CCL

Denis Bioteau launches his album project diX SoNANCES

Chrys — 2026-04-15T15:11:54Z

Composer Denis Bioteau unveils diX SoNANCES, an ambitious new big band album. Supported by a crowdfunding campaign, this project brings together musicians and audiences alike. A modern creation blending jazz, fusion, and contemporary music.

The composer and orchestrator Denis Bioteau is about to take a new step in his artistic journey with diX SoNANCES, a second album written for his it-big BAND. To bring this large-scale project to life, he is now calling on the public through a crowdfunding campaign.

A collective project that needs support

Recorded with a sixteen-musician ensemble, enriched by guest artists, diX SoNANCES goes beyond a simple album. It is an ambitious production, requiring significant resources: recording, mixing, mastering, as well as logistics related to a substantial orchestral ensemble.

By reaching out directly to the public, Denis Bioteau invites listeners to become active participants in the project, to concretely support the creation and take part in the emergence of this new work.

Ten compositions, ten worlds to support

As its name suggests, diX SoNANCES consists of ten tracks with distinct identities. Each piece explores a different atmosphere, blending jazz, fusion, rock, and pop influences.

This work of composition and orchestration, particularly demanding, is based on an in-depth exploration of textures and timbres. The involvement of the public through crowdfunding thus becomes an essential lever to allow this musical richness to fully take shape.

A participatory dynamic at the heart of creation

By launching this campaign, Denis Bioteau asserts a vision of music deeply rooted in sharing. Crowdfunding here becomes a natural extension of his artistic approach: to unite, bring people together, and create connections through music.

Supporting diX SoNANCES therefore means much more than pre-ordering an album. It means accompanying an ambitious creative project, carried by a team of committed musicians, and contributing to bringing to life a work that is just waiting to resonate.

Useful links

Crowdfunding campaign:
https://fr.ulule.com/denisbioteau-dix-sonances/

Facebook :
https://www.facebook.com/denisbofficiel

Instagram :
https://www.instagram.com/denisbioteau

YouTube :
https://www.youtube.com/results?search_query=denis+bioteau

Official website:
https://www.denisbioteau.com

Prodipe STC-3D MK2 Lanen Microphone for Studio and Voice

Chrys — 2026-03-02T16:30:00Z

The Prodipe STC-3D MK2 Lanen is a professional condenser microphone with exceptional value for money. Designed for studio use, podcasting, or instrument recording, it adapts to any use thanks to its three polar patterns and high sound accuracy.

In the world of studio condenser microphones, the Prodipe STC-3D MK2 Lanen stands out as an essential reference for home studio users, podcasters, singers, and sound engineers looking for a high-performance, versatile microphone at a very competitive price.

A collaboration with Ludovic Lanen

The STC-3D MK2 is the result of a close collaboration between Prodipe and Ludovic Lanen, a renowned sound engineer in the professional field. This partnership aims to deliver studio-grade sound quality, while maintaining affordability for users with more modest budgets.

Large diaphragm microphone with variable directivity

The STC-3D MK2 is a large-diaphragm condenser microphone, allowing it to capture a very wide sound spectrum with high precision, especially in the mid and high frequencies. Its main strength lies in the ability to choose between three polar patterns: cardioid, omnidirectional, and bidirectional (figure-8). This flexibility allows it to adapt to a wide range of recording situations:

In cardioid mode, it captures mainly sound from the front of the capsule, effectively reducing ambient noise and side interference. Ideal for vocals, solo instruments, or podcasting.
In omnidirectional mode, it captures sound equally from all directions. Perfect for natural ambiance, choirs, or acoustic instruments in a well-treated environment.
In figure-8 mode, it records sound from the front and back while rejecting side noise, ideal for vocal duets or face-to-face interviews.

Remarkable sound quality

The STC-3D MK2 offers a very balanced frequency response, generally ranging from 20 Hz to 20 kHz, capturing both the warmth of the lows and the clarity of the highs. The self-noise is minimized, and the sensitivity is sufficient to capture the subtlest nuances of the human voice or an acoustic instrument.

Thanks to its high-quality output transformer, it delivers a clean and warm audio signal, close to what you'd expect from much more expensive models.

Robust design and included accessories

Prodipe hasn't cut corners on construction: the STC-3D MK2 is fully metal, with a sturdy grille protecting the capsule. It comes with several essential accessories for quality recording:

a shockmount,
an XLR cable,
and a hard carrying case,

…which is rare at this price point.

A professional tool at the price of an amateur mic

What truly sets the STC-3D MK2 apart is its unbeatable value for money. For under €150, it rivals models from much more expensive brands while delivering performance that meets the demands of professional studios.

Conclusion

The Prodipe STC-3D MK2 Lanen is an exceptional studio microphone in its category. It combines sound quality, versatility, and durability, all at an extremely competitive price. Whether you're a musician, podcaster, sound engineer, or just a passionate enthusiast, this mic is a smart and lasting investment.

To learn more or buy it directly, visit the official product page: prodipe.com

Shoulder Pain in Guitar and Bass (Posture)

Chrys — 2026-02-26T16:30:00Z

Shoulder pain in guitar and bass playing is often linked more to poor posture than to the weight of the instrument. By optimizing spinal alignment and the organization of the shoulder blades, it is possible to reduce tension and play longer without pain.

Shoulder Pain in Guitar and Bass: Understanding Better to Play Better

By Xavier Mallamaci, physiotherapist specialized in supporting musicians

Shoulder pain, trapezius pain, or pain between the shoulder blades is extremely common among guitarists and bassists. Contrary to popular belief, the problem does not come solely from the weight of the instrument or from playing for long periods, but primarily from how the body organizes itself to support it. Through his work with musicians, Xavier Mallamaci observes that these pains are very often linked to inefficient compensation strategies and a lack of understanding of the true role of posture.

An Asymmetry That Is Not Necessarily a Problem

It is essential to distinguish asymmetry of the upper limbs from that of the spine. Asymmetry of the arms is not problematic in itself. A guitarist or bassist necessarily works in asymmetrical positions, and the body is perfectly capable of managing them. However, the spine — both cervical and thoracic — must remain as symmetrical as possible. A well-aligned spine, without excessive or unnatural curves, forms a sufficiently solid structure to allow the arms to move freely. It is therefore not arm asymmetry that must be avoided, but spinal asymmetry, which must remain organized and stable to support upper limb activity.

The Major Overlooked Element: Ground Anchoring

When discussing posture, one immediately thinks of the shoulders, but the fundamental element remains contact with the ground. The goal of anchoring is not only to stabilize the spine, but above all to tone it. Effective anchoring triggers an automatic neurological reflex that activates a series of small deep muscles around the spine. These muscles are neither visible nor consciously controllable, yet they ensure spinal solidity. By properly using ground support, this muscle tone establishes itself without voluntary effort and makes the spine much more stable. It is this foundation that then allows better management of the instrument's weight and arm asymmetry.

Why Pain Appears

When stability is lacking, the body implements compensations. The shoulder muscles, trapezius, and interscapular region are not designed to sustain prolonged effort. These muscles can produce significant force over a short period but have limited endurance. When asked to work for long durations, they fatigue quickly. Faced with this fatigue, the body adopts positions it perceives as less painful in the moment: rounded shoulders, elevated shoulders, a stiff back. These positions may seem to provide temporary relief, but they remain mechanically unfavorable. The muscles stay under strain and pain settles in. It then becomes necessary to create a transition toward a more physiological and sustainable organization.

The Key: Shoulder Blades Apart and Shoulders Not Elevated

It is important to clarify that the goal is not to actively lower the shoulder blades. Trying to voluntarily pull them downward is tiring and not sustainable over time. The objective is simply to avoid having them high. The shoulders are left at their natural height, without shrugging. The lowering is therefore passive. However, the separation of the shoulder blades must be conscious and clear. This separation limits overuse of the muscles located between them and improves shoulder stability without creating excessive tension.

The Essential Exercise: Elbow Push

The serratus anterior plays a central role in this organization. It is one of the key muscles that allows separation of the shoulder blades without active lowering. In addition, its structure gives it better endurance and the ability to sustain activity over time. A simple exercise effectively activates it:

cross your arms in front of you
gently push the elbows forward and slightly downward
focus your attention on the separation of the shoulder blades

This is not a maximal effort, but a moderate activation. This exercise can be used before playing, when tension appears, or even in daily life.

Creating a Reference Posture, Not a Fixed Posture

The goal is not to maintain an ideal posture at all times. Rather, it is about defining a reference posture. This position becomes a kind of biomechanical “home”: a return point that allows the body to recover and conserve energy. It is entirely possible to temporarily move out of this organization, to round one shoulder or raise the arms, as long as it remains brief. If one regularly returns to this reference posture, the muscles can alternate their activity and prevent pain from settling in. It is not rigidity that protects, but the ability to intelligently oscillate around this stable reference.

Conclusion

Shoulder pain in guitarists and bassists is not inevitable. It most often results from inefficient postural organization and poor distribution of muscular effort. By working on ground anchoring, spinal stability, and shoulder blade separation through endurance-oriented muscles such as the serratus anterior, it becomes possible to play longer, with greater comfort and less pain.

Even Not Afraid by Rosaire Riccobono (method)

Chrys — 2026-02-24T14:34:40Z

Learning electric bass can seem complex given the abundance of online content. Even Not Afraid by Rosaire Riccobono offers a structured and progressive method to guide beginners toward genuine musical autonomy.

Learning electric bass in 2026 may seem paradoxical: on one side, an infinite amount of tutorials on YouTube; on the other, a level of fragmentation that quickly discourages beginners. It is precisely within this space that Even Not Afraid, published by Hit Diffusion, finds its place. The book offers a structured alternative to the fragmented learning commonly found online.

A method designed for the modern self-taught musician

The positioning of the book is clear: to support those who wish to learn electric bass independently, while avoiding the “ pedagogical zapping ” effect. Where the Internet provides isolated pieces of content, Rosaire Riccobono proposes a progressive path built around the fundamentals:

hand positioning
rhythmic reading
the first structured bass lines
learning essential scales

The approach is gradual. Each concept is immediately applied in practice, helping to build technical reflexes without overloading the learner with theory.

Results-oriented pedagogy

What distinguishes Even Not Afraid is its pragmatic orientation. The goal is not to accumulate abstract knowledge, but to play quickly in real musical situations. The author aims to lead the reader toward autonomy: understanding what they play, but above all knowing how to use it.

For a beginner, this logic is decisive. It reduces frustration and encourages visible progress within just a few weeks of regular practice.

Going beyond the basics: slap and blues

The book does not stop at technical foundations. Two complementary axes enrich the learning path:

an introduction to slap, an emblematic technique of funk and groove that opens access to a more percussive and dynamic style of playing
a module dedicated to blues, a fundamental language for developing a sense of groove, chord progression, and simple improvisation

This stylistic openness avoids the pitfall of a purely mechanical method. Technical work is constantly placed back into an identifiable musical context.

Internet versus structured method

The book's point is implicit but relevant: the Internet gives access to everything—except coherent progression. Searching for information online can quickly become counterproductive without a pedagogical framework.

Even Not Afraid acts as a backbone. Once the basics are consolidated through the method, digital resources become more usable and more relevant.

Who is this book for?

This book will suit:

complete beginners seeking a clear framework
guitarists wishing to switch to bass
scattered self-taught learners looking for logical progression
adults returning to an instrument after several years

Verdict

Even Not Afraid is a structured, pragmatic method oriented toward real playing situations. It responds to the contemporary challenges of online learning by offering a solid and progressive framework.

For anyone who wants to approach electric bass seriously without drowning in the mass of information available on the Internet, this book provides a reassuring and effective foundation.

Purchase link: Even Not Afraid

the Bunker, an artisanal five-string bass signed Gaetano Costanzo

Chrys — 2026-01-12T17:00:00Z

The Bunker is an artisanal five-string electric bass designed by luthier Gaetano Costanzo. Conceived for demanding musicians, it combines refined craftsmanship, versatile electronics, and a strong sonic identity, equally at home on stage and in the studio.

Bunker – An exceptional five-string bass signed Gaetano Costanzo

Designed by luthier Gaetano Costanzo, the Bunker is a five-string electric bass with a strong character, conceived to deliver power, precision, and top-tier tonal versatility. This instrument embodies a rigorous approach to artisanal luthiery, where every technical choice serves musicality, ergonomics, and reliability.

Luthiery focused on balance and efficiency

The alder body forms the sonic foundation of the Bunker. This wood is renowned for its balanced frequency response, offering solid lows, well-defined mids, and clear highs without harshness. It ensures excellent note definition, both in live performance and studio contexts.

The maple neck with rosewood fingerboard, featuring 24 frets and a 34” scale length, provides a playing feel that is both familiar and precise. Maple contributes attack and definition, while rosewood softens the response for a comfortable feel and warmer tone. Access to the upper registers is smooth, making the instrument equally effective for accompaniment and solo playing.

Artisanal electronics at the heart of versatility

The electronics, developed specifically for this instrument, offer a clear yet extremely comprehensive architecture:

Neck pickup volume with active / passive push-pull, allowing instant switching from a modern, sculpted tone to a more organic and direct approach
Bridge pickup volume
Three-band active EQ: bass, mids, treble
Two mini split switches, one per pickup, each offering three configurations:
single coil
humbucker
dual single

This combination makes it possible to explore a wide tonal palette, ranging from round, deep sounds to highly defined and percussive textures, suitable for funk, modern jazz, as well as contemporary and progressive music styles.

Reliable hardware and refined design

The Gotoh tuners ensure excellent tuning stability, essential on a five-string bass. The custom-made bridge, designed specifically for the instrument, promotes optimal vibration transfer and enhances the sense of solidity and precision under the right hand.

A finish with a strong character

The red sunburst nitrocellulose finish gives the Bunker a strong and elegant visual identity. Thin and breathable, nitrocellulose allows the wood to vibrate freely and will evolve over time, giving the instrument a natural and unique patina.

Conclusion

The Bunker is an artisanal five-string bass intended for demanding musicians seeking a versatile, expressive, and reliable instrument. It reflects a coherent vision of modern luthiery, where careful attention to materials, electronics, and finishes results in an instrument with a true sonic identity and strong musical potential.

Nicolas Fiszman "Nicolas Fiszman"

Chrys — 2025-12-26T14:48:44Z

With his self-titled album released in 2023 on Cristal Records, Nicolas Fiszman reveals a more intimate facet of his musical universe. Known as a bassist, he returns here to the guitar for a modern, elegant, and deeply collective jazz.

Released in 2023 on the Cristal Records label, the album Nicolas Fiszman marks an important milestone in the artist's career. Primarily known for his role as a bassist, Nicolas Fiszman chose, for this personal project, to return to his original instrument: the guitar. A return to his roots that gives this album an intimate and fully embraced dimension.

A self-titled project, the record acts as a clear statement, in which the musician openly presents his universe, shaped by nuance, listening, and balance. From the very first tracks, the album establishes a climate of trust. Fiszman's guitar never seeks to impress; it favors the right line, precise placement, and a sensitive relationship to sound.

The jazz that runs through this album is resolutely contemporary, yet never disconnected from its roots. One finds a keen sense of melody, writing that is structured yet open, and above all a constant attention to collective interplay. Each piece seems conceived as a space for dialogue, where improvisation never breaks the narrative thread.

This sonic richness owes much to the quality of the musicians gathered around Nicolas Fiszman. Alongside him, Ziv Ravitz on drums and Nicolas Thys on bass form a flexible and inventive rhythm section. The palette broadens with Olivier Bodson on flugelhorn and trumpet, Frank Deruytter on tenor saxophone, Arnould Massart and Nicola Andrioli on piano, as well as Tuur Florizoone on accordion, whose contributions bring a singular and expressive dimension to the whole. Also worth noting is the remarkable presence of Philip Catherine, special guest, for a guitar solo marked by elegance and mastery.

The atmospheres oscillate between introspection and contained energy. Some pieces invite an almost meditative listening, while others rely on a more assertive rhythm, always in service of the musical discourse. This alternation gives the album a natural dynamic, without artificial breaks.

Nicolas Fiszman's writing sometimes evokes a cinematic quality, as the soundscapes are suggested with great finesse. Silences, textures, and variations in timbre fully contribute to the album's identity, reinforcing this impression of coherence and maturity.

With Nicolas Fiszman, the musician delivers an album that is composed, sincere, and deeply musical. A record that does not seek to charm through effect, but through the quality of its statement and the accuracy of its expression. A work aimed at the attentive listener, revealing its full richness over repeated listens.

Purchase link: Nicolas Fiszman

Gaetano Costanzo Neapolitan luthier

Chrys — 2025-12-15T14:57:05Z

In his Naples workshop, Gaetano Costanzo shapes unique instruments where craftsmanship, precision, and innovation meet. Between artisanal tradition and sound research, he creates basses, guitars, and special models for demanding musicians. An immersion into the world of a luthier who places the musician at the heart of every creation.

In Naples, precision has a name: Gaetano Costanzo

In the Neapolitan metropolitan area, at number 58 via Gabriele Cirillo, a small workshop vibrates to the steady rhythm of planes, magnets, and copper coils. This is where Gaetano Costanzo works—an artisan whose reputation is growing away from the spotlight but at the heart of Italian music scenes. A luthier by late vocation but long-standing passion, he has built his expertise through experience, trial, accepted mistakes, and an obsession: creating instruments that breathe elegance, lightness, and musicality.

A journey born from love at first sight with the bass

Nothing truly destined Costanzo for lutherie, except the irresistible call of the bass. He began playing guitar at nine, then turned to the low-register instrument to follow in the footsteps of Paul McCartney. At eighteen, the idea came to him almost instinctively: to build his own instrument. The first attempts were rough, but the desire became a driving force. Specialized books piled up, as did nights of experimentation.

The turning point came when he met Carlo Mazzaccara, a key figure in traditional lutherie. For two years, this mentor passed on artisanal methods, mandolin-making secrets, and old-school meticulousness. A demanding training that raised his level, while helping him draw from his roots to develop his own sonic identity.

Instruments shaped down to the smallest detail

Today, his workshop produces a wide range of basses, electric and acoustic guitars, baritones, not to mention a few electric mandolins. Each instrument is built with a coherent, almost architectural logic.

Bodies: alder predominates, chosen for its lightness, ease of work, and sonic signature.
Necks: maple, unrivaled in his view, for its stability and tonal clarity.
Fingerboards: maple or rosewood, depending on the desired aesthetics and playing feel.

For hardware, he favors Gotoh tuners, but readily adapts to Schaller or Hipshot preferences. Bass bridges are entirely made in-house, from raw brass, then gold-plated, chromed, or powder-coated.

Electronics are a chapter of their own: Costanzo winds his own pickups, using exclusively Alnico V magnets and double-insulated enamelled copper wire, AWG 42 to 44 depending on the desired voicing. Active circuits are custom-made by a technician friend, ensuring perfect coherence between the acoustics, mechanics, and the electrical heart of the instrument.

A philosophy centered on the musician

For him, a successful instrument rests on three fundamentals: lightness, playability, aesthetics. Nothing superfluous, nothing ornamental without function. His work is a continuous conversation with each musician. Some arrive with a precise sonic vision, others with a rough sketch. In all cases, luthier and client define together the woods, electronics, and shape. Once the 1:1 scale plans are completed, templates take shape and construction begins.

Lead times range from two to four months depending on complexity, and the workshop also handles setups, repairs, and adjustments. His clientele ranges from demanding amateurs to seasoned professionals, but everyone receives the same attentive listening.

His advice to musicians is clear: play until you feel whether the instrument adapts to you. “Good lutherie must liberate, never constrain”

The Piccolo Contra project, an ambitious idea

His most recent work bears witness to his inventive spirit: the Piccolo Contra, a semi-acoustic bass designed to offer the depth of the double bass… without its imposing silhouette. The project was born through exchanges with maestro Dario Deidda and Rosaire Riccobono, a leading figure in musical experimentation. The result: a hybrid, singular instrument, conceived for bassists seeking a new sonic dimension and greater mobility.

Naples as an anchor point, experimentation as a horizon

For Costanzo, the future is anything but fixed. New tools, new solutions, perhaps new instrument formats: everything remains open as long as artisanal rigor remains intact.

Those who wish to meet him can step into his Neapolitan laboratory or contact him via his social pages. Behind the wood, metal, and copper, one discovers an artisan who defends a generous vision: that of an instrument as a natural extension of the musician, shaped with patience, listening, and precision.

Photos: Pascal Vicart

Sébastien Charlier, master of the harmonica

Chrys — 2025-12-09T16:00:00Z

A key figure in the diatonic harmonica world, Sébastien Charlier has redefined the instrument's possibilities thanks to a unique technical mastery and a modern musical language. His chromatic approach, his recognized pedagogy and his singular career make him a major reference for musicians. This portrait retraces the evolution of an artist who has pushed all the limits of the diatonic.

Sébastien Charlier or the journey of a pioneer of the modern harmonica

Some musicians follow established paths, while others shake up the order of things. Sébastien Charlier clearly belongs to the latter category. In just a few decades, he transformed the perception of an instrument that many believed limited: the diatonic harmonica. His career, his philosophy and his work form a true musical revolution.

Modest beginnings, immense curiosity

Born in 1971 in the Paris region, Sébastien Charlier discovered the harmonica as a teenager. Nothing suggested that this small instrument would become the center of his artistic life. Yet, very early on, he developed an instinctive connection with it. While most players learn a few popular melodies or blues riffs, he was already asking himself: how to go further? How to go beyond the apparent limits of this instrument?

His youth was marked by an astonishing musical openness: he explored different instruments, became interested in harmony, in musical structure, and constantly sought to understand what lies behind the sounds. This curiosity, almost scientific, would become the foundation of everything he built afterward.

A new vision, liberating the harmonica

One of Sébastien Charlier 's great strengths is that he never accepted the traditional view of the diatonic. For him, an instrument has no limits other than those one accepts. Very early on, he explored advanced bends, overblows, overbends, and shaped a completely new style of playing.

Where many see the diatonic as limited, Sébastien develops a complete chromatic language. Thanks to him, the harmonica is no longer just a blues accompaniment tool; it becomes a true solo instrument, expressive, daring, and capable of navigating all styles.

This evolution is not only technical. It is artistic. Sébastien shapes his phrasing like a saxophonist, the elegance of a violinist, and the energy of a fusion guitarist. He gives the harmonica a new voice: modern, fluid, distinctive.

The first projects, the stage as a laboratory

In the 1990s, Sébastien multiplied collaborations, taught, and performed on stage. He formed a remarkable duo with guitarist Nicolas Espinasse, where he could experiment freely. Their early albums already show a strong desire to explore unexpected territories: acoustic jazz, improvisation, fusion…

Very quickly, Sébastien stood out as one of the few harmonica players able to navigate complex harmonic environments. His technique impresses, but what stands out the most is his musicality (nothing is superfluous, everything serves the melodic line).

A major turning point – the emergence of the “modern Sébastien Charlier”

The mid-2000s mark a key stage. With ambitious projects and prestigious collaborations, Sébastien Charlier 's playing reaches a new dimension. The diatonic becomes, in his hands, a fully chromatic instrument. The specialized press praises his ability to make the impossible sound natural.

His albums reveal this shift: refined writing, sharp improvisations, a taste for risk, rhythmic elegance. Sébastien creates a sound recognizable from the first measures.

A revolutionary pedagogy

Alongside his performing career, Sébastien Charlier builds a considerable pedagogical body of work. He publishes methods, “Harmonica notebooks,” technical guides that have become essential references today.

His approach rests on three pillars:

technique explained with precision and gradual progression
harmony always at the core of the material
musicality as the ultimate goal

His works have profoundly transformed the way harmonica is taught. For an entire generation, they were a trigger. Thanks to Sébastien Charlier , the diatonic leaves behind its status as an instinctive instrument and becomes a fully masterable one.

An eclectic and refined discography

Over time, Sébastien Charlier has released varied projects: intimate albums, virtuosic modern jazz, electric fusion, multiple collaborations. Each recording carries a strong identity, a recognizable sound, deep respect for music, and a constant desire to explore.

A legacy already tangible

To permanently transform how an instrument is perceived is rare. Yet this is what Sébastien Charlier has accomplished. Today, many harmonica players (in France and elsewhere) claim his influence: chromatic language, love for contemporary jazz, technical demands, artistic curiosity.

His pedagogical contribution is also a decisive legacy. He has offered concrete tools to progress, understand, and above all, open new musical doors.

the profile of a builder

The career of Sébastien Charlier is that of an artist who refuses constraints. A musician willing to redefine an instrument and imagine a future no one had envisioned. Virtuoso, researcher, composer, teacher, he has shaped a style both modern, elegant and visionary, while inspiring a new generation of harmonica players who are freer, more ambitious, and more inventive.

Groove of the Master Blaster bass line by Paolo Coccina

Chrys — 2025-12-02T20:42:00Z

The bass line of Master Blaster remains one of the most striking in Stevie Wonder's repertoire. Paolo Coccina reveals how it is built, combining root notes, arpeggios, and pentatonic patterns. Dive into the analysis of an iconic groove, reinforced by its doubling on keyboards for a unique power.

In his video, Paolo explains why the bass line of Master Blaster became a classic. It is played by Nathan Watts, Stevie Wonder's longtime bassist, and doubled on keyboards, which gives it a powerful foundation.

The piece is in C minor. The bass line begins with the root notes of the chords, doubled at the octave, creating a simple and solid groove. In the next section, Stevie uses the chord arpeggios (C minor, B♭, A♭, G, F), sometimes incomplete to let the rhythm breathe.

The chorus tightens around three chords: C minor, G, and F7. The latter brings a richer color thanks to a few characteristic notes such as the 7th and the 9th. Another section then makes use of the C minor pentatonic scale, typical of the reggae-funk aesthetic of the track.

Paolo thus shows how Stevie Wonder combines roots, arpeggios, and pentatonic patterns to craft one of his most memorable bass lines.

To follow Paolo COCCINA on his Youtube channel

ROCKETS - Some Other Space, Some Other Live !

Chrys — 2025-11-26T15:00:37Z

With Some Other Space, Some Other Live, Rockets delivers an electrifying stage comeback that blends modernity with cosmic DNA. This new live album captures the raw intensity of the band and confirms its essential place in space rock. A vibrant sonic journey reconnecting a mythical past with a confident renewal.

Forty-five years after electrifying Europe with their silvered space-rock, the Rockets prove they have lost none of their gravitational pull. Their new live album, Some Other Space, Some Other Live!, captures the essence of their latest tour and highlights a band more alive than ever, determined to show that their universe doesn't belong only to the past.

A stage comeback that regains altitude

Recorded during their recent tour, a series of sold-out concerts where fans of all generations came to reconnect with the band's futuristic aesthetic, this new release presents itself as a statement of intent: showing that energy, electric tension, and communion with the audience can only truly be expressed live.

The project was conceived as a snapshot, without overproduction or unnecessary editing. This raw approach gives the album a palpable intensity, almost physical, reminding how the stage has always been the band's natural terrain.

History of the Rockets Band

To understand the soul of Some Other Space, Some Other Live!, one must look at those who today embody the spirit of the band and propel it toward the future.

The current lineup, led by the tireless Fabrice Quagliotti, continues the band's cosmic legacy while bringing a modern, more organic energy:

Fabrice Quagliotti – keyboards, synthesizers
Fabri Kiarelli – vocals
Gianluca Martino – guitar
Rosaire Riccobono – bass
Daniele Quarto – drums, percussion

Daniele Quarto recently took over from Eugenio Mori on drums. Eugenio, a key member since 2005, chose this summer to focus on other personal projects. Daniele's arrival brings a fresh breath, renewed dynamics, and a promising musical approach already felt in the band's new stage direction.

A sonic lineage spanning decades

This musical genealogy shows how rich, dense, almost mythological the history of the Rockets is. Fabrice Quagliotti's presence in the current band acts as a connecting thread between different eras, while the new lineup injects a wind of modernity, allowing the band to remain fully alive.

Between cosmic DNA and confident renewal

Musically, Some Other Space, Some Other Live! achieves what few historic bands manage: uniting the nostalgia of their prime years with a resolutely contemporary energy.

Monumental synths, electronic pulses, and galactic riffs mark the return of the Rockets' sound in all its breadth. But the band's new incarnation is far from a mere tribute: it moves forward, challenges, proposes.

The vocals, more modern and direct than during the Silver Years, may surprise, but they establish themselves as a key element of this new dynamic, allowing the band to freely navigate between heritage and reinterpretation.

A vibrant tribute to the band's history

Beyond the performance, the album also serves as a gesture of memory. The booklet pays homage to recently departed historical members, reminding that the Rockets' adventure is made of faces, machines, and concerts that have marked generations of listeners.

This dimension adds emotional depth to the live show, where one senses a desire to place the work in continuity, balancing respect for the past with affirmation of a present in motion.

A luminous balance between past and future

The setlist offers a complete journey, where recent tracks mingle with the founding songs that propelled the band into space-rock mythology. The contrast works beautifully: classics regain a fresh vigor while modern compositions integrate naturally into the overall sonic architecture.

Some fans may regret a slight move away from the ultra-spatial textures of the early days, but they will gain a genuine stage energy, vibrant, which brings the band's cosmic imagination back to life without turning it into a relic.

Verdict! a live show that reignites the stars

With Some Other Space, Some Other Live!, the Rockets remind us they are not just a chrome memory of the '70s-'80s, but a band still in orbit, capable of reinventing itself without compromise.

This live album is a perfect entry point for those wishing to discover the band today, as well as a precious gift for long-time fans who have been waiting for a recording worthy of their legend.

A sonic journey faithful to their mythology, yet modern enough to engage a new generation.

The Rockets once again show that space is never far away; just press play.

Purchase link.