Tips for beginner drummers

  • Do not give up! Not everything comes at once. Your mind must learn to share time, and your arms and legs must learn movement. It always takes some time.
  • Do not concentrate on speed. Pay attention to the smoothness of the groove and maintaining the pace.
  • Exercise regularly, even if you don’t have access to the drum kit, at least 15-20 minutes a day. Exercising 5 minutes every day is better than 35 minutes once a week.
  • Recognize that you are primarily a musician, and only then a drummer. The best drummers come very musically to their playing, putting the sound of the song in the first place, rather than showing off their skills. For everything, its time and place.
  • If you decide to play the drum kit, an inexpensive model worth about $ 200-300 is a good start. Most often, it will consist of a bass drum, two hanging toms, one floor, snare, hi-hat, ride, crash and racks, a chair and pedals. You can always buy items later.
  • Drum sticks bounce off the drum perfectly, doing part of the backswing for you, so don’t press their plastic.
  • Do not pinch the stick too hard, otherwise, you will tear the plastic, break the sticks and get injuries that will make further drumming impossible for you. Remember John Bonham and Keith Moon – everything is not so simple there, they knew what they were doing.  Best drum gloves help get rid of corns.
  • Do not neglect ear protection – earplugs or headphones. For example, a snare drum was made to cut through the noise of battles, and here it is a couple of tens of centimeters from your ears.
  • Find tutorials or books. Read reviews about them before spending money. Not all books will be useful for you, some are designed for a different student level, while others relate to a specific style, which may not coincide with your desires.
  • Learn to play rudiments, and then ask someone to show you how they can be applied in music. Just speed training, without musical use, will not do you any good. Check out Stick Control for the Snare Drummer, a book written by George Lawrence Stone, and the Savage Rudimental Workshop, written by Matt Savage. Charles Down’s A Funky Primer for the Rock Drummer is also a great book. Train rudiments to automatism so that you can safely apply them in music, and not just knock on the pad.
  • If you can’t place an acoustic drum kit, pay attention to electronic drums, you can connect them to a computer and play using the Drum Machine program. You can assign a different sound to each pad, but the reaction speed may be too slow – this is their serious minus.
  • Take a lesson from the teacher and see if you like to play.
  • You can start banging on metal cans and buckets if you do not have money to install. Another option would be to buy or make a training pad yourself.
  • In order not to annoy your neighbors, parents and everyone in your area, soundproof the drums and the place where you play.
  • On your installation, nothing should fall off and hang on a kind word.
  • Relax. If you’re tense, slow down and start again.


Be sure to use ear protection and play at a volume that is acceptable to others.

Things you need

  1.     Headphones
  2.     Earplugs
  3.     Drumsticks
  4.     Training pad
  5.     Metronome
  6.     Drum set
  7.     Drum Tuning Key
  8.     Carpet or podium to place an installation on it
  9.     Drum teacher
  10.     Sense of rhythm
  11.     Sound-absorbing elements, dampers, and everything to reduce drum noise
Music Reviews



On April 22nd, 2016, the debut album of the La Malora group for the label Orzorock Music, entitled “MENTAL DISEASE IS CONTAGIOUS”, with the artistic production of Andrea Cavalieri. The band was founded in 2011 in Acqui Terme and immediately began writing pieces in Italian, the musical genre of the group is electro-acoustic, during these years the band consolidates its own experiences and increasingly addresses its own musical identity with security and talent; various formation changes follow one another until the group finds its stability with the right components.

The frontman of the group Sergio Del Sabato explained how this first record work was born and how it developed, and what better presentation if not the words of those who lived this work in the first person from “inside”?: “All the shades of gray forced into two colors, not colors. Black on white screaming contamination. Mental illness is contagious, just like the first word/note written for this album which, like a virus, has possessed every person who participated in its creation. Conception: texts that take inspiration from everything around and within us, which are recognized by an acoustic guitar and torn apart by electricity. ”

The album of these guys is a healthy and focused search for the most hidden sensations, thoughts and emotions, flashes that sail on music that are expressions of the soul, a set of a life lived or dreamed of, memories and moments of one. but at the same time of all. The sound is biting, intense, inspired by the most “bad” rock of the 90s but in a good sense of course. Sometimes obsessive, cadenced, enthralling without a doubt.

In this sense, the song entitled “Claudio Baglioni” is the one that most intrigued me musically, without taking anything away from all the other tracks, equally strong and articulate, the singer’s voice, pure and without frills, a “good” job in the broadest sense of the word. With deliberate and well-mastered contaminations, without ever losing one’s personality; excellent the use of the Italian language, in this sea of ​​rampant English is a comforting lifeboat and a demonstration of true goals. Excellent and recommended !!

Line up

  • Sergio Del Sabato (voice – guitar)
  • Federico Chigo Garbarino (bass voice)
  • Paolo Patanè (drums)
  • Giorgio Viviani (guitar – keyboards)
Music Reviews

Adolfo Durante

Adolfo Durante presents with Amnesty International Italy and Voices for Freedom the single-A voice for you dedicated to prisoners of conscience

Adolfo Durante, Amnesty International Award Italia Emergenti 2015, publishes Wednesday, May 25 the single-A voice for you, written and produced by Enrico Andreini with the text by Sandra von Borries.

The song is inspired by the letter written by little Daudi to his father, Saudi blogger Raif Badawi, sentenced to 10 years in prison and 1000 lashes for having founded Free Saudi Liberals, an online forum for debate on political, social and religious issues.

The moving words of Daudi, which exude the pain of a child forcibly left without the parent and which, at the same time, support the right paternal struggle, become a hymn to freedom and dignity, which Adolfo strengthens through his singing: his a full-bodied and charismatic voice sinuously joins moments more bent by the feeling and more intense tones of denunciation of abuses, giving life to a song-writing at times rocking, suggestive and really moving.

The song is co-produced by Voci per la Libertà and Amnesty International Italia, which since 2015 has adopted the case of Raif Badawi and continues to demand its release. The accompanying video clip A voice for you is shot by director Walter Ciurnella in the evocative setting of the former Perugia men’s prison and enhanced by the performance of the Iranian choreographer Afshin Varjavandi.

Here is the videoclip of Una Voce per te:

Adolfo Durante introduces A voice for you in his upcoming live shows included in the program of the 19th edition of the Voices for Freedom festival: June 18 for the Festival of 1000 young people for the new Music in Mantua , June 24 in Rovigo within the manifestation The prison in the square and on July 14th in Rosolina Mare for the opening night of Voices for Freedom – A Song for Amnesty.

On 18 June in Mantua, in addition to Adolfo Durante, two other artists linked to Amnesty International Italy participate in the Festival of 1000 young people for the new Music: Mud, Amnesty International Award for Emerging Italy 2014, and Anna Luppi, Web Award for Voices for Freedom in 2014.

On the occasion of the launch of Una Voce per te , Amnesty International Italy brings to the attention another case of prisoners of conscience, that of the Egyptian photojournalist Mahmoud Abu Zeid, known as Shawkan, arrested on August 14, 2013 while he was following on behalf of the agency Londoner Demotix the violent eviction of a sit-in convened by the Muslim Brotherhood in Rabaa al-Adawiya, Cairo neighborhood in Egypt.

Mahmoud Abu Zeid is accused of “joining a criminal organization”, “murder”, “attempted murder”, “participation in a rally for intimidation, to create terror and put lives at risk”, “obstacle to public services “,” Attempt to overthrow the government through the use of force and violence, the display of force and the threat of violence “,” resistance to a public official “,” obstacle to law enforcement “and” disturbance to peace public “.

If found guilty, he risks the death penalty. The next hearing on his case is scheduled for May 31st.


Interview with Giampaolo Magaraggia

Wit Matrix guitarist

Today we go to meet one of the Wit Matrix guitarists: Giampaolo Magaraggia, friend and fellow countryman.

Here is how it is told in this interview for the QuadriProject:

1) How did you approach music? how was your passion born?

I started listening to Bee Gees music, I liked a particular song “Tragedy”, then I listened to Supertramp, that rather singular pop different from many ways of “making” music. Although at that time I was not expert enough to be able to appreciate it, but I already had my “palate”, for then (it will seem impossible) to come to appreciate and deeply love “the wall”! At that time I did the first media … and from there I decided that I liked the electric guitar …

2) Was it easy to follow this passion for you, or did you have difficulty? If yes, which ones?

Let’s say that it is never easy to learn to play an instrument. The guitar then at least to me has always given very slow and sweaty results, but as you learn and appreciate what you “get” out of your hands you become more and more demanding and curious. The biggest difficulties I encountered with the economic aspect, the guitars cost, and I remember that when I learned, I felt I deserved more and more, and then for me it became a passion to try new guitars around shops like at “midnight” and “De Toni” only that sometimes I came home as a child deprived of the Christmas present, in short, I felt a tool and for me it was a beautiful feeling, I felt the “vibration” I had to have it …

3) What is your biggest success? And what made you most happy?

My biggest success is having played in front of thousands of people in Maribor in Slovenia a few years ago, I remember the feeling as I climbed the steps to go on stage and saw the thousands of faces that were staring at us in silence, I had a moment hesitantly I thought to myself: “What am I doing here? these expect a band of those tough .. “we started with a head down a little hesitant, but after the first chords of” in the flesh “when people applauded and shouted, I felt an adrenaline rush never felt before, the nice thing is that I managed to give it back to the public through the music of Pink. I do not know exactly how many presences were that evening but I assure you that I saw them as far as the eye could see …

4) Have you collaborated with other successful artists? important collaborations?

I had collaborations …, let’s say I played with Ricky Portera, and with Durga Mcbroom, two absolutely fantastic characters, Ricky in particular, a very respectable guitarist with a humility of a long-time friend, while for Durga, unfortunately, I don’t speak English ( away of a few sentences of circumstance – ok, yes, good morning …) but with her I felt pampered and appreciated immediately.

5) In the course of your musical career have you understood what people like or understand it is like the search for the sacred Grail?

People like music played well, people are not stupid, they know exactly what they want, even when we ask for an entry price for our concerts we feel obliged to the public to “give” a show adequate to the value of money spent those who came to hear/see… Then to understand what the mass like today is really very difficult I have to make amends… times change and rock no longer interests us as in our times (the most beautiful 70/80 years).

6) What do you think about today’s music scene?

Today’s music scene sadly saddens me, I’m sure there are respectable musicians who play very well but who will stay in the “cellar” forever, maybe you met them, or you know them, and you know you will never see them traveling in limousines, but you know they would deserve more than others who may have had luck, or they were there at the right time in the right place, with the right friend ..

7) What does it mean to you as a musician?

For me, being a musician is the best way to give a part of my soul to the people who come to hear me, even if everyone didn’t like it, oh well, the world is great and everyone has tastes that must be respected. Do you think that squalor if everyone liked the same music .. In conclusion I want to say to all those guys who want to make their own music, to continue, to try, to be stubborn at times if necessary, music is a HEALTHY fun, living it from within is a nice thing, it makes you meet new people you make new friends like sport, it helps you to live well in contact with others!


Interview with Federico Pelle of the Basement Recording Studio

It is with great pleasure that I am going to present this interview to a person who has put his heart and soul into what he believes to be a remarkable recording studio.

I’m talking about Federico Pelle who is told in this interview:

1) How did you approach music? how was your passion born?

The Passion for Music I carry it in since I was born. From an early age, I was “educated”, so to speak, to music. It was thanks to my maternal grandfather (Renzo), thanks to whom I held the mandolin at the age of 4. I learned the trill technique and became the first musical instrument I learned to play.

After a short time, at the age of 6, I fell in love with the piano, and my parents bought me a Bontempi air keyboard. It wasn’t really like a piano, so I made my complaints and after months of “hard-nosed”, the piano arrived! I started going to class, but it turned out to be rather boring, enough to make me stop. But I didn’t stop playing, indeed!

I took my favorite author, Scott Joplin (the greatest exponent of the American Rag Time, a forerunner of what would lead to Jazz), and I memorized the most famous pieces: in a non-simplified version. In short, I learned to play the piano with Joplin and I started to experiment with the composition because even then I enjoyed writing small pieces in Rag style.

Those were the years of “FAME – Saranno famosi” (the real one …) and Bruno Martelli (Lee Curreri), my myth of the time. The Commodore 64 was my first computer to make sounds: I bought some dispensations from Jackson Books that were called Music & Computer and I enjoyed doing … I don’t know what, but I made synthetic sounds and it made me very euphoric! I would say that everything started from this. A mandolin, a piano, and a computer.

2) Was it easy to follow this passion for you, or did you have difficulty? If yes, which ones?

A thousand difficulties, of all types. First the family skepticism. It is difficult to explain to a parent who wants to live about Music, also because we are talking about the 90s, years in which “entering the tour” was impossible, especially if you lived far from the important centers like Milan, Rome or Bologna.

Those were the years of the dream of going to Sanremo, but I couldn’t think of basing my life on this! My room had now become a real study. The mixer (A Soundcraft Series 200 from the mid-70s) was great when my bed but had 16 channels. The computer was a Pentium 133 and the sound card a 20-bit Gina Event. I arranged the songs with my Korg T2 EX keyboard, recorded with Cakewalk Pro Audio (it was version 4) and I had an AKG C3000 (which I still have!) To record my voice. Obviously, all this took me away from the law studies and the thing is that my father (who today is the most feline father in the world for my life choices) went very well. But so be it!

At three exams from graduation, I turned around and tried to pursue my dream. I went from Criminal Law to downloading service trucks as a porter, in exchange for the possibility of being a sound technician: they had a porter and a sound engineer, but they only paid one fee. I was fine, basically, I had to cut my teeth!

Another problem was a reflection of my choice, that is the chorus of voices that, not even too softly or behind my back, heard “what do you think you do?”, “Where do you think you’re going?” And similar things. Voices that inevitably made my parents suffer too, but frankly I managed to put aside, continuing on my way.

3) What is your biggest success? And what made you most happy?

I believe sharing the Stage of the Teatro Olimpico in Vicenza with my brother Marco (choreographer in New York), bringing to the stage our first American show: Solitude. It was an event that even ended up on some books, sold out of two dates in less than two hours and an important audience (the public cd for special occasions) present and ready to scuttle every single movement and every single note! Here, on that stage, during that long applause, that first period of the “test bench” ended and a different, more conscious phase began.

It was as if in a single moment everything found place and meaning. It was the signal that the road traveled was precisely the one to go!

4) Have you collaborated with other successful artists? important collaborations?

There are many important artists, but some are the pillars of my being.

First and foremost my brother Marco, a multi-award-winning choreographer in New York. He leads me first to enter the world of the most committed composition and uses my music over the course of his career over and over again. I owe him a great deal and what binds our artistic components is a magic that is often difficult to describe. Solitude was so inside each of us that he often didn’t ask for the changes he wanted, but I sent them to him and the music, including breaks, was exactly what he needed! All in about 30 minutes of original music.

The second person is certainly Patrizia Laquidara(who needs no introduction), who is an immense Artist, for whom I feel unconditional esteem and affection. We’ve known each other since 2005, but the first collaboration comes when he decides to rely on my studio (The Basement) for the mix of his album “Il canto dell’Anguana”. This is a new milestone in my career. Many things happen during the album’s months, including the recording of his voice in a couple of pieces. For me, it is an immense honor and here I can reveal a small anecdote. We were going up the stairs to go to my parents’ house when Patrizia sang a melody. He stopped and smiled again. I turned around and, looking at myself with this aura of her own, she said to me “But you know that the reverberation of these stairs is very beautiful! Can we put together a couple of pieces? ” The mix was practically finished and had to be delivered, but Patrizia is like this: she has a very precise vision of what she wants and even if she has only one hour available she wants to try anyway! So there are two tracks on the record where the reverb isn’t the usual Lexicon, but it’s … the stairwell of my parents’ house. It was also an opportunity to learn about the sound engineer of the project, Dario Caglioni (former sound engineer of Fabrizio De Andrè, Renato Zero, Bertè, Consoli, etc). We become great friends as well as “confidants” for everything concerning the world of recording: hours and hours talking about machinery, programs, and small or big secrets of our profession. there are two songs in which the reverb is not the usual Lexicon, but it is … the stairwell of my parents’ house. It was also an opportunity to learn about the sound engineer of the project, Dario Caglioni (former sound engineer of Fabrizio De Andrè, Renato Zero, Bertè, Consoli, etc). We become great friends as well as “confidants” for everything concerning the world of recording: hours and hours talking about machinery, programs, and small or big secrets of our profession. there are two songs in which the reverb is not the usual Lexicon, but it is … the stairwell of my parents’ house. It was also an opportunity to learn about the sound engineer of the project, Dario Caglioni (former sound engineer of Fabrizio De Andrè, Renato Zero, Bertè, Consoli, etc). We become great friends as well as “confidants” for everything concerning the world of recording: hours and hours talking about machinery, programs, and small or big secrets of our profession.

A person to whom I am very attached, is the Maestro Federico Zandonà, professor of composition at the “Dall’Abaco” in Verona. I owe everything I know about music and composition. We shared many stages together, many musical adventures (including my album “Small secrets under the Light” released a few days ago, the first of the three that I would like to publish this year) and a deep friendship was born that still supports every planning. I owe him so much! If today I am a teacher in the Conservatory (I hold the Electroacoustic Chair at the “Steffani” in Castelfranco) I owe it to his foresight. If I had not met him in my professional career, perhaps today I would not have done many things that I could do instead.

5) In the course of your musical career have you understood what people like or understand it is like the search for the sacred Grail?

Look, let’s say the music I write or the arrangements I make must above all please me. I do it with great honesty: some things are good for me, others are bad for me. I have the courage to tell me and not to use them, starting from scratch. I have been writing and composing for 15 years now and I realized that honesty in conveying one’s feelings, through music, is something that the public immediately recognizes.

In my opinion, the failure in writing is always around the corner when trying to please the taste of the public: the true Artist (and I don’t say I am, for goodness sake !!!) is what goes in search of his path, of the feeling of his vibration. Whoever has the luck and the courage to find it will have conquered their own public. People like to get excited, watch a performance and try “something”. Basically, I think it’s like a dialogue: you have to know how to be convincing. But to convince you you must be stretched out, because the lie does not come or, if it comes, it has short legs. Who makes music must do it, in my opinion, for himself and not seek the satisfaction of a clapping.

6) What do you think about today’s music scene?

Sore point. I wonder if there is still an Italian music scene … It seems to me that everything is so fragmented and unregulated that I find it difficult to think of a “market”, understood as a whole and meeting of demand and supply (with relative economic value).

It seems to me that the American and English mainstream empires, in which we can insert only the most famous names of the Italian melodic tradition (I think of export artists such as Pausini and Bocelli, among others); a national high-end pop market (Lorenzo, Cremonini, Zucchero, Ferro etc.) and rock (Vasco and Ligabue in the first place); all the rest that is the independent market, in which there are interesting proposals in the most varied musical genres.

And then there’s the TV and everything that comes from the talent. My intransigent position on talent is rather well known: I am not part of the group that is in favor, let’s say. For several reasons. First and foremost is that they make you feel arrived when it should only be a starting point. Then because it has cannibalized any other way of promoting, and this has affected the whole market: if there is no TV in the middle it is very difficult for some majors to focus on you and this is not right, in my opinion. Talents should be ONE OF THE OUTLETS, while it has become the only way to promote. The radios have not been freed for a long time now, so today the artist remains only the self-production, the concert route, and visibility on Social and video portals like YouTube or Vimeo. I do not express a judgment of merit, I do not mind asking myself if it is right or wrong. We need to consider how the market moves to move in the market.

Today the successful band is the one that manages to live on music, concerts, festival participation. The “blow hunchback” of notoriety is perhaps a chimera, today it is today.

7) What does it mean to you as a musician?

Working in Music means feeling privileged! I know how many I want to do and I see how many people follow me, thanking me for what I write on my FB profile. I feel that this desire does not change as the years change: people like Music a lot, they like to listen to it and like to do it. In my small way, I represent the paradigm of how an enormous sacrifice leads to personal fulfillment, and in fact, this knows of a “dream come true”. And as such, it is very pleasing to those who cultivate the same dream, because it sees in you the concrete possibility that things can go well even for us.

Of course, over the years I have realized that not everyone realizes the kind of sacrifice it takes to make a dream come true in Music. But believing in a dream is an incredible spring to go on and always give the best. It’s been like that for me all my life.

Music was my dream and it still is.


Interview with Francesco Corona

Continuing the search for Vicentini musicians, today we meet Francesco Corona. A well-known multi-instrumentalist in the Vicenza musical world, he tells us a little about himself in this mini-interview:

1) How did you approach music? how was your passion born?

Approaching music for sure thanks to the paternal transmission of the good Ciccio Corona, who like a good singer and guitar player, gave me the genes of the drummer…with a diploma at the conservatory and affirmed awareness and passion for this instrument. Of course, then I play bass, guitar, keyboards, song, and even the trumpet.

2) Was it easy to follow this passion for you, or did you have difficulty? If yes, which ones?

Certainly, I only ever did this in life, graduating at age 19 and starting to teach, but already at 12, I remember on some stage and little place. Many bands simultaneously, different genres (Celtic music, dance, blues, revival, various tributes, orchestra, musicals, country, pop, etc, etc) that lead me over time to experience the stage, different sectors, musicality, tricks of the trade, knowledge of people and the emergence of professionalism ‘. There are those who remain inside and those who are magically sawed off. This only fate knows. A lot of passion, keeping up with the times and breaking the backside. Never think of having arrived, but rather of always being on the first level, that if you look around you there are phenomena and younger people, with surely more possibilities, that you like to come and go. Don’t be mona! Don’t be the butt mounted! Humility, smile, professionalism and ahead of that there is a right place for everyone. To each his own.

3) What is your biggest success? And what made you most happy?

Honestly, I don’t have great international visible things to be able to exhibit. The highlight was a participation in a Tenco award on RAI DUE in 2006 and participation in the Pistoia blues 2006 on the same stage where BBKing performed in the evening. I could list the CDs or particular situations, but I have colleagues who really deserve to do it and I actually feel like a fool. With this, I don’t have any problems because I know how much I am worth and the esteem that people express to me.

4) Have you collaborated with other successful artists? important collaborations?

Long-lasting tournaments style collaborations? ahh, would have been or will be a pleasure. I have names / nicknames that have their reason: Marco Paolini, Paolo Belli, Vittorio Matteucci, Gio di Tonno, Marco Guerzoni, Lorenzo Frizzera, Federico Straga ‘, Patrizia Laquidara, Brendan Hoban, Benito Madonna, Massimo Moriconi, Ruggero Robin, Red Canzian, Leon Speier, Massimo De Bernard, Rudy Rotta, Lisa Hunt. Stuff and touches….

5) In the course of your musical career have you understood what people like or understand it is like the search for the sacred Grail?

Well, I realized that people in Vicenza like beer and chick. Personally and musically I am tied to the music that you understand, the one that makes you understand an A a B, even a C … that is pop, jazz, death metal. Then what other people like I don’t know, what I do to people like, because I do it with passion, enthusiasm and convey my personality.

6) What do you think about today’s music scene?

Of the music scene, I think the winner is someone who tries something new, you must have the stroke of genius. Be sure that those who follow up continue with the practice of copying paste. Maybe up to a certain point they invented new things, then instead you go, not looking for novelties like in medicine, but wanting to merge old things to give birth to bad things, just to say: “I make my music”, “tomorrow I’m in the studio “,” today I am in Milaaaaaano “,” I have the producer “,” I made the record “and then… another one arrives. I believe it is appropriate not to sink into the pursuit of the capillary thing as long as it is new. At an amateur level, you do what you want, at a higher level or you have the stroke of genius of something fresh (good work) or copy something pleasant, which goes to everyone’s ears if you want to emerge …

7) What does it mean to you as a musician?

Being a musician means: being aware that you work with art! That if you have to go-to bread and water tomorrow, whoever has a cornfield and a river will be safe. Music is something to brighten the spirit, knowing then that you are a freelancer and that you have to live with all the pros and cons. Of course, there are pros to kiss the little hands, try to ask those who take turns in the foundry. There are hundreds of roads open in the music sector, it is enough to know how to identify them, make the right ranks, be competitive, there is room for everyone! Obviously, believe it, and know-how to wait for moments of stalemate. Don’t pretend to want to be who knows who (it is not said that it is your destiny), if you are living of music teaching and at the end of each year you fall on your feet, well kissing your hands, that will equal power…my friends have been a pleasure.


Interview with Federico Malaman

Bassist, Double Bass Player, and Arranger

Today we know a great bass player as well as a friend who answers under the name of Federico Malaman.

Here is how it is told in this interview for the QuadriProject:

1) How did you approach music? how was your passion born?

The music I breathed at home…My dad played guitar and piano and my mom sang, so I was always watching some homemade concertinos … then my 2 cousins ​​Fabrizio and Giancarlo Malaman are two musicians and for me, they have always been a great point of reference. The music was already at hand…and of the foot since my first approach with an instrument I had it about 5-6 years destroying my dad’s 12 strings, using it as a trampoline

My passion was born slowly, until it became a thing without which, my life would not make sense…The music enters and leaves you no more!

2) Was it easy to follow this passion for you, or did you have difficulty? If yes, which ones?

You always have difficulties when you decide to take the road as a musician: economic, creative, motivational and often, feeling the new generations, you get to have self-esteem at zero. So you have moments where joy spurts and moments where you say “But (beep) is it the case to continue doing life?!?!?!”

The study, the curiosity, the always getting involved and in the discussion, are the only ways (in my opinion) to be able to continue on his path in the winding road of music.

3) What is your biggest success? And what made you most happy?

My biggest professional success is what I have yet to achieve. I’m never happy and I’m always looking for more … I think I’ll never reach it … and maybe that’s why I’m still an explorer musician.

4) Have you collaborated with other successful artists? important collaborations?

I had many collaborations, the one that changed my life and which I consider the most important, was the one with Paolo Belli … I really did everything with him !!!! È Tournè in Italy and abroad, very important RAI television programs; thanks to him I had the honor of playing and, very often, also arranging songs for great artists like Solomon Burke, Al Jarreau, Lucio Dalla, Pooh, Zucchero, Gianna Nannini, Fabio Concato, Giorgia, Alex Baroni, Ron, Renato Zero, Gianni Morandi, Claudio Baglioni, Enrico Ruggeri, and many others … (I thank Francesco Corona for letting me know through the manager from Vicenza, Mauro Longtin).

Then I had other collaborations with artists like George Benson, Antonella Ruggiero. Or I managed to play with my childhood myths, two above all Christian Meyer and Alain Caron !!! Lately, I’ve been collaborating with Stef Burns for his latest album “Roots & Wings” (which I highly recommend, by the way), thanks to Christian Meyer, I collaborated on Alessio Menconi’s new album which will be released probably in late autumn 2014 … I would have other things, but later I would become wordy and too self-congratulatory … I don’t like it 🙂

5) In the course of your musical career have you understood what people like or understand it is like the search for the sacred Grail?

I still don’t understand what I like !!!

Step from listening to Jarrett to Kety Perry with great ease amend

Sincerely, I love things done well… it doesn’t matter the genre from Jazz to Metal, I don’t dislike anyone and I think people need QUALITY!… Point…

6) What do you think about today’s music scene?

The music scene today is so vast that I wouldn’t even know what to say … are they all famous?!?!?

I think the quality on the radio is a little worse, but there is business, no longer “good song or the bad song”, you like the Pio Chick !!!!!…. Luck that there is Youtube that I introduced phenomenal groups like Dirty Loops or extraordinary artists like Jarle Bernhoft !!!

7) … and the locals who make live music?

Locals who make live music?!?!?!

Good question… Filled with tributes of all sorts because they think that ONLY in this way we can attract the public. I have nothing against tribute bands, God forbid, I had one too, I just think that it is right to “risk” a little by giving space ALSO to other quality projects, perhaps always with covers, but with rearranged versions, without falling in imitation of the original.

The important thing is to give people QUALITY! This is!

Among the various musical situations I have, I am proposing 2 groups: the MalaFede PJCT (trio or quartet) and the Pop on Top. The first is instrumental and winks at Jazz, passing through funk, Latin, fusion; the other is a group of covers, rearranged. Want to know how the evenings went with both groups in various clubs? FROM FEAR !!!!!!! Always full PACKED by an enthusiastic audience! AND WE ARE NOT A TAX!… PEOPLE ALSO WANT MORE!… But often, the manager of the place or the artistic director, do not want to “risk”.

8) What does it mean to you as a musician?

Fight for survival, trying to express yourself in the form of sound! It’s the best job in the world. Do you work ??? YES, I WORK!!!

When we understand this concept, being a MUSICIAN will no longer be a struggle for survival. Thank you very much! Faith Malaman


Interview with Loris Fontana

Dollface guitarist

1) How did you approach music? how was your passion born?

I was struck by “Made in Japan” and as a child, a plastic guitar was always one of my favorite games. My parents remember that I heard advertising jingles and I played them again with that guitar

2) Was it easy to follow this passion for you, or did you have difficulty? If yes, which ones?

No difficulty … if not the very bearable one of the study and want to learn!

3) What is your biggest success? And what made you most happy?

…my biggest success? Maybe I have different angles and different priorities from the common thought, for me success is playing with the same conviction and fun as it was the first day, despite the countless problems that are always encountered.

4) I know there’s an album at work, where are the recordings going?

The album is well underway, we have made some program previews conducted by people who were above all in tune with our music and received flattering feedback. The takes are finished and only small details are missing. The album contains songs ranging from Blues, Hard Rock, and many guitars !!!!

5) In the course of your career in the world of music, do you understand what people like or understand it is like the search for the sacred Grail?

I think that first of all he likes sincerity, even if often he who thinks aloud risks being accused of being a nuisance, but there are some things on which it is very difficult to be silent …….

6) What do you think about today’s music scene?

there are many bands in the underground that are splendid realities, the problem is that perhaps by dint of proposing the usual things that reproduce others, we risk the suffocation of art and creativity, to the detriment of worthy performers and reproducers of not their music.

7) What does music mean to you?

Music is a beautiful art, which I believe does not deserve to be ghettoized or worse sectarianized. Unfortunately, this is what is happening, because the mass, evidently moved by driven tastes, is, without doubt, the judge of itself.

Nevertheless, I am not complaining even a little since my music and my playing is always a source of interest and compliments…

8) How are your songs born?

they are ideas about progressions, a lot is born jammando with the boys of the band, I often feel the arrival of the right idea and I play it in my head if I don’t have a guitar and I memorize it…


Interview with Andrea Amati

Let’s get to know him in this interview

He boasts musical successes such as “Young lover my” and “the Queen of the last tango”, both sung by Gianni Morandi with sales on the million copies, collaborations in almost all the cinepanettoni of Boldi and De Sica and much more. Let’s meet Andrea Amati in this interview with the QuadriProject!

1) How did you approach music? how was your passion born?

When I was a kid I told my parents that I wanted to have a Bontempi organ for Christmas (it was an unprofessional tool for boys that was fashionable in those years), coming from a very modest family (mine had other problems than buying an organ toy to me) nothing came of it. But my uncle intervened … He went to the store but the organ wasn’t there, so he bought me a guitar. I was upset, I wanted the organ … One day this guitar fell and broke. I threw it in the closet and stayed there for a few years until the day I asked my father to repair it. He took nails and hammer and, after not a little sweat, I got a guitar in my hand with the strings so high that only Hulk could have played it. But the desire was great and evidently greater than the effort I made to learn the first chords … From that absurd battered guitar was born what then became my job … I told this to make people understand how, sometimes, to have all the best right away (as too often happens today ) is not as an incentive as you think. It takes sweat and humility (even social) if you really want to succeed. In life, not just in music.

2) Was it easy to follow this passion for you, or did you have difficulty? If yes, which ones?

I don’t know the easy word. The difficulties of this work are enormous and very complex, it is not easy to explain them in a paper. Let’s say that in this work skill and luck must travel in pairs. But luck doesn’t come if you don’t go looking for it … Once a great artist told me: “A stroke of luck always happens in life, you have to see if when you happen you’re ready.” He was right; when I was eighteen I happened to do a kind of audition with Claudio Baglioni, I needed a substitute guitarist for the last date, because what was there had a problem. I went, but I didn’t look good, I wasn’t ready … I was studying a lot but, evidently, it wasn’t enough yet, or maybe it was my head that wasn’t ready. A few years later a series of fortuitous situations came back to me.

3) Which is your greatest success? And what made you most happy?

The word success has different meanings based on the periods of life. However, if by success you mean the most well-known pieces to the public I will indicate two, my young lover and the queen of the last tango, both sung by Gianni Morandi with whom my brother Paolo and I (with whom I have always worked) have sold more or minus one million copies. What makes me happier is not the success achieved with great artists but the work I do myself, alone, not needing great artists. Autonomy is happiness …

4) Have you collaborated with other successful artists? Important collaborations?

In the discography for many years I worked with Gianni Morandi, in the cinema, always together with my brother, we made realizations in practically all the cinepanettoni of Boldi and De Sica. Many other realizations of ours are present in different films by well-known directors such as Fausto Brizzi or Massimiliano Bruno. And then we arranged tracks for so many artists if you go to our site ( you can get a more complete picture of the many things we’ve done.

5) In the course of your career in music, did you understand what people like or understand it is like searching for the sacred Grail?

No, this question cannot be answered … Music is made to give emotions, there are people who try them listening to classical music, others listening to dance, or rock and so on … It makes no sense to do what people like, you must do what you like and try to do it as best you can, with seriousness, commitment, and great intellectual honesty. If you do it well there will always be someone who will appreciate …

6) What do you think about today’s music scene?

I don’t think anything in particular except that I would like to see less “disposable”. Once the artists were “cultivated” by record companies. Today, TV makes music. The record companies intended as they were once understood no longer exist, or rather, they exist, but take the artists on duty who win the talent TVs, only to abandon them the following year in favor of the new winner. An endless meat grinder. But at stake, there are hopes that often become huge illusions. Very sad, and then we lose the real artists in the street …

7) What does it mean for you to work in music?

In life, if you do a job you like you are a lucky person. In this sense, I am very fortunate, and one thing that I feel like wishing all the kids who read is that of being able to find a way, whatever it may be, to live life with joy and without frustration.

Music Reviews

Quiet Sonic The album OUTDOOR

In April 2016, under the protective wings of the Orzorock Music label , Quiet Sonic , a group born in 2014, released their first self-titled album ; the band that has its roots in the Piacenza area has recreated the typical sounds of the nineties underground scene with talent and finesse, but with a personal and unique style. The band finds inspiration from the common passion for historical groups like Nirvana or Soundgarden.

The album is a surprising mix of different moments of life, micro-stories that speak of anger, love, disappointment, success; the voice is dressed in the emotions of the moment and the music makes him the now melancholy, now furious cloak. A commitment that touches the hands of Quiet sonic, undoubtedly well seasoned with the passion that compensates for some uncertainty or sonorous naivety here and there.

All the work is fluent and interesting, it invites listening, it offers the path of exploration piece after song, to understand and taste the different approaches with the compositional globality. Intuitive and appreciable the intro of the album that is almost entirely instrumental and that clearly outlines the mood of the whole work; a strong personality unequivocally announced.

The band consists of four musicians with previous indie experiences in their area of ​​origin, Elena Saltarelli, author of the Quiet Sonic lyrics, also collaborates with the group. A union that has given rise to excellent results that project the listener into the world inspired by the great rock of bands like the Red Hot Chili Peppers, Soundgarden, Audioslave, Nirvana, Pearl Jam, Alice in Chains and Foo Fighters; real rock, full of excellent and brilliant contaminations that has made this genre one of the most fertile grounds for young inspired talents such as the Quiet Sonic.Recommended album.

Line Up

  • Riccardo Molinari (guitar)
  • Marco Cavozzi (bass)
  • singer Alberto Zucconi
  • Federico Merli battery

Interview with Marco Andrighetto

We know this level drummer

The series continues with interviews with friendly musicians of the QuadriProject. Today we find Marco Andrighetto told in this mini-interview:

1) How did you approach music? how was your passion born?

Good question, actually it started as a game at around 3-4 years old when my father gave me the first toy battery that I immediately fixed by piercing the skins with a screwdriver, then nothing until 13-14 years old, although I actually remember that I was often fascinated by the percussive sounds of the music that my parents listened to in the car and that I tried to reproduce by beating everything.

Coming back to us, at the age of 13, my parents gave my brother a drum-machine with 6 round blue pads for their birthday; yes, my brother wanted to become a drummer, but luckily for him, he met me. I literally stole from him the “toy” and I never stopped playing and at 15 I had my first REAL battery, a Ranger !!!

2) Was it easy to follow this passion for you, or did you have difficulty? If yes, which ones?

It was very easy to follow her inside me, following her and taking her outside the room, turning her into my business, it was very difficult, especially living in a place where the music, alas, is still only considered leisure and far from work reality. and the entrepreneurial world in which we are immersed and perhaps a little too submerged! In fact, I had to hold on and fight with my family to make my work my passion.

3) What is your biggest success? And what made you most happy?

What a nice question! Well, for me every musical project and every experience that allows me to express what I am in that moment and that I have to say musically speaking, are in fact successes and moments of great happiness. I don’t pay much attention to “success” as it is often understood, for example as a reputation, first of all for me comes personal satisfaction and being comfortable with music, to which approach at that moment.

4) Have you collaborated with other successful artists? important collaborations?

Yes, in my musical life I have had the good fortune to know and work with really important and well-known characters and maybe discover that the voices that people circulate are both completely different from good and bad. This gave me a lot and made me understand that too often, in music, negative feelings such as envy or jealousy lead people to shut themselves up in an absurd and anti-music world, talking inappropriately and thus losing what little humility that would serve them to appreciate anyone who does music well! The ego is an ugly beast. 😀

5) In the course of your musical career have you understood what people like or understand it is like the search for the sacred Grail?

If I was really looking for this, I don’t think a lifetime would be enough and I don’t think there’s even an answer. To my students, for example, I often remember that music is one of the most powerful art forms to express all that we cannot say in words, to expose what is most intimate within; I am convinced, simply, that by playing what I like and what makes me feel good, I can give the public what it needs, emotions. More than a few times I happened to go to concerts of characters whose music, stylistically speaking, never involved me, but “how” they played it and lived it made me transmit unique sensations.

One thing, moreover, that often makes me smile is the eternal and sterile struggle between the huge fans of the millions of notes in a second and the hardcore fans of the 2 beautiful notes played in a minute. I also went there as a young man, but now I laugh at it when I hear these speeches because I think the music is beautiful ALL, provided it is done well and with respect. I have to say: “Every morning a hobbyist musician knows that he will have to get up and play, every morning (maybe afternoon) a professional musician knows that he will have to get up and prepare a concert. It doesn’t matter how many notes you make, no matter how fast, for sure every morning you’ll have to get up and play. Whether you are a hobbyist or a professional, do it with respect towards the music at any speed and with any amount of notes you want! ”What do you say Alberto, Gentlemen, the music is BEAUTIFUL because it’s varied, let’s never forget it !!!

6) What do you think about today’s music scene?

Artistically I think it is going very adrift, finding television programs conducted by people who sometimes do not know what a change of tone is and who then choose who and what we will have to listen to in the coming months depresses me on how much, but you know, the majors trudge and they need ready-made packages. Money once again dominates and art is often put aside and that’s what I’m sorry about. In fact, I am not against the various Talent Shows, but cabbages, they were worth at least of the name they bear, “TALENT”. I have seen very few talents so far, but in a country where meritocracy counts much less than the “swollen suitcase” is what you can expect.

On the other hand, I think it’s good for independent music, I think it’s a period where those who want to speak their mind with music can do it by changing course, choosing alternative routes; perhaps this “down” moment for music will give us many beautiful surprises.

7) What does it mean to you as a musician?

Life. We have one and never one day I wanted to turn around and ask myself how it could have been to be a musician !!!