[Music]
[Applause]
[Music]
[Music]
It’s incredible how I could not
create this thing for you
on the stage of you all in cortina dex
real time with a laptop
with very few instruments that are
a bluetooth keyboard an interface
audio is a very simple software and a
total investment of only one thousand euros
I introduce my name michele canova
iorfida is a music producer is the
first time I met this
kind of technology or better the dawn
of this technology was 1988 in that
period I used to go to the conservatory
cesare pollini di padova practiced the
violin and personal my background was
purely classical music
my only contact with the world
of IT was my passion is
a certain minimum of rudiment in
programming languages of the
videogames from the era of the first ones
computer I never thought that
kind of technology changed wanted
change radically in the next 30
years the world of music production
my first contact as I told you
it was in 88 when in Padua one afternoon
in winter a friend showed me for the
first time a rudimentary sampler
a synthesizer is a software of
musical sequences
I could not believe that in his own
habitation without using many
people or without the use of many
musicians one could a person
could make a composition
musical is done and finished
therefore it became clear at that moment
inside of me I wanted to do that
in my life I wanted to become one
expert let’s say about this at the end
in the 80s it begins to delineate
so in some ways the
applied technological democratization
the music
I want to say that the size of
requests for spaces spaces
required for registration studies
they began to decline very much
the evolution of technological resources
they changed repeatedly and always in
better the possibility of creating music and
at this point even the form
song itself that is the writing of the
song I start to be perfectly
and modified by technologies for
understand us, let’s go back a bit
let’s go towards the hares origins
let’s call them that instead of two decades
from the sixties to the eighties
how it was recorded and how it was written
the songs the spaces where the music
huge rooms were recorded
recovery that they needed to contain
inter and orchestras or entire musical bands
which had to register mainly
in direct action, seen the great ones
limitations of the supports of
record the era as you can
see the images also of the images
where the sound engineer and sound engineer
records had to contain desks of
incredibly large mixing
recording technologies of
tube preamp and the
mainly support of
recording was tape recorder
you can see that in short the structure
of the recorder has
really big needed one
room only for this the tape that
dominates those two decades evolve
slowly by two technologies from the anaci
analog technology to technology
digital
digital technology will allow in
some way to condense and to make
the more tools you have
they can record on the media you pass
in the 60s by four instruments
maximum can be recorded in a
recorder to logical until the end
of the 80s with digital support up
to 48 instruments simultaneously
the only feature that continues to
be the same for both of them
tape technologies is the linearity of the
registration process
I want to say that the tape has a beginning and
an end that follows exactly the beginning
and the end of the song
I mean a song made of one
verse of an engraving of a second
say this as you can understand well
editing is very difficult to do for
little dresses I intend to change the structure
of the song you could physically
cut the tape and stick together
but then it is a thing of one
extreme minutia and certainly could not
allow operations that in
future would have been easier
possible therefore I would say that in that of
those two decades
at the center of the musical creative process
there is certainly the execution of the
musician or band and become
therefore the central part of creation
musical the next decade of the
next decade we finally see
the affirmation of digital audio
workstation or dabliu therefore of the
systems of software combinations e
of hardware that allow for the first one
time to digitize to record
audio in digital format on hard disk
this creates a slow revolution that
therefore allows to break down the limits of
which we talked about before the tape format
both analog and digital
the number of runs the number of
instruments that are recordable and in a manner
exponential grows until you get almost
an unlimited number and the possibilities of
editing I talked about before
they become infinite because it is introduced
a concept of non-linearity at last
where I can separately register
a verse at a later time a
engraved and then build the structure
of the song as best I think one
figure becomes more and more important
within the study of
registration that is that of the
producer that thanks to these new ones
possibility of both number of runs
of editing possibilities makes of his
profession becomes his profession
extremely creative
all this further contributes to
change the pure writing of the song
and I have here an example for you to make
to feel that she is of Madonna and is called Don
terni
[Music]
now how you felt before this
decade is not the way it has ever been
You can cut a guitar and edit it
and he speaks obsessively as he repeats
this song was made
here we understand well that art is used
of the dark aida tool becomes
even an artistic form I move to
last 20 years in which progress
technology have helped to reduce
further the registration spaces
totally eliminating the figure of the
message counter in front of us
the desk will then come later
virtualized within the computer and
what is facing like
you can see from images to al
manufacturer or the sound engineer is simply
a series of monitors of screens that
act and act predominantly by
windows to the virtual studio like
if we look towards a study
virtual
here you can see the message desk
which is no longer physical but is virtual
the lader within the software but not
only in the last 20 years a great one
step forward and also in the
sound generation we were used to
have tools inside ours
hall of defense of the pianos of the
guitars or inter orchestras that
we recorded now as you can see the
piano inside the software one
battery available inside the
software but guitar is available
within the software and even
an entire orchestra available
inside the soft inside the
software
the music producer therefore becomes in
somehow the central element is
the only or almost the only human element
within the musical production
of the last 20 years and writing
of the song comes further
influenced by these technological leaps
which are as mentioned before
miniaturization of components
electronic therefore more and more computers
powerful
the increasing computing power
that also access the cloud cloud
of musical libraries that become
therefore infinite in space
let’s say in size and increase
more and more production possibilities
I want to make you feel two examples in the
last 20 years a young producer
very good that only
equipped with a thing really a lot
similar to a setting very similar to
what I have
it’s called skrillex is this at all
song that is predominantly generated
only by his power in the computer
[Music]
[Applause]
[Music]
[Applause]
example of music
electronics I want to make you also a
example instead more commercial than that
maybe you know a song better than
justin bieber that has been produced
always from skrillex and from of plo is called
time now and I’ll let you hear it
[Music]
well
of course
a dog
whoever aims in this case is clear that
the manipulation of intonation e
of the repetition of this sentence that
we are at the beginning it would not have been
possible
twenty years ago and thanks to the processing
inside the computer it becomes almost
an art becomes a creative form the
democratization of which I spoke
first it does not concern only the
musical production but in the last
decade has also become one
democratization of access to
music
we no longer buy the discs inside
of physical stores but we access
directly to subscriptions I did
the example of spotify but there are many
other
to the streaming that allows us and in
some way allows us to retrace
all the steps we have done with
music production also for
access to music is not access
linear as in the production that is me
I can have access to a database of 10
millions of songs in a second without
that these songs are virtually
take up space in my hard drive
because I’m actually on the cloud
significant cost reduction if we think
that a subscription to spotify costs
maybe half of what it cost a
cd of twenty years ago not only the
musical distribution becomes
simplified also for the artist if
we think an artist nowadays
to have his song available on it
spotify or on another service of
streaming the blood is very similar to
the uploading procedure is very similar
a video on youtube therefore of one
extreme simplicity and it can be
available already the day after
in conclusion, what better time
to create music if not today
countless instruments I have done to you
see and many others are available
today to enhance the talent of boys
young people like skrillex like others
Twenty-year-old producers who have a
disposition only one laptop succeed
to produce masterpieces of music
electronic and not
if we think that today a little boy of 12
years of any nationality in the world
armed only with a laptop can
easily compete with an artist
affirmed supported by multinationals
it does not seem like it ever like this
the moment technology releases ideas
thank you
[Applause]
[Music]
[Music]
It’s incredible how I could not
create this thing for you
on the stage of you all in cortina dex
real time with a laptop
with very few instruments that are
a bluetooth keyboard an interface
audio is a very simple software and a
total investment of only one thousand euros
I introduce my name michele canova
iorfida is a music producer is the
first time I met this
kind of technology or better the dawn
of this technology was 1988 in that
period I used to go to the conservatory
cesare pollini di padova practiced the
violin and personal my background was
purely classical music
my only contact with the world
of IT was my passion is
a certain minimum of rudiment in
programming languages of the
videogames from the era of the first ones
computer I never thought that
kind of technology changed wanted
change radically in the next 30
years the world of music production
my first contact as I told you
it was in 88 when in Padua one afternoon
in winter a friend showed me for the
first time a rudimentary sampler
a synthesizer is a software of
musical sequences
I could not believe that in his own
habitation without using many
people or without the use of many
musicians one could a person
could make a composition
musical is done and finished
therefore it became clear at that moment
inside of me I wanted to do that
in my life I wanted to become one
expert let’s say about this at the end
in the 80s it begins to delineate
so in some ways the
applied technological democratization
the music
I want to say that the size of
requests for spaces spaces
required for registration studies
they began to decline very much
the evolution of technological resources
they changed repeatedly and always in
better the possibility of creating music and
at this point even the form
song itself that is the writing of the
song I start to be perfectly
and modified by technologies for
understand us, let’s go back a bit
let’s go towards the hares origins
let’s call them that instead of two decades
from the sixties to the eighties
how it was recorded and how it was written
the songs the spaces where the music
huge rooms were recorded
recovery that they needed to contain
inter and orchestras or entire musical bands
which had to register mainly
in direct action, seen the great ones
limitations of the supports of
record the era as you can
see the images also of the images
where the sound engineer and sound engineer
records had to contain desks of
incredibly large mixing
recording technologies of
tube preamp and the
mainly support of
recording was tape recorder
you can see that in short the structure
of the recorder has
really big needed one
room only for this the tape that
dominates those two decades evolve
slowly by two technologies from the anaci
analog technology to technology
digital
digital technology will allow in
some way to condense and to make
the more tools you have
they can record on the media you pass
in the 60s by four instruments
maximum can be recorded in a
recorder to logical until the end
of the 80s with digital support up
to 48 instruments simultaneously
the only feature that continues to
be the same for both of them
tape technologies is the linearity of the
registration process
I want to say that the tape has a beginning and
an end that follows exactly the beginning
and the end of the song
I mean a song made of one
verse of an engraving of a second
say this as you can understand well
editing is very difficult to do for
little dresses I intend to change the structure
of the song you could physically
cut the tape and stick together
but then it is a thing of one
extreme minutia and certainly could not
allow operations that in
future would have been easier
possible therefore I would say that in that of
those two decades
at the center of the musical creative process
there is certainly the execution of the
musician or band and become
therefore the central part of creation
musical the next decade of the
next decade we finally see
the affirmation of digital audio
workstation or dabliu therefore of the
systems of software combinations e
of hardware that allow for the first one
time to digitize to record
audio in digital format on hard disk
this creates a slow revolution that
therefore allows to break down the limits of
which we talked about before the tape format
both analog and digital
the number of runs the number of
instruments that are recordable and in a manner
exponential grows until you get almost
an unlimited number and the possibilities of
editing I talked about before
they become infinite because it is introduced
a concept of non-linearity at last
where I can separately register
a verse at a later time a
engraved and then build the structure
of the song as best I think one
figure becomes more and more important
within the study of
registration that is that of the
producer that thanks to these new ones
possibility of both number of runs
of editing possibilities makes of his
profession becomes his profession
extremely creative
all this further contributes to
change the pure writing of the song
and I have here an example for you to make
to feel that she is of Madonna and is called Don
terni
[Music]
now how you felt before this
decade is not the way it has ever been
You can cut a guitar and edit it
and he speaks obsessively as he repeats
this song was made
here we understand well that art is used
of the dark aida tool becomes
even an artistic form I move to
last 20 years in which progress
technology have helped to reduce
further the registration spaces
totally eliminating the figure of the
message counter in front of us
the desk will then come later
virtualized within the computer and
what is facing like
you can see from images to al
manufacturer or the sound engineer is simply
a series of monitors of screens that
act and act predominantly by
windows to the virtual studio like
if we look towards a study
virtual
here you can see the message desk
which is no longer physical but is virtual
the lader within the software but not
only in the last 20 years a great one
step forward and also in the
sound generation we were used to
have tools inside ours
hall of defense of the pianos of the
guitars or inter orchestras that
we recorded now as you can see the
piano inside the software one
battery available inside the
software but guitar is available
within the software and even
an entire orchestra available
inside the soft inside the
software
the music producer therefore becomes in
somehow the central element is
the only or almost the only human element
within the musical production
of the last 20 years and writing
of the song comes further
influenced by these technological leaps
which are as mentioned before
miniaturization of components
electronic therefore more and more computers
powerful
the increasing computing power
that also access the cloud cloud
of musical libraries that become
therefore infinite in space
let’s say in size and increase
more and more production possibilities
I want to make you feel two examples in the
last 20 years a young producer
very good that only
equipped with a thing really a lot
similar to a setting very similar to
what I have
it’s called skrillex is this at all
song that is predominantly generated
only by his power in the computer
[Music]
[Applause]
[Music]
[Applause]
example of music
electronics I want to make you also a
example instead more commercial than that
maybe you know a song better than
justin bieber that has been produced
always from skrillex and from of plo is called
time now and I’ll let you hear it
[Music]
well
of course
a dog
whoever aims in this case is clear that
the manipulation of intonation e
of the repetition of this sentence that
we are at the beginning it would not have been
possible
twenty years ago and thanks to the processing
inside the computer it becomes almost
an art becomes a creative form the
democratization of which I spoke
first it does not concern only the
musical production but in the last
decade has also become one
democratization of access to
music
we no longer buy the discs inside
of physical stores but we access
directly to subscriptions I did
the example of spotify but there are many
other
to the streaming that allows us and in
some way allows us to retrace
all the steps we have done with
music production also for
access to music is not access
linear as in the production that is me
I can have access to a database of 10
millions of songs in a second without
that these songs are virtually
take up space in my hard drive
because I’m actually on the cloud
significant cost reduction if we think
that a subscription to spotify costs
maybe half of what it cost a
cd of twenty years ago not only the
musical distribution becomes
simplified also for the artist if
we think an artist nowadays
to have his song available on it
spotify or on another service of
streaming the blood is very similar to
the uploading procedure is very similar
a video on youtube therefore of one
extreme simplicity and it can be
available already the day after
in conclusion, what better time
to create music if not today
countless instruments I have done to you
see and many others are available
today to enhance the talent of boys
young people like skrillex like others
Twenty-year-old producers who have a
disposition only one laptop succeed
to produce masterpieces of music
electronic and not
if we think that today a little boy of 12
years of any nationality in the world
armed only with a laptop can
easily compete with an artist
affirmed supported by multinationals
it does not seem like it ever like this
the moment technology releases ideas
thank you
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