cutting, there're no difficulties it this thing. Open any editor (Audacity, Sound Forge, Abobe Audition), select any fragment of an original song without voice and copy it again and again. But problem is that the song's arrangements are very sophisticated sometimes and you'll not be able to find a good piece to copy-paste a bridge, for instance. That is where the work of voice-removal and voice-reduction instruments.
Let's look at what's happening with the sound when we apply voice-removal, why is this so ugly and your ears go numb when you listen to such phonograms.
Voice removal tools make a new copy of an original mix where the vocal is looking like deleted with the help of phase inversion. It’s not a secret that sound producers prefer to place the main vocal in the center of stereo panoramas traditionally (by the way, the most famous violators of this rule were the Beatles). That’s why if to divide stereo track of any song into 2 independent mono tracks, turn over a phase of one of these mono tracks and put it back into the initial stereo track, the level of the main vocal will decrease significantly, it will be practically deleted. Practically, yes. In fact, it’s not so simple. Not only lead singer's signal is destroyed this way! Not only the main vocal but also other instruments are located in the center of stereo pan. These important instruments include bass and kick. While we increasing the level of phase inversion, distortions will appear inevitably and be noticeable by ear. Bass and kick will suffer first (it causes psychoacoustic factors). Strictly speaking, 99 percent of sounding instruments are presented in the center one way or another, and the whole phonogram will suffer. It’s worth considering that a vocal part is not only a dry voice but spatial effects applied to it (such as reverb or delay). This is a lion's share of a good commercial mix. In a modern digital epoch, these effects are simple to use and almost don’t cost anything. Let's take to account that delays and revs occupy all width of the stereo base and fly away all over the stereo panorama. Their sounding merges with all the rest instruments, and the so-called masking effect acts. By turning the phase over, you can damp vocal but couldn’t delete ends left from its proceeding. Even if you decide on making it, you will have to delete all music, leaving just the stereo panorama periphery, its leftmost and rightmost points. That's why phonograms got by the voice-removal method have unpleasant characteristic artifacts and overtones, being easily differentiated while hearing and not disposing of high sound quality. For those, who still want to experiment with vocal deletion, we have a fully automated online tool. You can try in by this link. Download any file in mp3 format and receive a result in the form of the link for downloading!
Folks! Seriously?! Seemingly... it's the 21st century, we have a digital sound, technical progress, AI, LHC, NASA, but an ordinary musician still stay restricted. The reason is not in that scientists do not think about musicians, the reason is that the music has a very complex physical and psychological nature, perception of music is grounded on some psychoacoustic phenomena, and all these things are interwoven into our concept, and poorly formalized. It makes music hardly preparable even with the most advanced existing technologies! We can say that we're only in the beginning.
So, let's make interim conclusions of our discourse. Voice removal tools are simple, but they work as uglyfiers, with a huge loose of quality. Karaoke is commonly accessible but not flexible. MIDI-karaoke format (*.mid and *.kar are the same) is very flexible, but it requires synthetic knowledge of music and audio production tools, time, and equipment.
What should we do? Would you like to record all parts yourself? Do you play all the instruments well? Do you have backing vocals or you sing well? Is your hearing good enough to transcribe all parts exactly? Do you have a lot of time to do all this? But what if you have a busy schedule, and tomorrow you need, let's say twenty new backing tracks? All that can only lead to one conclusion. Let us finally say to you this magic word...
Multitracks provide comfort and flexibility while mixing.
Every instrument is recorded separately (in isolation of others) in the multitrack source and saved in a separate file. You can apply any settings (equalization, compression, or reverberation) to any channel or a group of them. All you have to do is to download the set of files to your favorite program!
One more big advantage lies in a more qualitative transposition (the tonality change) in comparison with an ordinary phonogram. By pitching a full mix, you bring in lots of distortions and affect non-melodic instruments (percussion, drums) that don’t require transposition. In a multitrack, you get an opportunity to transpose every track separately: signal interpenetration will be lower; the level of noise will decrease in accumulating signals. You leave instruments, which don’t need a transposition, without changes. Compare and feel the difference! Here is the example.
By the way, it also goes for a tempo change!
And that’s not all! You get an opportunity to create lots of mix versions. You can replay any part in a multitrack. Also, you are able to prolong or shorten songs on several bars, inset new solo or full episodes due to copying and inserting, and hide all patches carefully. It’s possible to cut and move all fragments. It allows verifying accompaniment. Change arrangements to your taste!
The process of multitrack modification is simplified thanks to the fact that they have separate metronome tracks (except for composition in free rhythmic and rubato), instruments are synchronized with each other, all channels are synchronized with clicks, and count-offs are added after all pauses, fermatas, and long stops.
We choose the most suitable performers from the most brilliant singers and musicians all over the world for every record. Having agents in all continents, we always search for talents and expand the base of performers. The most advanced sound equipment of nowadays is installed at our studio.
We control signal purity, mix transparency, the number of restarts to restore, the lack of interferences, noises or hisses, feedback, groundloops, non-linear harmonics, and other unpleasant phenomena that occur while recording, processing, converting, and coding signals. You always get an ideal signal!
You don’t need to mix multitracks. They all have the right dynamic balance and panorama. The mix sounds perfectly in any hall and on any equipment. We’ve already received positive reviews from community, and their number is constantly growing.
Our multitracks are intended not only for vocal but guitar , drums , keyboards , bass, saxophone, accordion, and any other instruments. Why is it so significant?
Vocalists mostly use standard phonograms from the Internet; they are often of a bad quality. All instruments are recorded as one track on such phonograms. Vocalists download them, learn materials, then come to a concert with a flash card, and make their accompanists and instrumentalists, who are actually dependable on them, perform with them by this phonogram. They don’t think that it’s not always comfortable for other performers. While a vocalist sings and enjoys, an instrumentalist has to play his parts over those already recorded. It’s impossible to delete any instruments from a common stereo mix. To refuse a performance means to offend a vocalist. Vocalists are very vulnerable.
All musicians know that a feeling of overloaded style, the so-called ‘dirty’ sound, appears during such a performance. It becomes uninteresting to perform, as well as to listen to it. There’s no excitement while the game level doesn’t grow. A general impression is messed up; the work of all musicians comes to nothing.
There should be a way-out! Our multitracks solve this problem once and for all. Every instrument is recorded separately and saved in a separate file. You can make several custom mixes of one and the same song for performance, depending on the ensemble cast. Mute your part and play live!
We consider that a subtle approach is necessary for rerecording an existing musical content. Every musical style has its features while every song – its unique character. These aspects are important; you should try to save them. A listener might find differences, especially if the song has already gained popularity. By understanding it, we strive to make sounding of our records as similar to the original as possible.
We aspire not only to a formal transmission of a melody, a harmony, and a song form; we reproduce nuances of instrumentation, style, set and number of instruments, dynamic gradations, phrasing, singer’s features and nuances, emotional coloring, playing manner, aura, tone, and mood of an original record. It’s the music phenomenology – something that makes it an art, you can feel these nuances. We try to record so that even professionals couldn’t see the difference.
A cold performance never subdues a listener. We don’t make products for unsophisticated audience! We strive to work in order to satisfy needs of the most experienced listeners. This way, an inexperienced one takes the result automatically.
Do you need to renew a repertoire quickly?
Right here you find per-channel records of this in different genres: from forgotten songs of the XX century to ultramodern premieres. These are masterpieces, which are household word, and little known compositions, being famous only in the inner circle of connoisseurs. Rock, pop, jazz, disco, funk – music to any taste! There’s a catalogue structured by performers and styles, and a convenient search with its help. You can pre-listen to every song in a per-channel format in advance!
Multitracks are played on any devices. Cross-platform software exists due to a universal format. There’s no need in choosing timbre (like with midi) and channel synchronization by time. There’re neither prepared recipes nor universal solutions on using multitracks. Everything depends on your tasks. Apply those devices, programs, instruments, and plugins that you have already used to.
Believe your ears! Let your fantasy free! There’re no limits – just lots of variants to use multitracks, as evident, so unusual.
You can record phonograms at home by bringing a ready-to-use mix for a performance or manage loudness of every track in a real time right here on the scene. In this case, you need DAW or sequencer installed at your laptop and a multichannel sound card to play it.
Our catalogue might be helpful for those who consider music not as only hobby but business, the source of income. It’s difficult sometimes to survive in the musical market in terms of competition.
A ready-to-use multitrack is the economy of resources. Always! Time is the most important resource for you. With the multitrack, you take advantage in time again and again. Now you don’t have to transcribe anything, cut to make it brilliant, or tune without leaving your computer when you’re already flat-out. Save your energy for performances and a creative work!
Money. Payback is an important factor. It’s always very risky to buy expensive equipment and rent a studio. These investments may not only leave without compensation but do harm right here, at the beginning. Why should you spend money on already prepared things? It’s better to increase your budget on promotion and image! A considerate attitude to resources and economy policy are the principles that we stick to! It’s easier to modify a ready-to-use track according to your needs. As a rule, the multitrack requires neither transcription nor mastering. It sounds great in any loudspeakers and on any scene!
Our aim is not only to survive but move forward, develop constantly, achieve high results, and obtain recognition in colleagues’ eyes. That is you are the main brand that needs investments!
Availability for users is one of the main parameters for a successful product.
There’s a section at the website where experts share ready-to-use solutions and schemes to connect equipment, as well as some technical nuances that you can get only in practice.
We’re ready to share our experience! In our articles, we provide maximum information so that you could use all possibilities opened for you. Remember, the solution of any difficult technical problem ends in a compromise!
We’ve created FAQs where we’ve tried to ask the most frequently answered questions of our users. We recommend especially beginners to read them!
Stems are the perfect solution for those who wish to learn mixing or transcribe sophisticated parts
Don’t you hear the part of your instrument among others or do they complicate perception? It’s difficult. This skill doesn’t appear quickly. Do you want to see a result right now? Try to download a multitrack; you hear your part in details in it. It eases the process of learning songs. What’s more, multitracks can be used as a training material while learning how to mix, arrange, master, and more.
We use third-party billing that serves many large companies. It guarantees safety, a high control level, protection, and privacy of all transactions conducted. Personal and payment data are not transferred openly; the encryption is used, round-the-clock fraud monitoring and user support are provided.

It was only a short and very common try to describe all the advantages of multitrack,
because there are no restrictions on how you'll be using them and what tools you can use!
Instruments that you use are not as important as the final result that you can get!
As a musician, you'll realize
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